Ernst Rudorff Vídeos
compositor alemán
- piano
- sinfonía
- Reino de Prusia
- pianista, compositor, profesor de música, profesor universitario, ambientalista
Última actualización
2024-05-13
Actualizar
Otto Nicolai Leo Blech Woldemar Bargiel Ernst Rudorff Engelbert Humperdinck Alberts Linden Heinz Tietjen Tietjens Martha Frank Lisl Staatsoper Staatsoper Berlin Wiener Volksoper 1810 1849 1871 1887 1891 1893 1899 1903 1905 1906 1913 1923 1924 1926 1935 1937 1940 1941 1949 1953 1958 1962
Otto Nicolai +••.••(...)) DIE LUSTIGEN WEIBER VON WINDSOR Ouvertüre zu der Oper Gespielt von Mitgliedern der Kapelle der Staatsoper, Berlin unter Leitung von GMD Leo Blech +••.••(...)) Schallplatte (30 cm) der DEUTSCHEN GRAMMOPHON AG "DIE STIMME SEINES HERRN" (um 1924) Leo Blech (* 21. April 1871 in Aachen; † 25. August 1958 in Berlin) war ein deutscher Komponist und Dirigent. Obwohl er bereits mit 8 Jahren als pianistisches Wunderkind ein Konzert in seiner Vaterstadt gab, machte Blech zunächst von 1887 bis 1891 eine kaufmännische Ausbildung. Danach absolvierte er ein Studium der Musik und Komposition in Berlin bei Woldemar Bargiel (Komposition) und Ernst Rudorff (Klavier), dann, während seiner Kapellmeistertätigkeit 1893--99 beim Sinfonieorchester Aachen, studierte er noch bei Engelbert Humperdinck. 1893 komponierte er seine erste Oper „Aglaja", bot sie erfolgreich dem Stadttheater Aachen an und wurde dort gleich als zweiter Kapellmeister engagiert. 1899 ging er nach Prag, wo er bis 1906 am dortigen Deutschen Landestheater wirkte, unter anderem leitete er hier 1903 die Uraufführung von Eugen d'Alberts „Tiefland" und am 12. November 1905 dessen „Flauto solo". Im Jahre 1906 folgte er einem Ruf an die Berliner Hofoper; 1913 wurde er zum Generalmusikdirektor ernannt. Von 1923 bis 1926 war Blech zunächst am Deutschen Opernhaus Charlottenburg, dann an der Volksoper Berlin und schließlich an der Wiener Volksoper tätig. Zurückgekehrt nach Berlin nahm er seine Stellung als Generalmusikdirektors an der Staatsoper Unter den Linden wieder auf, bis 1937 hatte er dort insgesamt 2.846 Vorstellungen dirigiert. Mit besonderer Genehmigung Hermann Görings konnte der Chefdramaturg Heinz Tietjen Leo Blech trotz seiner jüdischen Herkunft auch noch während der Nazi-Herrschaft beschäftigen.[1] Als die Ablösung Blechs aber 1937 immer energischer betrieben wurde, musste Blech doch emigrieren. Er ging zunächst nach Lettland, wo er in Riga die Nationaloper leitete. 1940 wurde Lettland von der Sowjetunion besetzt, Blech wurde zu Gastspielen nach Moskau und Leningrad eingeladen und - bedingt durch den großen Erfolg - gebeten, das Moskauer Konservatorium als Direktor zu übernehmen. Er lehnte jedoch ab, kehrte nach Riga zurück, das 1941 von deutschen Truppen erobert wurde. Blechs Deportierung ins Ghetto stand unmittelbar bevor. Auf Vermittlung Tietjens konnten er und seine Frau über Berlin und Saßnitz heimlich nach Schweden emigrieren. An der Königlichen Oper in Stockholm, an der er bereits 1935 zum Hofkapellmeister ernannt worden war, erlebte er eine höchst erfolgreiche Alterskarriere. In Stockholm war er Gründungs- und Ausschussmitglied des Freien Deutschen Kulturbundes. 1949 kehrte er nach Deutschland zurück und wurde zum Generalmusikdirektor an die Städtischen Oper in Berlin-Charlottenburg berufen. 1953 zwang ihn ein sich verschlimmerndes Gehörleiden, sich endgültig zurückzuziehen. Er verstarb im Jahre 1958 in Berlin und wurde auf dem Friedhof Heerstraße beerdigt. Blech war seit 1899 verheiratet mit der Sopranistin Martha Frank +••.••(...)), die gemeinsame Tochter Lisl wurde ebenfalls Sängerin und heiratete den Dirigenten Herbert Sandberg. Im Jahre 1953 wurde er mit dem Großen Verdienstkreuz der Bundesrepublik Deutschland geehrt. (Quelle: Wikipedia)
Rudorff Frank Beermann Berlin Philharmonic Orchestra 1850 1910 1911
