Camille Stamaty Vídeos
músico francés
- piano
- Francia, Reino de Italia
- compositor, pianista, pedagogo, profesor de música
Última actualización
2024-05-06
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Anton Schmoll Heller Stamaty 1841 1890
Phillip Sear plays a piece from a set of '80 Études moyennes'' (Op. 116-119) from around 1890 by the German composer Anton Schmoll. / The German composer, pianist and organist Anton Schmoll +••.••(...)??) abandoned an early career as a mining engineer to become a musician. He settled in France in the 1860s, eventually living in Paris, where he became a friend of Heller. He was also interested in astronomy and metaphysics, and was a member of the circle of Camille Flammarion. You can read a fascinating article written during his lifetime here: (http•••) . Each of the 80 pieces in this collection bears a different dedication, mainly to piano professors at various conservatoires. The style of writing is quite old fashioned, and little different from Stamaty's studies of 30 years earlier - however the pieces are well-written and fun to play. This collection is the middle collection in a series of 230 studies that Schmoll wrote and that were used at the Paris Conservatoire. This piece is effectively a 'dialogue duet' between the bass and soprano registers of the piano, and the soprano has the last word. / Played by Phillip Sear (http•••) (Email: •••@••• WhatsApp: (http•••) )
Friedrich Wilhelm Michael Kalkbrenner Heribert Beissel Frédéric Chopin Thalberg Liszt Johann Nepomuk Hummel Marie Pleyel Pleyel Camille Marie Stamaty Louis Moreau Gottschalk Moreau Camille Saint Saëns Beethoven Mozart Haydn 1785 1831 1849 1973
Friedrich Kalkbrenner - Piano Concerto No. 1 In D Minor, Op. 61, Hans Kann (piano), Hamburg Symphony, Heribert Beissel (conductor) (Recorded in 1973) I. Allegro Maestoso – 00:00 II.Adagio Di Molto – 13:17 III. Rondo Vivace – 20:30 Friedrich Wilhelm Michael Kalkbrenner (2–8 November 1785 – 10 June 1849) was a pianist, composer, piano teacher and piano manufacturer. German by birth, Kalkbrenner studied at the Paris Conservatoire starting at a young age and eventually settled in Paris, where he lived until his death in 1849. For these reasons, many historians refer to Kalkbrenner as being a French composer. At his peak, Kalkbrenner was considered to be the foremost pianist in Europe. When Frédéric Chopin came to Paris, Kalkbrenner suggested that Chopin could benefit by studying in one of Kalkbrenner's schools. It was not until the late 1830s that Kalkbrenner's reputation was surpassed by the likes of Chopin, Thalberg and Liszt. The only serious rival he had was Johann Nepomuk Hummel. Author of a famous method of piano playing (1831) which was in print until the late 19th century, he ran in Paris what is sometimes called a "factory for aspiring virtuosos" and taught scores of pupils from as far away as Cuba. His best piano pupils were Marie Pleyel and Camille-Marie Stamaty. Through Stamaty, Kalkbrenner's piano method was passed on to Louis Moreau Gottschalk and Camille Saint-Saëns. He was one of the few composers who through deft business deals became enormously rich. Chopin dedicated his first piano concerto to him. Kalkbrenner published transcriptions of Beethoven's nine symphonies for solo piano decades before Liszt did the same. He was the first to introduce long and rapid octave passages in both hands – today so familiar from 19th century piano music – into his piano texture. Kalkbrenner was a prolific composer of a multitude of piano works (altogether more than 200), piano concertos, and operas. Today he is not so much remembered because of his music, but because of his alleged vanity. Kalkbrenner was convinced that, after the death of Mozart, Beethoven and Haydn, he was the only classical composer left, and he never hesitated to let the world know this.
