Christian Gottlob Neefe Vídeos
compositor alemán
- órgano
- ópera
- Electorado de Sajonia
- compositor, director de orquesta, organista, musicólogo
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Beethoven Joseph Haydn Wolfgang Amadeus Mozart Christian Gottlob Neefe Antoine Reicha Nikolaus Simrock Franz Ries Ries Johann Georg Albrechtsberger Antonio Salieri Johannes Brahms Richard Wagner Herbert Karajan Berliner Philharmoniker 1770 1792 1794 1800 1811 1817 1827
Ludwig van Beethoven, +••.••(...)), born in Bonn, Germany, was the predominant musical figure in the transitional period between the Classical and Romantic eras. Widely regarded as the greatest composer who ever lived, he dominates a period of musical history as no one else before or since. Rooted in the Classical traditions of Joseph Haydn and Wolfgang Amadeus Mozart, his art reaches out to encompass the new spirit of humanism and incipient nationalism expressed in the works of Johann Wolfgang von Goethe and Friedrich von Schiller, his elder contemporaries in the world of literature, in the stringently redefined moral imperatives of the German philosopher Immanuel Kant, and in the ideals of the French Revolution, with its passionate concern for the freedom and dignity of the individual. He revealed more vividly than any of his predecessors the power of music to convey a philosophy of life without the aid of a spoken text; and in certain of his compositions is to be found the strongest assertion of the human will in all music, if not in all art. He received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. He moved to Vienna in 1792 to study with Joseph Haydn, and despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. His works also include the celebrated 9 symphonies; the opera Fidelio; 2 masses; 5 piano concertos; a violin concerto; 6 piano trios; 10 violin sonatas; 5 cello sonatas; and several concert overtures. Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. He profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works. The Romantic tradition of descriptive music began with Beethoven's "Pastoral" Symphony No. 6". Even in the second half of the nineteenth century, Beethoven still directly inspired both conservatives (such as Johannes Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Richard Wagner, who viewed the Symphony No.9 as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power. He died in Vienna, Austria on March 26, 1827. Symphony No.9 in D minor, Op.125 I. Allegro ma non troppo, un poco maestoso Performed by the Berliner Philharmoniker Orchestra Herbert von Karajan, Conductor
Beethoven Christian Gottlob Neefe Antoine Reicha Nikolaus Simrock Franz Ries Ries Joseph Haydn Johann Georg Albrechtsberger Antonio Salieri Johannes Brahms Richard Wagner Dorati London Symphony Orchestra 1770 1792 1794 1800 1811 1817 1827
Ludwig van Beethoven, (1770 – 1827), born in the small city of Bonn, Germany, was the predominant musical figure in the transitional period between the Classical and Romantic eras. The events of Beethoven's life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. He received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. He moved to Vienna in 1792 to study with Joseph Haydn; despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. His works also include the celebrated 9 symphonies; the opera Fidelio; 2 masses; 5 piano concertos; a violin concerto; 6 piano trios; 10 violin sonatas; 5 cello sonatas; and several concert overtures. Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. He profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works. The Romantic tradition of descriptive music began with Beethoven's "Pastoral" Symphony No. 6. Even in the second half of the nineteenth century, Beethoven still directly inspired both conservatives (such as Johannes Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Richard Wagner, who viewed the Ninth Symphony as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power. Ludwig van Beethoven died in Vienna, Austria on March 26, 1827. Symphony No.7 in A, Op. 92 - Allegretto Performed by the London Symphony Orchestra Antal Dorati, Conductor
