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Carl Friedrich Abel Robert Rønnes Christian Ferdinand Abel Johann Sebastian Bach Johann Adolph Hasse Merlin Johann Christian Bach Haydn Theresa Cornelys Wolfgang Amadeus Mozart 1723 1725 1748 1758 1759 1762 1764 1765 1775 1782 1785 1787 2013
+••.••(...)) Carl Friedrich Abel: Sonata in e minor for Bassoon and Harp. (Original for Viola Da Gamba) Arranged and performed for Bassoon and Mac Playback Harp by Robert Rønnes, 1st June 2013. / About the composer: ( From Wikipedia) Carl Friedrich Abel (22 December 1723 / 20 June 1787)[1] was a German composer of the Classical era. (The Chambers Biographical Dictionary gives his year of birth erroneusly as 1725.)[2] He was a renown player of the viola da gamba, and composed important music for that instrument. Abel was born in Köthen, the son of Christian Ferdinand Abel, the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomaschule, where he was taught by Bach. On Bach's recommendation in 1748 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for ten years. In 1759 (or 1758 according to Chambers),he went to England and became chamber-musician to Queen Charlotte. He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin. In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787. One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart—evidently for study purposes—while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7.
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Иоаким Тартаков. Азра (А. Рубинштейн - Г.Гейне). Дата записи: начало XX в. Ioakim Tartakov. Azra. Russian Romance (A. Rubinshtein - H.Heine). Recorded in the beginning of the XX centuary. The Asra Every day the wondrous lovely Sultan's daughter spent the evening On the paths beside the fountain Where the foaming waters murmur. Every day the slave boy watched her On the paths beside the fountain Where the foaming waters murmur; Every day he turned more pallid. Then one eve the princess halted, Firing off the urgent questions: What's your name? I want to know it, And your country and your people! And the slave boy said: They call me Mohammed, I'm from the Yemen, And my tribe / the famous Asra, They who die when love enslaves them. Der Asra Täglich ging die wunderschöne Sultantochter auf und nieder um die Abendzeit am Springbrunn, wo die weißen Wasser plätschern. Täglich stand der junge Sklave um die Abendzeit am Springbrunn, wo die weißen Wasser plätschern, täglich ward er bleich und bleicher. Eines Abends trat die Fürstin auf ihn zu mit raschen Worten: "Deinen Namen will ich wissen, deine Heimat, deine Sippschaft." Und der Sklave sprach: "Ich heiße Mahomet und bin aus Yemen, und mein Stamm sind jene Asra, welche sterben, wenn sie lieben. Asra Ogni giorno la bellissima figlia del Sultano andava su e giù all'ora del tramonto alla fonte dove le chiare acque mormoravano. Ogni giorno il giovane schiavo stava all'ora del tramonto alla fonte dove le chiare acque mormoravano, ogni giorno diventava sempre più pallido. Una sera si rivolse a lui la principessa con rapide parole: "Il tuo nome voglio sapere, la tua patria, la tua stirpe." E lo schiavo rispose: "Mi chiamo Maometto e vengo dallo Yemen, e la mia stirpe sono quegli Asra che muoiono d'amore". Thanks to The Lied and Art Song Texts Page for the translation.