Friedrich Wilhelm Michael Kalkbrenner Frédéric Chopin Sigismond Thalberg Franz Liszt Johann Nepomuk Hummel Marie Pleyel Pleyel Camille Marie Stamaty Louis Moreau Gottschalk Moreau Camille Saint Saëns Beethoven Mozart Haydn 1785 1831 1849 2005
Experimental Remix, Non-Commercial Purposes Friedrich Wilhelm Michael Kalkbrenner (November 2–8, 1785 – August 10, 1849) was a German pianist, composer, piano teacher and piano manufacturer who spent most of his life in England and France. Before the advent of Frédéric Chopin, Sigismond Thalberg and Franz Liszt, Kalkbrenner was by many considered to be the foremost pianist in France and England, even Europe. The only serious rival he had was Johann Nepomuk Hummel. Kalkbrenner was a prolific composer of a multitude of piano works (altogether more than 200), piano concertos, and even operas. Author of a famous method of piano playing (1831) which was in print until the late 19th century, he ran in Paris what is sometimes called a factory for aspiring virtuosos and taught scores of pupils from as far away as Cuba. His best piano pupils were Marie Pleyel and Camille-Marie Stamaty. Through Stamaty Kalkbrenner's piano method was passed on to Louis Moreau Gottschalk and Camille Saint-Saëns. He was one of the few composers who through deft business deals became enormously rich. Chopin dedicated his first piano concerto to him. Kalkbrenner published transcriptions of Beethoven's nine symphonies for solo piano decades before Liszt did the same.[4] He was the first one to introduce long and rapid octave passages in both hands – today so familiar from 19th century piano music - into his piano texture. Today he is not so much remembered because of his music, but because of his alleged vanity. Kalkbrenner was convinced that, after the death of Mozart, Beethoven and Haydn, he was the only classical composer left, and he never hesitated to let the world know this. Although of humble origins, he had a lifelong aspiration to be an aristocrat and delighted in rubbing shoulders with the nobility in London and Paris. He is invariably described as a somewhat pompous, formal, overly polite, yet intelligent and business wise extremely shrewd man. He was the target of many anecdotes already during his own lifetime and bitingly satirized by the German poet Heinrich Heine. There hardly is any other composer who lives on in so many anecdotes and stories as Kalkbrenner. Virtually nothing of his huge output survived, although recently several pianists have taken some shorter works of his in their repertoire. A new recording of two of his piano concertos (No.1 and No.4) was released in 2005, an older (and abridged) recording of the piano concerto No.1 is still available. (http•••)
スタマティ : Stamaty, Camille Marie (http•••) 歌とメカニスム:協奏者たち、24の特別で段階的な練習曲 第1集 第1番 : Chant et mécanisme: les concertantes, 24 études spéciales et progressives 1. LES INSÉPARABLES - Allegro 瀬崎 純子, 永田 由布子 : Sezaki, Junko & Nagata, Yuko ■ スタマティ/歌とメカニスム:協奏者たち、24の特別で段階的な練習曲 第1集 第1番 Op.46 ◇ピティナ ピアノ曲事典 (http•••) 演奏:瀬崎 純子, 永田 由布子 ◇演奏者情報 (http•••) (http•••) ■ Stamaty, Camille Marie/Chant et mécanisme: les concertantes, 24 études spéciales et progressives 1. LES INSÉPARABLES - Allegro Op.46 ◇PTNA Piano Encyclopedia (http•••) pf: Sezaki, Junko & Nagata, Yuko ◇About the Player (http•••) (http•••) /*----------++ 本動画は、全日本ピアノ指導者協会ならびに当協会協力者による無償音源提供によって配信されています。本動画を学会・講演会・論文・研究レポートその他公的な目的で使用する際は、必ず演奏者名ならびにPTNA『ピアノ曲事典』より転載/参照した旨を明記して下さい。また、転載した旨を下記アドレスまでご一報下さい。•••@•••(ピティナ・ピアノ曲事典担当) This video is distributed thanks to the recordings offered by the Piano Teachers' National Association (PTNA) and by our collaborators. If you would like to use this video in any public occasion, such as symposium, lecture, thesis, dissertation, and research paper, etc., it is necessary to give the name of performers by citing the 'PTNA Piano Encyclopedia'. For all public use of this video, please inform us of it by email: •••@••• (person in charge of Piano Encyclopedia) Ce film est diffusé grâce à l'offre volontaire des enregistrements fournis par la Piano Teachers' National Association (PTNA) et ses collaborateurs. Si vous l'utilisez, dans quelque occasion publique, que ce soit pour: une présentation de colloque, de conférence, un mémoire, une thèse ou encore un rapport de recherche, etc., il est nécessaire d'indiquer le nom des interprètes en citant explicitement la PTNA Piano Encyclopedia. Pour toute réutilisation de ce film, veuillez nous en informer par courriel au préalable: •••@••• (responsable de PTNA Piano Encyclopedia) Dieses Video ist dank der Aufnahmen von die Piano Teachers' National Association (PTNA) und unsrer Mitarbeiter verteilt. Wenn Sie dieses Video in jedem öffentlichen Anlass, z. B. Symposium, Vortrag, Dissertation und Forschungsarbeit, usw. benutzen wollen, ist es notwendig, den Namen der Spieler und die 'PTNA Piano Encyclopedia' aufzuschreiben. Für alle öffentliche Benutzung dieses Videos, informieren Sie es uns per E-Mail: •••@••• (Person verantwortlich für die Piano Encyclopedia) Questo film è distribuito grazie alle registrazioni fornite dalla Piano Teachers' National Association (PTNA) e dai suoi collaboratori volontari. Se voi volete utilizzarlo, in qualunque occasione pubblica, ad esempi: rappresentazione di convegno, conferenza, o tesi stampata sia accademica che didattica, etc., è necessario indicare il nome di interprete citando esplicitamente la PTNA Piano Encyclopedia. Per tutte riutilizzazioni di questo film, vi preghiamo di informarcene per email: •••@••• (persona incaricata di PTNA Piano Encyclopedia). ++----------------------------*/ ◇PTNA Web Site | ピティナ・ピアノホームページ (http•••)
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