Theodor Billroth Vídeos
médico austríaco
Conmemoraciones 2024 (Muerte: Theodor Billroth)
- piano, violín
- Reino de Prusia
- médico, cirujano, catedrático, pianista
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2024-05-03
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Karl Marx Marx Felix Mendelssohn Bartholdy Alder Theodor Billroth Hermann Abert Weber Wegener Webster Bachelet Frick Upton Engels
List of famous alumni from Humboldt University of Berlin, with photos when available. Prominent graduates from Humboldt University of Berlin include celebrities, politicians, business people, athletes and more. This list of distinguished Humboldt University of Berlin alumni is loosely ordered by relevance, so the most recognizable celebrities who attended Humboldt University of Berlin are at the top of the list. This directory is not just composed of graduates of this school, as some of the famous people on this list didn't necessarily earn a degree from Humboldt University of Berlin. The list you're viewing is made up of many different graduates, including Karl Marx and Felix Mendelssohn-Bartholdy. This list answers the questions Which famous people went to Humboldt University of Berlin? and Which celebrities are Humboldt University of Berlin alumni?...more 0:00 - Intro 0:00:08 - Kurt Alder 0:00:17 - Theodor Billroth 0:00:27 - Heinrich Heine 0:00:36 - George F. Kennan 0:00:43 - Fritz Haber 0:00:52 - Felix Klein 0:01:01 - Max von Laue 0:01:11 - Abraham Joshua Heschel 0:01:28 - Karl Eugen Guthe 0:01:35 - Rudolf Clausius 0:01:45 - James Franck 0:01:55 - Ferdinand von Richthofen 0:02:06 - Hermann Abert 0:02:15 - Victor Hensen 0:02:32 - Edwin Klebs 0:02:48 - Heinrich Hertz 0:02:58 - Albert Abraham Michelson 0:03:15 - Max Planck 0:03:24 - Roman Vishniac 0:03:31 - Julius Plcker 0:03:47 - Max Weber 0:03:54 - Alfred Wegener 0:04:07 - Maximilian Schich 0:04:14 - Sven Hedin 0:04:30 - Le Szilrd 0:04:47 - Arthur Schopenhauer 0:05:21 - Henry Adams 0:05:47 - Arthur Gordon Webster 0:06:04 - Felix Mendelssohn-Bartholdy 0:06:40 - Hannah Arendt 0:06:56 - Wernher von Braun 0:07:30 - Walter Benjamin 0:07:46 - Ludwig Leichhardt 0:08:05 - Walther Funk 0:08:21 - Konstantin von Neurath 0:08:39 - Michelle Bachelet 0:08:51 - Wilhelm Frick 0:09:07 - Angela Davis 0:09:38 - Karl Heinrich Ulrichs 0:09:54 - Francis Robbins Upton 0:10:11 - Friedrich Engels 0:10:27 - Karl Liebknecht 0:10:43 - Julius Edgar Lilienfeld 0:11:02 - Mihajlo Idvorski Pupin 0:11:21 - W.E.B. Du Bois 0:11:38 - Rudolf Peierls 0:11:54 - Karl Marx ➊️ MUSIC BY: (http•••) ➋About Saphire Top We work for you! Saphire Top makes interesting, diverse, fun tops of events, performers, actors, politicians, places, and much more. Don't miss everyday updates! ➌Subscribe (http•••)
Johannes Brahms Richard Mühlfeld Theodor Billroth Weber 1833 1890 1891 1894 1897 2021
Michael Thompson, clarinet Beilin Han, piano Murray and Michele Allen Recital Hall DePaul University School of Music Chicago, IL May 27, 2021 Johannes Brahms +••.••(...)) Sonata in F minor, Op. 120 No. 1 (1894) Few pieces are as standard in the clarinet’s repertoire as Johannes Brahms’ two Op. 120 Sonatas. As with all of Brahms’ chamber music for the clarinet, the Sonatas were born of Brahms’ late-in-life friendship with clarinetist Richard Mühlfeld. By the end of 1890, Brahms had, according to his friend Theodor Billroth, “rejected the idea that he...would ever compose anything again.” In March of 1891, however, Brahms heard Mühlfeld perform a concert of Weber and Mozart and was immediately inspired to continue composing. That summer Brahms composed his Clarinet Trio and Clarinet Quintet, and in 1894 composed both of his clarinet sonatas. Brahms frequently referred to Mühlfeld as “Fräulein Klarinette,” “Meine Prima Donna,” and “the nightingale of the orchestra.” The feminine epithets were a playful teasing between friends, but also a hint at the beautiful, delicate tone with which Mühlfeld played. Brahms wrote specifically for this sound, featuring long phrases, wide leaps, and great dynamic contrast. The word “autumnal” is used almost ubiquitously for these late works of Brahms; he was aware they were among his last creations, and they contain a certain maturity and sentimentality not found in his earlier works. Far from mournful, however, Brahms wrote his first Clarinet Sonata with characteristic intensity. A dramatic opening is interspersed with quiet, gentle phrases. Next, a flowing and contemplative melody is developed with poignant harmonies. This is contrasted by a sometimes rowdy Ländler, a Germanic folk dance featuring hopping, stamping, and slapping. Finally, the Sonata ends with an energetic rondo, where the melody returns time and again until a triumphant ending even more dramatic than the opening.