Johann Baptist Gänsbacher Herzog Stecher Abbé Vogler Albrechtsberger Weber Meyerbeer Joseph Weigl Preindl Anton Mitterwurzer Wilt Milka Ternina Leopold Demuth Brahms Schubert Musikverein Stephansdom Music Central 1751 1778 1795 1801 1803 1806 1810 1812 1813 1814 1815 1818 1823 1824 1829 1838 1844 1853 1855 1868 1872 1875 1897 1904 1911
Alles Gute zum Geburtstag Johann Baptist Gänsbacher! Composer: Johann Baptist Gänsbacher +••.••(...)) Work: Lauretanische Litanei (1812) Performers: Sabina von WaIthеr (soprano); Johanna Pradеr (alto); Otto RastbichIеr (tenor); MichaеI GrossIеrcher (bass); TiroIеr vocalensemble & Kammerorchester des Fеrdinandеums; Josеf Wеtzingеr (leitung) Painting: Joseph Mathias von Trenkwald +••.••(...)) - Herzog Leopolds des Glorreichen Einzug in Wien nach dem Kreuzzug von 1219 (1872) Image in high resolution: (http•••) Painting: Franz Anton Stecher +••.••(...)) - Der Komponist Johann Baptist Gänsbacher und seine Familie (c.1838) Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / Johann (Baptist Peter Joseph) Gänsbacher (Sterzing, [now Vipiteno], 8 May 1778 - Vienna, 13 July 1844) Austrian composer and conductor. He was the son of a choirmaster and teacher, Johann Gänsbacher +••.••(...)), and as a boy sang in church choirs in Sterzing, Innsbruck, Hall and Bolzano; he also had lessons in piano, organ, violin, cello and thoroughbass. In 1795 he went to the university at Innsbruck and studied first philosophy, then law, supporting himself by giving music lessons, playing the organ, singing in church choirs and playing in the theatre orchestra. His first compositions date from this period. While at university he took part in four campaigns against Napoleon. In 1801 he went to Vienna to continue his musical studies, and was relieved of financial worries when Count Firmian, who further promoted his career as a musician, took him into his family as a son in about 1803. In Vienna he had lessons from the Abbé Vogler +••.••(...)) and from Albrechtsberger (1806). A Mass in C, composed through the offices of Vogler for Nikolaus Esterhazy in 1806, established his reputation as a composer. Nevertheless, he returned to Vogler in Darmstadt for a short period in 1810, where his fellow-pupils and friends included Weber and Meyerbeer, who admitted him as a founder-member of the ‘Harmonische Verein’, for which he was active until 1813. In January 1813 he met Weber in Prague and recommended him for the post of Kapellmeister of the theatre. In the summer of the same year Gänsbacher returned to the Tyrol to join the fighting to liberate the province from the Bavarian occupation. After the end of the war he did not return to the Firmian family but joined the army as a first lieutenant (1814). He was stationed first in Italian garrisons, in Trient, Mantua and Padua then at Innsbruck in 1815, where he again tried to gain a foothold as a musician. He worked as a conductor and director of a church choir, and helped to found the Musikverein, though he did not gain the position of chief conductor. He did not accept the post of director of music in Dresden, offered him at the instigation of Weber in 1823, since (after representations against the election of Joseph Weigl), he was appointed Kapellmeister of the Stephansdom in Vienna as successor to Josef Preindl in September 1824. One of the choristers was his nephew Anton Mitterwurzer +••.••(...)), later famous as an opera singer. From this time on Gänsbacher composed mainly church music, and only a few homage cantatas. By the time of his death he was one of the most famous musicians in Vienna. Some of Gänsbacher's early instrumental compositions, such as the Clarinet Concertino and the sonatas in F major (1803) and G minor (1810), are remarkable for the individuality of their ideas and their unconventional structure, while his Italian canzonettas and terzetti are effective for their reticent simplicity. Yet the works he composed later for social performance clearly show a deterioration of quality. Even before his 20 years at the Stephansdom, sacred music was becoming central to his output. Starting with the masses in C and B and the Requiem (1812), he wrote some creditable and well-regarded works in this field. Although they do not stand out from the manner of their time, and show little stylistic innovation, they nonetheless show Gänsbacher's considerable skill as a composer. His son Josef Gänsbacher +••.••(...)) studied the piano, the cello and singing, and went to university to read law, graduating in 1855. He practised law for a number of years, but concurrently gave piano and singing lessons, and in 1868 devoted himself entirely to teaching singing. From 1875 to 1904 he was a tutor at the conservatory of the Gesellschaft der Musikfreunde, becoming by the turn of the century the most highly-regarded singing teacher in Vienna. Some of his pupils achieved international recognition, including Maria Wilt, Milka Ternina, Leopold Demuth and Julius Liban. Brahms dedicated his cello sonata op.38 to him. He was a composer, chiefly of songs but also of piano and choral pieces, and was a co-editor of the Schubert complete edition.
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- cronología: Cantantes líricos.
- Índices (por orden alfabético): B...