Josef Starzer Vídeos
compositor alemán
- violín
- Austria
- compositor, violinista
Última actualización
2024-05-08
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Bolshoi Theatre Opera Ballet Theatre Burden Joseph Starzer Volkonsky Mikhailov Golitsyn 1776 1780 1796 1802 1804 1805 1806 1808 1812 1819 1820 1822 1911
The Bolshoi Theatre began its life as the private theatre of the Moscow proseсutor Prince Pyotr Urusov. On 28 March 1776, Empress Catherine II signed and granted the Prince the 'privilege' of organizing theatre performances, masquerades, balls and other forms of entertainment for a period of ten years. It is from this date that Moscow's Bolshoi Theatre traces its history. At first, the Bolshoi Theatre's Opera and Dramatic Troupes formed a single company. Company members came from very diverse backgrounds – all the way from serf artists to guest stars from abroad. Moscow University and its gymnasium, both of which provided a good musical education, played a major role in the formation of the Opera and Drama Company. Theatre classes were organized at the Moscow Foundling Home which was also a source of recruits for the new Company. The organization of theatre performances and 'entertainments' involved a heavy financial burden and Prince Pyotr Urusov shared his 'privilege' with a business partner, the Russophile Englishman and theatrical entrepreneur Michael Maddox. The latter was also an equilibrist, theatre mechanic and 'lecturer', who demonstrated various types of optical equipment and other 'mechanical' marvels. The Theatre's first building was erected on the right bank of the River Neglinka. It stood on Petrovka Street, whence the Theatre derived its name Petrovsky (it was subsequently to be called the Old Petrovsky Theatre). The Theatre opened on 30 December 1780. The opening performance consisted of a solemn prologue The Wanderers written by Alexander Ablesimov and a big pantomime ballet The Magic School, produced by Leopold Paradis to music by Joseph Starzer. Later on the Theatre repertoire consisted for the most part of Russian and Italian comic operas with ballet interludes, and separate ballets. The Petrovsky Theatre, which was built in record quick time – less than six months, was the first public Theatre building of such size and beauty to be erected in Moscow. True, by the time the Theatre opened, Prince Urusov had already ceded his rights to his business partner and, in the future, the 'privilege' was renewed in the name of Maddox alone. However, the latter's expectations too were dashed. Constantly forced to request loans of the Government Loan Office (Board of Trustees), Maddox was steeped in debt. Added to which, the authorities' opinion – which to begin with had been very positive - of the quality of his entrepreneurial activities underwent radical change. In 1796, the lease of Maddox’s personal 'privilege' ran out and so both Theatre and its debts were transferred to the Government Loan Office. In 1802-03 the Theatre was farmed out to Prince M. Volkonsky, who owned one of Moscow's best private theatre companies. But in 1804, when the Theatre was transferred back to the Government Loan Office, Volkonsky was in effect appointed its salaried director. In 1805 it was decided to set up a theatre directorate in Moscow "along the lines" of the Directorate of Imperial Theatres in Petersburg. And in 1806 this project was realized and the Moscow Theatre acquired the status of imperial, coming under the joint Directorate of Imperial Theatres. In 1806 the Petrovsky Theatre School was reorganized into the Moscow Imperial Theatre College for the training of opera, ballet and theatre artists and theatre orchestra musicians (in 1911, it became the Moscow School of Ballet). In the autumn of 1805, the Petrovsky Theatre building burnt down. The Company began to appear with different private theatres and from 1808 at the new Arbat Theatre, designed by Carlo Rossi. During the 1812 war against Napoleon this wooden building also went up in flames. In 1819 a competition for designs for a new theatre was announced. It was won by Andrei Mikhailov, a professor at the Academy of Arts. His design, however, was declared to be too expensive. Therefore, the Governor of Moscow Dmitry Golitsyn commissioned architect Joseph Bové to alter it, which the latter did, considerably improving it in the process. In July 1820 work started on building the new theatre which was to become the central feature in the architectural composition of the projected (Theatre) square to be laid out in front of it and adjacent streets. The facade, decorated by a massive eight columned portico surmounted by a pediment on which stood a large sculptural group – Apollo in a chariot drawn by three horses, 'surveyed' Theatre Square which was under construction, greatly adding to the latter's beauty. In 1822-23 the Moscow theatres were removed from the joint Directorate of Imperial Theatres and handed over to the Moscow Governor General who was given the power to appoint the directors of the Moscow imperial theatres.