Bochum Symphony Orchestra conducted by Frank Beermann. I - Allegro con brio - Vivacissimo: 0:00 II - Adagio in modo di marcia funebre: 12:31 III - Un poco Allegretto. Quasi andantino - Allegro molto - Tempo I: 21:46 IV - Allegro giocoso - Prestissimo: 27:08 Rudorff’s Third Symphony was published in 1910, being premiered in February 11 of 1911, performed by the Berlin Philharmonic Orchestra conducted by Arnold Schattschneide. Several critics found the work too deeply rooted in the classical tradition, but in many cases, the negative opinions seems to have been formed in advance. The piece is Rudorff’s last orchestral work. Thereafter he withdrew to the piano and a few vocal pieces. In this sense, it marks a résumé of his output, not only biographically but also musically. It was the last symphonic word spoken by the last of the Romantics. Within a traditional formal design, which Rudorff surely chose with conscious intent, we find a distinctive and thoroughly contemporary treatment of the thematic material and a highly personal vein of expression. Polished motivic development pervades and connects all the movements. The expressive idiom encompasses the full spectrum from melancholy pianissimo and passages of almost boisterous merriment to sudden outbursts of fortissimo, often in rapid succession. The first movement is written in the classical sonata form. Begins with solemn, masculine phrases, leading to the exposition of a rhythmic main theme of great energy. The second theme, in contrast, is more calm and melodic, being derived from the main one. After a climax, the themes are reexposed. The development is rich in modulations but also in its altogether calmer metrics and the consequently slower accompanying movement. Follows a varied recapitulation of the themes, with new elements mixed. After a strong climax based on the main theme, a rushed coda closes the movement with great energy. The second movement has elements of a funeral march, written in ternary form. Begins with a calm, nostalgic theme presented by the strings in the form of a calm march. Suddenly, the music rises like waves in several expressive climax. The middle section opens with a more uplifting, hopeful theme, highly ornamente by the wood. A fateful transition leads to the recapitulation of the main theme's march. We find a delicate solo from the flute, which leads to a brief reexposition of the middle section's theme. Instead of a coda, the nostralgic main theme slowly fades away in fragments. The third movement is not the usual scherzo, being structured in ternary form. Begins with a gentle, flowing theme, almost like a neoclassical minuet. Brass phrases add some masculine nuances to the music. The middle section consist of a full allegro of a great energy, presenting a contrastingly forceful romantic theme. However, the energy quickly fades away, leading to the recapitulation of the calm main theme. A slow, lyrical coda ends the movement. The fourth movement is also structured in sonata form. Begins with a rhythmic but elegant main theme, full of unexpected twists. The second theme is introduced by the wood, offering not much contrast. The music is a constant state of excitement and momentus. The development is more mysterious, introducing references and elements from previous movements. The recapitulation is very varied, being almost like a new development section. Slowly the music builds up, leading to a brilliant coda that ends the work forcefully. Picture: "Salzburg from a loggia" (1850) by the Austrian artist Georg Pezolt. Musical analysis mostly written by myself. Sources: (http•••) and (http•••)
Leopold Godowsky Feinberg Rudorff Franz Liszt Camille Saint Saëns Manners Chopin Beethoven Severe Paolo Restani Beethoven Hall 1897 1898 1900 1909 1914 1929