Immanuel Bah plays 8 Klavierstücke, Op.76 by Johannes Brahms Become our Patron! Support us! : (http•••) Subscribe to our Official Channel Telegram: English: (http•••) Italian: (http•••) Spanish: (http•••) Subscribe to our Official Instagram Channel: (http•••) Subscribe to our Official Facebook page: (http•••) Subscribe to our Official Youtube Channel: (http•••) "???????????????????? ???????????? ???????????????????????????????????????????? ????????????????????????, ???????????????????????????????????? ???????????? ???????????????????????????????????????????? ???????? ????????????????. ???????????????? ???????????? ???????? ???????????????? ???????????????????? ???????????? ???????????????? ???????????? ???????????????????? ???????????? ???????????? ???? ???????????????????????? ???????????????? ???????? ???????????????????????????????????? ???????????? ???????????????????????????? ???????????????????????????????????? ???????????????? ???????? ???????? ???? ???????????????????????????????? ???????? ???????????????????????????????? ????????????????." - Theodor Billroth, a close friend . During his stay in the lovely village of Pörtschach in the summer of 1879, Brahms worked diligently on his Violin Concerto, but he also returned to composing piano pieces, resulting in the Klavierstücke, op. 76. He had produced no piano works for public consumption in fifteen years, but had not abandoned his principal instrument completely as seen by the first of these pieces, which he had originally presented to Clara Schumann as a birthday present in 1871. Having permanently left behind the monumental sonatas and variation sets of his earlier period, he took up the thread of “miniatures,” begun with the Opus 10 Ballades and which would culminate in the late great piano pieces, opp. 116–119. He found such shorter pieces perfect for exploring a myriad of subtle textures and nuances of mood. And, as it turns out, he had not abandoned the variation techniques that fascinated him at all periods of his life—he had simply refined them. The eight Klavierstücke, op. 76, are divided into two main types: the faster, more extroverted Capriccios—Nos. 1, 2, 5, and 8—and the slower, more introspective Intermezzos—Nos. 3, 4, 6, and 7. Brahms invented such a variety of characters within each type, however, that the designations remain only loose categorizations. The first Capriccio, in F-sharp minor, and the second, in B minor, for example, could hardly be more different. The first is a swirling, turbulent piece, whereas the famous second Capriccio presents a lighthearted, sometimes impish demeanor. Brahms’s friend Elisabet von Herzogenberg, from whom he frequently solicited opinions on his music, said the F-sharp minor Capriccio was her favorite, but she also loved playing the second. 1 - Capriccio in f-sharp minor 2 - Capriccio in b minor 3 - Intermezzo in A-flat major 4 - Intermezzo in B-flat major 5 - Capriccio in c-sharp minor 6 - Intermezzo in A major 7 - Intermezzo in a minor 8 - Capriccio in C major Interesting fact : The composer was in no hurry at all to have the pieces printed, even though his publisher Fritz Simrock had repeatedly inquired about them from August 1878, and, with typically ironic comments, increasingly pressed for their publication. Thus for example he wrote on 6 December 1878: “If the piano pieces do not arrive soon, I shall apply to requisition your furniture – and by the way there should be established a ‘Society against Cruelty to Publishers’ in the manner of the ‘Society against Cruelty to Animals’ – ‘pooh’: you should be ashamed to submit me to this rack of torture, deprived of your songs and piano pieces – how many volumes must you send to set things right again?” (Johannes Brahms und Fritz Simrock, Weg einer Freundschaft: Briefe des Verlegers an den Komponisten, ed. by Kurt Stephenson, Hamburg, 1961, p. 132). Around the beginning of November 1878 Brahms seriously considered publishing the pieces, but then delayed again . Alluding to the composer, pianist and arranger Theodor Kirchner, Brahms asked Simrock on 31 October, with regard to possible titles: “Do you have a title!??!!??!?: ‘From all the countries of the world’ would be the most sincere, ‘Kirchneriana’ the funniest, can you think of one? Caprices and Intermezzi or Phantasies would be the correct one, if that worked in regard to the different word endings. Something that says a similar thing! Or something very simple!” (Brahms Briefwechsel X, pp. 91 f.). He finally sent his publisher the engraver’s copy of the pieces in early February 1879, with the neutral title “Klavierstücke”. Brahms read proofs of the pieces that same month, after which they appeared in print shortly before mid-March 1879, in two volumes.
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- cronología: Compositores (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): B...