Georg Matthias Monn Jean Guihen Queyras Georg Christoph Wagenseil Josef Starzer Leopold Mozart Mozart Johann Sebastian Bach Johann Joseph Fux Joseph Haydn Arnold Schoenberg Pablo Casals Pré Freiburger Barockorchester Karlskirche 1717 1726 1750
GEORG MATTHIAS MONN +••.••(...)) Concerto for cello, strings and basso continuo in G minor 3. Allegro non tanto Performed by the Freiburger Barockorchester Featuring Jean-Guihen Queyras, cello Conducted by Petra Mullejans *Georg Matthias Monn was an Austrian composer, organist and music teacher whose works were fashioned in the transition from the Baroque to Classical period in music. Together with Georg Christoph Wagenseil and Josef Starzer, Monn formed the Viennese Pre-Classical movement (Wiener Vorklassik in German), whose composers are nowadays mostly known only by their names. However, his successful introduction of the secondary theme in the symphony was an important condition for the First Viennese School that would come some fifty years later. We know much less about Monn's life than about his musical ideas. Only his appointments as an organist are known, at first in Klosterneuburg near Vienna. Afterwards, he was appointed in the same function in Melk in Lower Austria and at the Karlskirche in Vienna's district Wieden. Monn died from tuberculosis when he was only 33 years old. Monn's brother Johann Christoph Mann (never Monn, 1726?-82) was also a composer whose works have been confused at times with those of Georg Matthias Monn. The reason for this is that most of Monn's compositions only survive in copies from the 1780s and could therefore also be the works of his younger brother. We still have absolutely no proof that the Johann Georg Mann born in 1717 is the same person as the Georg Matthias Monn who died in 1750. His role as pioneer of the symphony is a scholarly image, coined in the early 20th century, could need some basic musicological revaluation. Together with Georg Christoph Wagenseil and other contemporaries such as Leopold Mozart, Monn forms a school of Austrian composers who had thoroughly studied the principles of counterpoint as practised by Johann Sebastian Bach and Johann Joseph Fux, but also forced the change from the Baroque style to the looser, graceful Galante music. Moreover, they renewed the sonata form by expanding the concepts of secondary theme and development. Later on, Michael and Joseph Haydn would develop these concepts to a high point. The catalog of works written by Matthias Monn contains sixteen symphonies, a score of quartets, sonatas, masses and compositions for violin and keyboard. A harpsichord concerto by Monn was freely transcribed by Arnold Schoenberg into a cello concerto for Pablo Casals. The Monn/Schoenberg cello concerto in D major has been recorded by Yo-Yo Ma and many other cellists. Schoenberg also wrote "continuo realizations" for several works by Monn, including a cello concerto in G minor, which was recorded by Jacqueline Du Pré.
Georg Matthias Monn Jean Guihen Queyras Georg Christoph Wagenseil Josef Starzer Leopold Mozart Mozart Johann Sebastian Bach Johann Joseph Fux Joseph Haydn Arnold Schoenberg Pablo Casals Pré Freiburger Barockorchester Karlskirche 1717 1726 1750
GEORG MATTHIAS MONN +••.••(...)) Concerto for cello, strings and basso continuo in G minor 2. Adagio Performed by the Freiburger Barockorchester Featuring Jean-Guihen Queyras, cello Conducted by Petra Mullejans *Georg Matthias Monn was an Austrian composer, organist and music teacher whose works were fashioned in the transition from the Baroque to Classical period in music. Together with Georg Christoph Wagenseil and Josef Starzer, Monn formed the Viennese Pre-Classical movement (Wiener Vorklassik in German), whose composers are nowadays mostly known only by their names. However, his successful introduction of the secondary theme in the symphony was an important condition for the First Viennese School that would come some fifty years later. We know much less about Monn's life than about his musical ideas. Only his appointments as an organist are known, at first in Klosterneuburg near Vienna. Afterwards, he was appointed in the same function in Melk in Lower Austria and at the Karlskirche in Vienna's district Wieden. Monn died from tuberculosis when he was only 33 years old. Monn's brother Johann Christoph Mann (never Monn, 1726?