Leopold Godowsky was one of the most astonishing piano virtuosos of all time and a composer of remarkably difficult polyphonic music. His father was a physician who contracted cholera tending patients during an epidemic, dying when his son was only 18 months old. Godowsky and his mother were taken in by friends, who soon realized the toddler was exceptionally musical. He played violin and piano longer from an age earlier than he could remember, but he was told he played before he was two. He said he had no teacher that he could remember, certainly none past the age of four. He composed a minuet when he was five, with the middle section being a strict canon, "This is noteworthy," he said, "because up to that time I had never heard a canon." It was good enough that he was able to use it in a fully mature composition 23 years later. Leopold's adoptive father, Louis Passinock, promoted his fame as a Wunderkind. To forestall his exploitation, a banker named Feinberg offered to finance his study at the Hochschule für Musik in Berlin. Leopold studied under Ernst Rudorff, but could only take three months of regimentation. He, his mother, and his "uncle" Passinock went to New York where he began to concertize at the age of thirteen. They booked him onto a tour of the West that eventually went bust, stranding the boy, who worked his way back to New York. Again, a wealthy arts patron sought to "rescue" him. Leon Saxe arranged for him to go to Europe to study with the virtuoso Franz Liszt. By the time Leopold's ship reached Europe, Liszt was dead. But Camille Saint-Saëns, who had lost his children, became a mentor, mostly discussing interpretation and other esthetic manners. Godowsky had some success in Europe, but not enough to satisfy him, and returned to America. There he had a career as a respected piano teacher in New York, Philadelphia, and Chicago. He developed the modern approach to piano playing, emphasizing economy of motion and release of weight (rather than direct muscle power) as the basis for playing. He began to arrange other composers' music, including a set of 53 exceptional etudes on Chopin's etudes, as well as other music. While teaching in Chicago, he gained a strong local reputation by giving recitals. An eight-recital set in 1897 and 1898 surveyed the history of nineteenth century piano literature. Soon his fame spread, and he had triumphal performances in the U.S. and Europe. His December 6, 1900, concert at Beethoven Hall in Berlin was a triumph where he was acclaimed one of the greatest living pianists. Soon, he was the highest-paid solo instrumentalist in the world. He continued to write original piano music and his free adaptations of other music. In 1909, he became director of the Piano School of the Imperial Academy of Music in Vienna, the first Jew to take this post. He was visiting Belgium for vacation in 1914 when the Germans invaded. He escaped to England and returned to the United States, where he made his home for the rest of his life. He moved his residence frequently and traveled widely, giving concerts in Mexico, South America, Yokohama, and Asia. His trip to Java inspired him to try to capture the sound of the gamelan orchestra in his suite Phonoramas. He lost much of his fortune in the 1929 stock market crash, then the next year had a severe stroke that ended his public career. He declined into depression and further illness before his death. (AllMusic) Please take note that the audio AND sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry. Original audio: (http•••) (Performance by: Paolo Restani) Original sheet music: (http•••)
Mozart Arthur Grumiaux Colin Davis Rudorff Breitkopf Henri Marteau London Symphony Orchestra 1877
모차르트 바이올린 협주곡 3번 제 3악장 론도 악보와 감상 Listening with music score Wolfgang Amadeus Mozart Violin Concerto No.3 in G Major, K.216 III. Rondo Performers - Arthur Grumiaux(violin) - London Symphony Orchestra - Colin Davis(cond.) / imslp.org Score source - Full score : Ernst Rudorff(Breitkopf & Härtel, Leipzig, 1877) - Violin part : August Göllner (arrangement) Henri Marteau (edit) Breitkopf und Härtel(publish) / imslp.org
o
- cronología: Compositores (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): R...