Isaac Doles Vídeos
compositor
- Estados Unidos
Última actualización
2024-05-03
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Carl Philipp Emanuel Bach Johann Sebastian Bach Baldini Streicher Wilhelm Ernst Frederick Great Quantz Benda Graun Doles Gottlob Harrer Telemann Orquesta Filarmónica Buenos Aires Teatro Colón 1714 1717 1723 1731 1738 1740 1747 1755 1768 1788 2019
Carl Philipp Emanuel Bach +••.••(...)) Concerto for Flute, Strings and Cembalo in D minor. Konzert für Flöte, Streicher und Cembalo in d-Moll. Concierto para flauta, cuerdas y clave en re menor. Claudio Barile, Flauta Orquesta Filarmónica de Buenos Aires Christian Baldini, conductor Teatro Colón - October 3, 2019 Carl Philipp Emanuel Bach was born in Weimar, the second son by his first wife of Johann Sebastian Bach, then newly appointed Konzertmeister to the Grand Duke Wilhelm Ernst. He attended the Latin School in Cöthen, where his father became Court Kapellmeister in 1717, and in 1723 moved with the family to Leipzig, where he became a pupil at the Thomasschule, on the staff of which his father had become Cantor. In 1731 he matriculated as a law student at the University of Leipzig, embarking on a course of study that had been denied his father. He continued these studies at the University of Frankfurt an der Oder, and in 1738, rejecting the chance of accompanying a young gentleman on a tour abroad, entered the service of the Crown Prince of Prussia at Ruppin as harpsichordist. He moved with the court to Berlin in 1740, on the accession to the throne of the Prince, better known subsequently as Frederick the Great. In Berlin and at Potsdam, Bach, confirmed as Court Harpsichordist, had the unenviable task of accompanying evening concerts at which the King, an able enough amateur flautist, was a frequent performer. His colleagues, generally of a more conservative bent, included the distinguished flautist and theorist Quantz, the Benda and Graun brothers and other musicians of similar reputation, while men of letters at the court included Lessing. In 1755 he applied for his father’s old position at the Thomasschule in Leipzig, but was unsuccessful, his father’s former pupil Doles being appointed in succession to Johann Sebastian’s immediate successor, Gottlob Harrer. It was not until 1768 that Carl Philipp Emanuel was able to escape from a position that he had found increasingly uncongenial, succeeding his godfather Telemann as Cantor at the Johanneum in Hamburg, a city that offered much wider opportunities than Leipzig had ever done. He spent the last twenty years of his life there. In Berlin he had won a wider reputation with his Versuch über die wahre Art das Clavier zu spielen (Essay on the True Art of Clavier Playing) and was regarded as the leading keyboard-player of his day. In Hamburg he continued to enjoy his established position as a man of wide general education, able to mix on equal terms with the leading writers of his generation and no mere working musician. He died in 1788, his death mourned by a generation that thought of him as more important than his father, the latter disrespectfully dubbed ‘the old periwig’ by his sons. As a composer Carl Philipp Emanuel Bach was prolific, writing a considerable quantity of music for the harpsichord and for the instrument he much favoured, the clavichord. His music exemplifies the theories expounded in his Versuch, with a tendency to use dramatic and rhetorical devices, a fine command of melody and a relatively sparing use of contrapuntal elements that had by now come to seem merely academic. In musical terms he is associated with Lessing’s theories of sentiment, Empfindsamkeit, the complement of Enlightenment rationalism. It has been suggested that Carl Philipp Emanuel’s Concerto in D minor, H. 426, written in 1747, is the original version of what then became the Harpsichord Concerto in D minor, Wq.22. The work, which survives in a manuscript once in the possession of the King’s sister, Princess Anna Amalia of Prussia, was perhaps written for the King himself, as the solo part might at first suggest. The opening Allegro, with its arpeggio patterns and lesser demands for virtuosity, is followed by a serene D major movement that brings brief moments of drama in hints of recitative, and a short cadenza. The original key is restored in the vigorous and exciting final Allegro di molto, with its immediate sense of menace, leading to more challenging solo writing. Keith Anderson (http•••)
Johann Sebastian Bach Wolfgang Amadeus Mozart Johann Friedrich Rochlitz Johann Friedrich Doles Breitkopf Johann Gottfried Schicht Coro Nacional España Thomanerchor 1530 1685 1727 1750 1789 1802 1803 1810 2016
