James Huneker Vídeos
compositor
- Estados Unidos
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2024-05-01
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Edvard Hagerup Grieg Leif Ove Andsnes Jean Sibelius Bedřich Smetana Robert Schumann Clara Schumann Edmund Neupert Holger Simon Paulli Niels Gade Anton Rubinstein Rubinstein Rikard Nordraak James Huneker Franz Liszt Johan Svendsen Wilhelm Backhaus Junichi Hirokami Norrköping Symphony Orchestra 1843 1858 1868 1869 1870 1872 1874 1900 1907 1909
Edvard Hagerup Grieg (15 June 1843 – 4 September 1907) was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use and development of Norwegian folk music in his own compositions brought the music of Norway to international consciousness, as well as helping to develop a national identity, much as Jean Sibelius and Bedřich Smetana did in Finland and Bohemia, respectively. Please support my channel: (http•••) Piano Concerto in A minor, Op. 16 (1868) 1. Allegro molto moderato (0:00) 2. Adagio (12:51) 3. Allegro moderato molto e marcato (19:00) Leif Ove Andsnes, piano and Bergen Philharmonic conducted by Ole Christian Ruud Watch live performance here: (http•••) The work is among Grieg's earliest important works, written by the 24-year-old composer in 1868 in Søllerød, Denmark, during one of his visits there to benefit from the climate. The concerto is often compared to the Piano Concerto of Robert Schumann: it is in the same key; the opening descending flourish on the piano is similar; the overall style is considered to be closer to Schumann than any other single composer. Incidentally, both composers wrote only one concerto for piano. Grieg had heard Schumann's concerto played by Clara Schumann in Leipzig in 1858, and was greatly influenced by Schumann's style generally, having been taught the piano by Schumann's friend Ernst Ferdinand Wenzel. Grieg's concerto provides evidence of his interest in Norwegian folk music; the opening flourish is based on the motif of a falling minor second followed by a falling major third, which is typical of the folk music of Grieg's native country. This specific motif occurs in other works by Grieg, including the String Quartet No. 1. In the last movement of the concerto, similarities to the halling (a Norwegian folk dance) and imitations of the Hardanger fiddle (the Norwegian folk fiddle) have been detected. The work was premiered by Edmund Neupert on April 3, 1869, in Copenhagen, with Holger Simon Paulli conducting. Some sources say that Grieg himself, an excellent pianist, was the intended soloist, but he was unable to attend the premiere owing to commitments with an orchestra in Christiania (now Oslo). Among those who did attend the premiere were the Danish composer Niels Gade and the Russian pianist Anton Rubinstein, who provided his piano for the occasion. Neupert was also the dedicatee of the second edition of the concerto (Rikard Nordraak was the original dedicatee), and James Huneker said that he composed the first movement cadenza. The Norwegian premiere in Christiania followed on August 7, 1869, and the piece was later heard in Germany in 1872 and England in 1874. At Grieg's visit to Franz Liszt in Rome in 1870, Liszt played the notes a prima vista (by sight) before an audience of musicians and gave very good comments on Grieg's work which would later influence him. The work was first published in Leipzig in 1872, but only after Johan Svendsen intervened on Grieg's behalf. The concerto is the first piano concerto ever recorded—by pianist Wilhelm Backhaus in 1909.[9] Due to the technology of the time, it was heavily abridged and ran only six minutes. Grieg revised the work at least seven times, usually in subtle ways, but the revisions amounted to over 300 differences from the original orchestration. In one of these revisions, he undid Liszt's suggestion to give the second theme of the first movement (as well as the first theme of the second) to the trumpet rather than to the cello. The final version of the concerto was completed only a few weeks before Grieg's death, and it is this version that has achieved worldwide popularity. The original 1868 version has been recorded, by Love Derwinger, with the Norrköping Symphony Orchestra under Junichi Hirokami.
