Friedrich Hofmeister Vídeos
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2024-04-27
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Camillo Schumann Robert Schumann Hielscher Reger Webern Brahms Mendelssohn Claußnitzer Dunkler Hofmeister Leipziger 1538 1867 1872 1889 1893 1894 1896 1904 1906 1914 1924 1946
Camillo Schumann +••.••(...)): Orgelsonate Nr. 3 in c-Moll op. 29 (1904) 00:00 1. Allegro ma non troppo 08:15 2. Un poco Adagio cantabile 15:38 3. Introduction und Fuge Der sächsische Komponist und Organist Camillo Schumann wurde 1872 in Königstein (südöstlich von Dresden) als Sohn des Stadtmusikdirektors Clemens Schumann geboren, der mit der berühmten Komponistenfamilie Robert Schumann nicht mehr als den Namen gemeinsam hat. Nach erstem Unterricht bei seinem Vater trat er 1889 in das Leipziger Konservatorium ein, und erhielt dort bis 1893 eine grundlegende musikalische Ausbildung. 1894/95 studierte er in Berlin an der Hochschule für Musik und wurde im Oktober 1896 als Organist an die Georgenkirche in Eisenach und an die Wartburgkapelle berufen. 1914 zog Schumann nach Bad Gottleuba, übernahm noch einige kirchenmusikalische Engagements in der Nähe seines Wohnortes, widmete sich jedoch zunehmend seiner kompositorischen Arbeit und verstarb hier am 29. Dezember 1946. Schumann hinterließ über 300 Kompositionen, darunter sechs Orgelsonaten. Obwohl er in einer Zeit lebte und komponierte, in der die Musik von Reger, Webern und Schönberg längst die traditionellen Bahnen der Musik verlassen hatte, ignorierte er diese Strömungen völlig und bewegte sich in einer erstaunlich konsequenten Art in der Tradition der großen Romantiker wie Brahms und Mendelssohn. Seine Orgelsonate Nr. 3 in c-Moll op. 29 komponierte Schumann im Jahre 1904, sie wurde 1906 veröffentlicht und ist „Herrn Seminar-Oberlehrer Paul Claußnitzer in Verehrung gewidmet“ (Borna, 1867-1924). Sowohl der erste und besonders der dritte Satz dieser Sonate sind von mystisch-dunkler Stimmung, aber auch von äußerster Dynamik. Diese innere Spannung wird durch kantable Einschübe unterbrochen (zweites Thema im ersten Satz). Die Durchführung im ersten Satz, die das erste Thema verarbeitet, ist fugenmäßig angelegt. Der lyrische, sehr ausdrucksstarke zweite Satz in As-Dur ist dreiteilig, mit einem bewegteren Mittelteil in f-Moll. Die beiden Ecksätze sind durch thematische Verwandtschaft eng miteinander verbunden. Die Introduktion des dritten Satzes führt zum Thema der abschließenden Fuge. Sie ist als Steigerungsfuge gestaltet, wobei die gewaltigen Akkorde am Schluss mit virtuosen Sechzehntelläufen kontrastieren. Die ausgeprägten wundervollen Melodien, besonders in den langsamen Sätzen, machen die sechs Sonaten zu einem beeindruckenden Zeugnis eines nie zur Geltung gekommenen Komponisten. / Camillo Schumann +••.••(...)): Organ Sonata No. 3 in C-minor op. 29 (1904) 00:00 1. Allegro ma non troppo 08:15 2. Un poco Adagio cantabile 15:38 3. Introduction und Fuge The Saxon composer and organist Camillo Schumann was born in Königstein (south-east of Dresden) in 1872 as the son of the City Music Director Clemens Schumann, who has nothing more in common with the famous Robert Schumann family of musicians than the name. After taking his first lessons from his father, he entered the Leipzig Conservatory in 1889 and received a basic musical education there until 1893. In 1894/95 he studied in Berlin at the Hochschule für Musik and in October 1896 he was appointed organist at St. George's Church in Eisenach and at the Wartburg Chapel. In 1914 Schumann moved to Bad Gottleuba, devoted himself to his compositional work and died here on December 29, 1946. Schumann left over 300 compositions, including six organ sonatas. Although he lived and composed at a time when the music of Reger, Webern and Schönberg had long since left the traditional