-82) was also a composer whose works have been confused at times with those of Georg Matthias Monn. The reason for this is that most of Monn's compositions only survive in copies from the 1780s and could therefore also be the works of his younger brother. We still have absolutely no proof that the Johann Georg Mann born in 1717 is the same person as the Georg Matthias Monn who died in 1750. His role as pioneer of the symphony is a scholarly image, coined in the early 20th century, could need some basic musicological revaluation. Together with Georg Christoph Wagenseil and other contemporaries such as Leopold Mozart, Monn forms a school of Austrian composers who had thoroughly studied the principles of counterpoint as practised by Johann Sebastian Bach and Johann Joseph Fux, but also forced the change from the Baroque style to the looser, graceful Galante music. Moreover, they renewed the sonata form by expanding the concepts of secondary theme and development. Later on, Michael and Joseph Haydn would develop these concepts to a high point. The catalog of works written by Matthias Monn contains sixteen symphonies, a score of quartets, sonatas, masses and compositions for violin and keyboard. A harpsichord concerto by Monn was freely transcribed by Arnold Schoenberg into a cello concerto for Pablo Casals. The Monn/Schoenberg cello concerto in D major has been recorded by Yo-Yo Ma and many other cellists. Schoenberg also wrote "continuo realizations" for several works by Monn, including a cello concerto in G minor, which was recorded by Jacqueline Du Pré.
Georg Matthias Monn Jean Guihen Queyras Georg Christoph Wagenseil Josef Starzer Leopold Mozart Mozart Johann Sebastian Bach Johann Joseph Fux Joseph Haydn Arnold Schoenberg Pablo Casals Pré Freiburger Barockorchester Karlskirche 1717 1726 1750
GEORG MATTHIAS MONN +••.••(...)) Concerto for cello, strings and basso continuo in G minor 1. Allegro moderato Performed by the Freiburger Barockorchester Featuring Jean-Guihen Queyras, cello Conducted by Petra Mullejans *Georg Matthias Monn was an Austrian composer, organist and music teacher whose works were fashioned in the transition from the Baroque to Classical period in music. Together with Georg Christoph Wagenseil and Josef Starzer, Monn formed the Viennese Pre-Classical movement (Wiener Vorklassik in German), whose composers are nowadays mostly known only by their names. However, his successful introduction of the secondary theme in the symphony was an important condition for the First Viennese School that would come some fifty years later. We know much less about Monn's life than about his musical ideas. Only his appointments as an organist are known, at first in Klosterneuburg near Vienna. Afterwards, he was appointed in the same function in Melk in Lower Austria and at the Karlskirche in Vienna's district Wieden. Monn died from tuberculosis when he was only 33 years old. Monn's brother Johann Christoph Mann (never Monn, 1726?-82) was also a composer whose works have been confused at times with those of Georg Matthias Monn. The reason for this is that most of Monn's compositions only survive in copies from the 1780s and could therefore also be the works of his younger brother. We still have absolutely no proof that the Johann Georg Mann born in 1717 is the same person as the Georg Matthias Monn who died in 1750. His role as pioneer of the symphony is a scholarly image, coined in the early 20th century, could need some basic musicological revaluation. Together with Georg Christoph Wagenseil and other contemporaries such as Leopold Mozart, Monn forms a school of Austrian composers who had thoroughly studied the principles of counterpoint as practised by Johann Sebastian Bach and Johann Joseph Fux, but also forced the change from the Baroque style to the looser, graceful Galante music. Moreover, they renewed the sonata form by expanding the concepts of secondary theme and development. Later on, Michael and Joseph Haydn would develop these concepts to a high point. The catalog of works written by Matthias Monn contains sixteen symphonies, a score of quartets, sonatas, masses and compositions for violin and keyboard. A harpsichord concerto by Monn was freely transcribed by Arnold Schoenberg into a cello concerto for Pablo Casals. The Monn/Schoenberg cello concerto in D major has been recorded by Yo-Yo Ma and many other cellists. Schoenberg also wrote "continuo realizations" for several works by Monn, including a cello concerto in G minor, which was recorded by Jacqueline Du Pré.
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- cronología: Compositores (Europa). Intérpretes (Europa).
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