Andreas Jakob Romberg Romberg Breuer Bernhard Romberg Beethoven Joseph Haydn Andrea Luchesi Louis Spohr Neefe Thüringen Philharmonie Gotha 1658 1767 1790 1809 1815 1817 1821 1993
Andreas Jakob Romberg - Sinfonie Nr. 1, Es-Dur Op.6, Thüringen Philharmonie Gotha-Suhl, Hermann Breuer (conductor) 1.Adagio - Allegro con spirit – 00:00 2.Andante – 08:35 3.Menuetto: Vivace – 13:38 4.Finale: Presto – 16:58 Andreas Jakob Romberg (27 April 1767 – 10 November 1821) was a German violinist and composer. The cellist and composer Bernhard Romberg was his cousin. Romberg was regarded as a celebrated violin virtuoso, concertmaster, and composer, and his stays in Paris, Vienna, Prague, and Italy spread his fame internationally. He met Ludwig van Beethoven, Joseph Haydn, and many other musical personalities of his times. In 1817 the Allgemeine musikalische Zeitung praised “what Haydn, Mozart, Beethoven, and Romberg have accomplished so far in this genre of musical works”. With these words the author numbered Romberg among the absolute masters in this field. Born in Lower Saxony just three years before Beethoven, the violinist Romberg was, like him, a virtuoso instrumentalist of precocious gifts. His career too was radically affected by the Napoleonic Wars and a formative encounter with Haydn. And, as with Beethoven, his most popular work was a choral setting of a poem by Schiller: Das Lied von der Glocke, premiered in 1809. He joined the court orchestra of the Prince Elector in Bonn (conducted by the Kapellmeister Andrea Luchesi) in 1790. After a time in Paris, Andreas settled in Hamburg where he became a central figure in the city's musical life. In 1815 he succeeded Louis Spohr as music director at the court of the Duke, in Gotha, Thuringia. He died there on 10 November 1821. As a composer A. Romberg profited from the early example of Beethoven, the teaching of the latter’s mentor Neefe, and meetings with Haydn. He wrote sacred and secular vocal music, a few stage works, symphonies, overtures and concertos. His chamber music includes quintets and quartets, some involving the use of the flute or the clarinet. Romberg wrote also an enormous number of violin concertos, but only sixteen manuscript scores of his entire oeuvre have survived, all of them in Hamburg. A great deal of his oeuvre was forgotten, but this is slowly changing, primarily owing to the Arbeitsstelle Andreas Romberg at the University of Vechta, a research center that since 1993 has engaged in the systematic investigation of this composer’s works. Of his ten symphonies, only six are extant, and only four of them were printed during his lifetime. However, his symphonies were extremely popular when they were written.
Beethoven Bonner Christian Gottlob Neefe 1712 1761 1770 1773 1782 1784 1791 1827
Ludwig van Beethoven +••.••(...)): Fuga a tre (Fugenkreis d-moll, Nr. 1) Ludwig van Beethoven wurde 1770 in Bonn geboren. Die groben Züge der Biographie dieses zu den bedeutendsten Komponisten aller Zeiten zählenden Meisters dürften weitgehend bekannt sein. Er begann seine Karriere im Umfeld der Bonner Hofkapelle, sein gleichnamiger Großvater Ludwig van Beethoven +••.••(...)) war dort seit 1761 Hofkapellmeister. In diesem Umfeld wuchs das junge Wunderkind auf, das mit sieben Jahren erstmals öffentlich als Pianist auftrat. 1782 trat der Komponist und Kapellmeister Christian Gottlob Neefe sein Amt als Bonner Hoforganist an. Beethoven wurde sein Stellvertreter und bereits 1784 erhielt er eine feste Anstellung als Organist. Darüber hinaus wirkte er als Cembalist und Bratschist in der Hofkapelle. Mitte September 1791 kam Beethoven als Organist und Bratschist der Bonner Hofkapelle zu einem Generalkapitel des Deutschen Ordens nach Mergentheim und Aschaffenburg. Dort begegnete dem aus Wien stammenden Grafen von Waldstein, der sein erster adeliger Förderer wurde und Beethovens weiterer Laufbahn in Wien den Weg ebnete. Es wird hier und da zu lesen, Beethoven habe keine "echten" Orgelwerke geschrieben. Das ist nicht ganz richtig, wenngleich die Anzahl seiner erhaltenen "Orgelsachen" den einstelligen Bereich nicht überschreitet.
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- cronología: Compositores (Europa). Directores de orquesta (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): N...