paths of music, he completely ignored these currents and moved in an amazingly consistent way in the tradition of the great Romantics such as Brahms and Mendelssohn. Schumann composed his Organ Sonata No. 3 in 1904. Both the first and especially the third movement of this sonata have a dark, mystical mood, but they are also extremely dynamic. This inner tension is interrupted by cantabile insertions. The development in the first movement, which develops the first theme, is laid out in fugal form. The lyrical, highly expressive second movement in A flat major is in three parts, with a more animated central section in F minor. The two outer movements are closely linked by thematic affinity. The introduction of the third movement leads to the theme of the concluding fugue. It is designed as an increasing fugue, with the powerful chords at the end contrasting with virtuosic runs. The pronounced beautiful melodies, especially in the slow movements, make the six sonatas an impressive testament to a composer who has never come to prominence. This video is illustrated by a photo presentation: "Saxonia – Landscapes and Romantic Organs“ with special thanks to Michael Hofmeister.
Ilan Rechtman Rechtman Hofmeister Zubin Mehta Lorin Maazel Mansfield Esperança Ion Voicu Boston Pops Tel Aviv Museum Art 1967 1983 1985 1990 2001 2003 2007 2008 2015
Recorded 2003 Soloist: FLORIAN CRISTEA As a composer, some of Rechtman's works have been published by the Theodore Presser Company, USA, Hofmeister Musikverlag in Leipzig, Germany and Bottle Cello Publishing in San Francisco, USA. His compositions "Rondo Op. 5" and "Fanfare by the Red Sea" have been commissioned and conducted by Maestros Zubin Mehta and Lorin Maazel, respectively. Rechtman was also commissioned to compose a special work for the 125 years celebration of the Chautauqua Music Festival, the oldest music festival in the USA. Some of Rechtman's orchestral compositions have been performed by the Boston Pops, Pittsburgh, New World, Augusta, Grand Rapids & Cape Cod symphonies. Rechtman was the music director and founder of the Israel Virtuosi, director and founder of the "Sundays on the Island", a baroque music series which ran weekly nearly 15 years, as well as the recital and chamber music series at the Wales - Mansfield in Manhattan, NY, which ran over 10 years. During the 6 years Rechtman lived in Brazil +••.••(...)), he performed as soloist with the State Orchestra of São Paulo, Campinas and Riberão Preto symphonies, and was director of the "Um Certo Olhar" chamber music series at Sala São Paulo. As a composer, Rechtman wrote scores to various Brazilian films, as well as to the long running "Esperança" telenovela, which reached an audience of nearly a billion spectators around the world. In the 2008 Beijing Olympics, Rechtman's music was used by Nastia Liukin when she won gold medal in her floor exercise. His music was also used in the 20th season (2015) of “Dancing with the Stars” in the USA. In 2007, Ilan Rechtman was nominated as music director of the Tel Aviv Museum of Art concert programs, the oldest and largest presenter of classical concerts in Israel, a position Rechtman holds till present. In this capacity, Rechtman is responsible for presenting about 70 concerts per season. Florian Cristea bio: O romeno Florian Cristea nasceu em Buzau em 1967 e teve os primeiros ensinamentos musicais com o pai, Gica Cristea, um dos mais renomados violinistas da Romênia. Freqüentou a escola de música até 1983, quando entrou para o Conservatório de Bucareste e começou a vencer concursos, como o 1º Prêmio na Competição Nacional de Música de Bucareste. Em 1985, tornou-se aluno de Ion Voicu e, após 1990, participou de várias orquestras romenas, gravou música folclórica e realizou turnês pela Alemanha, Suíça, França, Estados Unidos, Finlândia e Turquia.