25-12-2016 Capilla del Palacio Real en Madrid Al Ayre español Director - Órgano solista y continuo Eduardo López Banzo Violines primeros Violines segundos Violas Violonchelos Contrabajo Oboes Fagot Trompetas Timbales Coro Nacional de España Director Miguel Ángel García Cañamero / Singet dem Herrn ein neues Lied, BWV 225 From Wikipedia, the free encyclopedia Singet dem Herrn ein neues Lied (Sing unto the Lord a new song), BWV 225 is a motet by Johann Sebastian Bach. It was first performed in Leipzig around (probably) 1727. The text of the three-movement motet is in German: after Psalm 149:1–3 for its first movement, the third stanza of "Nun lob, mein Seel, den Herren" (a 1530 hymn after Psalm 103 by Johann Gramann) for the second movement, and after Psalm 150:2 and 6 for its third movement. The motet is described as being for double-choir (in other words eight voices divided into two four-part choirs). It may have been composed to provide choral exercises for Bach´s students at the Thomasschule. The motet's biblical text would have been suited to that purpose.[2] The final four-part fugue is titled "Alles was Odem hat" ("All that have voice, praise the Lord!"). Robert Marshall writes that it is "certain" that this motet was one heard by Wolfgang Amadeus Mozart when he visited Leipzig's Thomasschule in 1789. Johann Friedrich Rochlitz, who graduated from the Thomasschule and remained in Leipzig to study theology in 1789, reported ten years later that Johann Friedrich Doles (a student of Bach, who through 1789 was cantor of the Thomasschule and director of the Thomanerchor) "surprised Mozart with a performance of the double-choir motet Singet dem Herrn ein neues Lied by Sebastian Bach... he was told that the school possessed a complete collection of his motets and preserved them as a sort of sacred relic. 'That's the spirit! That's fine!' [Mozart] cried. 'Let's see them!' There was, however, no score... so he had the parts given to him, and ... sat himself down with the parts all around him." Rochlitz also reports that Mozart requested a copy, and "valued it very highly..." Alles was Odem hat The motet was included in the first edition of Bach motets, printed by Breitkopf & Härtel in two volumes in 1802/1803. The editor of both volumes is believed to have been Johann Gottfried Schicht, Thomaskantor from 1810. Johann Sebastian Bach[a] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred cantatas of which around two hundred survive.[3] His music is revered for its technical command, artistic beauty, and intellectual depth. Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.
Johann Friedrich Doles Doles Steinbach Hallenberg Johann Sebastian Bach Oestreich 1715 1739 1744 1756 1770 1789 1794 1795 1797
Johann Friedrich Doles +••.••(...)): Ich hab in Gottes Herz Johann Friedrich Doles wurde 1715 in Steinbach-Hallenberg in Thüringen geboren und besuchte die Schule in Schmalkalden, danach das "Hennebergische Gymnasium" in Schleusingen. 1739 bis 1744 studierte er Theologie in Leipzig und nahm zugleich Unterricht bei Johann Sebastian Bach. 1744 wurde er Kantor in Freiberg. Von 1756 bis zu seiner Pensionierung 1789 war er Thomaskantor und Musikdirektor der beiden Hauptkirchen in Leipzig, seit 1770 auch Universitätsmusikdirektor. Doles Kompositionen sind in der Diktion leicht verständlich und eingängig und waren zu seiner Zeit sehr beliebt. Vom Einfluss seines Lehrers Bach lassen sie wenig erkennen. Seine Choralvorspiele sind in mehreren Bänden zwischen 1794 und 1797 unter dem Titel "Singbare und leichte Choralvorspiele" im Druck erschienen. Aus dieser Sammlung stammt auch dieses Stück. Die Aufnahme dieses Stücks entstand an der 1795 von Johann Markus Oestreich erbauten Orgel in der Erlöserkirche (Marktkirche) in Detmold. Organist: Thorsten Pirkl Johann Friedrich Doles was born in Steinbach-Hallenberg in Thuringia in 1715 and attended school in Schmalkalden, then the "Hennebergisches Gymnasium" in Schleusingen. From 1739 to 1744 he studied theology in Leipzig and at the same time took lessons from Johann Sebastian Bach. In 1744 he became cantor in Freiberg. From 1756 until his retirement in 1789 he was Thomaskantor and music director of the two main churches in Leipzig, and since 1770 also university music director. Dole's compositions are easy to understand and catchy in diction and were very popular in his day. They reveal little of the influence of his teacher Bach. His choral preludes appeared in print in several volumes between 1794 and 1797 under the title "Singbare und Leicht Choral Preludes". This piece also comes from this collection. The recording of this piece was made on the organ built by Johann Markus Oestreich in 1795 in the Erlöserkirche (Marktkirche) in Detmold.
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- cronología: Compositores (Norteamérica).
- Índices (por orden alfabético): D...