Fryderyk Chopin Daniil Trifonov Rossini Julian Fontana James Huneker Tomaszewski 1839 2010
Chopin Tarantelle Op.43 in A flat major - Daniil Trifonov (2010) ‘I hope I’ll not write anything worse in a hurry’ – such was Chopin’s rather unflattering assessment of the Tarantella. Whilst that opinion would appear to be expressive of coquetry or nonchalance, it might also contain a dose of deliberate self-criticism, as the Tarantella represents ‘a work from a period of transition’. Close in ‘spirit’, tone and character to both the Bolero and several Waltzes (Op. 18, 34 and 42), it is embroiled in a period of scherzos, ballades, nocturnes and sonatas. That does not mean that it may be called an unsuccessful work. It is rather a curious piece, and one that is unexpected in this particular period in the Chopin oeuvre. There is no way of ascertaining why Chopin decided to write this work – what inspired him to do so. One might consider some fleeting contact with popular Italian music during the spring of 1839, in Genoa, but we have no details of that episode in his expedition (with George Sand and her children) to the south of Europe. It might also have been a commission from a publisher, though there are no documents to that effect. Then there is a third possible explanation: his fascination with Rossini and with his vocal tarantella, which (under the title ‘La Danza’) became a hit of its day. And this last hypothesis would appear to be closest to the truth. We know that Chopin was familiar with Rossini’s Tarantella, and so we might be dealing with a transferral of this dance-vocal genre to the domain of purely instrumental music – for piano. Shortly after arriving in Nohant, Chopin wrote to Julian Fontana with the manuscript of the Tarantella (to be copied): ‘Take a look at the Recueil of Rossini songs […] where the Tarantella (en la) appears. I don’t know if it was written in 6/8 or 12/8. Both versions are in use, but I’d prefer it to be like the Rossini’. It was in 6/8, and Chopin notated his Tarantella in that metre. In copying the manuscript, Fontana did not have to change a thing. Chopin wrote the whole piece in a single breath, and essentially in a single rhythm; if it was altered, it was only through diminution. Chopin, after Rossini, bids the pianist fall into a trance and stay there right to the end, without a moment’s pause. The dance is a mosaic of themes presented in the most regular eight-bar units. The themes are four in number and are divided by bridge passages. They are repeated and intertwined without a moment’s respite. The first theme sets the tone and character of a dance senza fine – one that, if repeated, could last endlessly. The bridge, or rather interlude, brings fleeting sharp accents, leaping out of the monotony of the dance motion. The second theme has the character of an episode, which slightly alters the narrative. It is followed by another interlude, also sharp and lively. The third theme brings some tunefulness. Finally, the fourth theme is distinguished by the strength of its accents and sforzatos. This real mosaic of themes – not contrasted, but merely differentiated, proceeding in a single tempo, to the point of breathlessness – is crowned by a frenzied coda. ‘The Tarantella is as little Italian as the Bolero is Spanish’, noted James Huneker with irony. ‘Chopin’s visit to Italy was of too short a duration to affect him, at least in the style of dance. It is without the necessary ophidian tang’. Ferdynand Hoesick went even further in his criticism: ‘The Tarantella was written by an incomparable master, but he wrote it soberly and with difficulty. In this ostensible ardour, there is coldness. Only Arthur Hedley defended it, although still not entirely: ‘it catches the spirit of the frenzied dance’, but ‘there is no Italian gaiety’. Author: Mieczysław Tomaszewski A series of programmes entitled ‘Fryderyk Chopin's Complete Works. Source: (http•••) 0:00 Introduction. 0:06 Theme I. 0:17 Theme II in A flat minor and major. 0:49 Theme II Section in F minor. 1:00 Theme III in A flat major and F minor. 2:08 Theme I. 2:17 Theme II. 2:39 Coda. Sheet: (http•••)
Frédéric Chopin Hoffmann James Huneker 1836 1837
Étude Op. 25, No. 11 in A minor, often referred to as the Winter Wind in English, is a solo piano technical study composed by Frédéric Chopin in 1836. It was first published together with all études of Opus 25 in 1837, in France, Germany, and England. The first French edition indicates a common time time signature, but the manuscript and the first German edition both feature cut time. The first four bars that characterize the melody were added just before publication at the advice of Charles A. Hoffmann, a friend. Winter Wind is considered one of the most difficult of Chopin's 24 études. The étude is a study for developing stamina, dexterity, and technique – essential skills for any concert pianist. It begins with a piano (soft) introduction of the main melody. The first theme follows, consisting of tumultuous cascades of semiquaver-tuplets (sixteenth-note-tuplets) and a leaping figure for the left hand in the relative major, C major, which shortly segues into a repetition of the first theme. It finishes with a short development into a fortissimo coda, and ends with one final statement of the theme. Étude Op. 25, No. 11, is a study of right hand dexterity and left hand flexibility. Both hands play an important role throughout the piece; the melody is sung through the heavy left hand, and the right hand contributes the étude's namesake with rapid scales and arpeggios. This study must be navigated with polyphonic mindset, treating both hands as separate melodies that work together, in a duet for one performer. One dissertation stresses the importance of implied melodic structure throughout the right-hand figures. The American music writer and critic James Huneker, in his preface to the Schirmer edition of Chopin's études, famously asserted of this étude, "Small-souled men, no matter how agile their fingers, should avoid it." Performance: (http•••)
Frédéric Chopin Constantinidis James Huneker Theodor Kullak Leichtentritt 1818 1830 1833 1857 1882 1921
Quarantine Piano Music ..... no.17 Frederic Chopin "Torrent" Etude op.10 no.4 Étude Op. 10, No. 4 in C♯ minor, known as the Torrent étude, is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 in France, Germany,and England as the fourth piece of his Études Op. 10. This study, a very fast Presto con fuoco, features continuous sixteenth notes (semiquavers), in perpetuum mobile fashion involving both hands. American music critic James Huneker (1857–1921) believes that "despite its dark key color", this étude "bubbles with life and spurts flame." German pianist and composer Theodor Kullak (1818–1882) calls it a "bravura study for velocity and lightness in both hands. Accentuation fiery!" Leichtentritt calls the piece a "magnificent tone-painting" [prachtvolles Tongemälde] and "elemental sound experience" Playlist Link : (http•••)
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- cronología: Compositores (Norteamérica).
- Índices (por orden alfabético): H...