Isaac Albéniz Hofmeister 1886 1887 1912
Sheet Music : •••@••• Isaac Albéniz’s Suite española, Op. 47, is a suite for solo piano. It is mainly composed of works written in 1886 which were grouped together in 1887, in honour of the Queen of Spain. Like many of Albeniz’s works for the piano, these pieces depict different regions and musical styles in Spain. In the works constituting the Suite española, the first title makes reference to the region that each piece represents and the subtitle in brackets indicates the musical form of the dance of the region : 1. Granada (Serenade) 2. Cataluña (Courante) : (http•••) 3. Sevilla (Sevillanas) : (http•••) 4. Cádiz (Canción) 5. Asturias (Leyenda) : (http•••) 6. Aragón (Fantasía) 7. Castilla (Seguidilla) 8. Cuba (Nocturno) The work originally consisted of four pieces: Granada, Cataluña, Sevilla and Cuba. The editor Hofmeister republished the Suite española in 1912, after Albéniz's death, but added Cádiz, Asturias, Aragón and Castilla. The other pieces had been published in other editions and sometimes with different titles (Asturias was originally the prelude from the suite Chants d'Espagne). The four pieces that Hofmeister added do not exactly reflect the geographical region to which they refer. A clear example of this is Asturias (Leyenda), whose Andalusian Flamenco rhythms have little to do with the Atlantic region of Asturias. Opus 47, the number assigned by Hofmeister, does not have any chronological relation to any of Albéniz’s other works, since the opus numbers of the pieces were randomly assigned by publishers and Albéniz himself. Despite the spurious nature of the Suite española, however, it has become one of the most performed of Albéniz's piano works, a favorite of both pianists and audiences. Don't hesitate to SUSCRIBE for more interesting stories! :)
Komische Oper Komische Oper Berlin Miloš Vacek Hans Christian Andersen Roth Carsten Sabrowski Hofmeister Karsten Küsters Hauptmann 1928 2012 2013
www.komische-oper-berlin.de Miloš Vacek | Des Kaisers neue Kleider Komisches Singspiel nach Motiven von Hans Christian Andersen Hans Christian Andersens Märchen über Lüge, Selbstbetrug und Eitelkeit als heiter-satirisches Singspiel aus der Feder des tschechischen Komponisten Miloš Vacek +••.••(...)), dessen Musik in ihrer volkstümlich zupackenden Rhythmik ebenso wie in ihren zauberhaft lyrischen Momenten ganz in der Tradition Smetanas und Dvořáks steht. Nach 50 Jahren erlebt das Stück nun endlich seine posthume Uraufführung in der Komischen Oper Berlin. Premiere am 13. Oktober 2013. STAB Musikalische Leitung Uwe Sandner Inszenierung Lydia Steier Bühnenbild Benita Roth Kostüme Alfred Mayerhofer Dramaturgie Ulrich Lenz Chöre David Cavelius Lichtdesign Diego Leetz BESETZUNG Kaiser Maximilian von Eitelstein Carsten Sabrowski Culifinda Cornelia Zink Alfred Schönling, kaiserlicher »Oberhemdenbügler« Christoph Späth Benedikt Wachsam, kaiserlicher »Unterhosenwärmer« Hans Gröning Hofmeister Philipp Meierhöfer Halskrause, Schneider aus dem Seidenkönigreich Stephan Boving Alena Katarina Morfa Jan, Wanderer Michael Pflumm Barnabas, Wanderer Bogdan Talos Gastwirt Karsten Küsters Hauptmann der Bogenschützen Hans-Peter Scheidegger Aufnahmen vom Spielzeiteröffnungsfest am 1. September 2013.
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- cronología: Compositores (Europa).
- Índices (por orden alfabético): H...