Stanisław Serwaczyński Vídeos
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- Polonia
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Froment József Johannes Brahms Esterházy Stanisław Serwaczyński Mendelssohn Beethoven Shakespeare Bruch Vieuxtemps 1831 1836 1839 1844 1857 1860 1907 1971 1973
Joseph Joachim -Violin Concerto No. 2 in D Minor, Op. 11 "Hungarian", Aaron Rosand (violin), Orchestra of Radio Luxembourg, Louis de Froment (rec.1971-1973) I.Allegro un poco maestoso – 00:00 II. Romanze. Andante – 19:05 III. Finale alla zingara. Allegro con spirito – 27:55 Joseph Joachim (Joachim József, 28 June 1831 – 15 August 1907) was a Hungarian violinist, conductor, composer and teacher. A close collaborator of Johannes Brahms, he is widely regarded as one of the most significant violinists of the 19th century. Joseph Joachim was born in Köpcsény, Moson County, Kingdom of Hungary (present-day Kittsee in Burgenland, Austria). He was the seventh of eight children born to Julius, a wool merchant, and Fanny Joachim, who were of Hungarian Jewish origin. His infancy was spent as a member of the Kittsee Kehilla (Jewish community), one of Hungary's prominent Siebengemeinden ('Seven Communities') under the protectorate of the Esterházy family. From 1836 (age 5) he studied violin with Stanisław Serwaczyński, the concertmaster of the opera in Pest, said to be the best violinist in Pest. Joachim's first public performance was 17 March 1839 when he was of age 7. In 1839, Joachim continued his studies at the Vienna Conservatory. On 27 May 1844 Joachim, at the age not quite 13, in his London debut with Mendelssohn conducting at a concert of the Philharmonic Society, played the solo part in Beethoven's violin concerto. This was a triumph. The 'Illustrated London News', wrote that Joachim "is perhaps the first violin player, not only of his age, but of his siècle" [century]. Joachim's own compositions are less well known. He gave opus numbers to 14 compositions and composed about an equal number of pieces without opus numbers. Among his compositions are various works for the violin (including three concertos) and overtures to Shakespeare's Hamlet and Henry IV. He also wrote cadenzas for a number of other composers' concerti (including the Beethoven and Brahms concertos). Most of his works are of a grave, melancholy character — all of them, it need hardly be said, earnest in purpose and aiming at the ideal. His most important work, and the one which for a time was highly successful and seemed to his contemporaries to possess permanent vitality, is the Hungarian Concerto (Op. 11). "The concerto, composed in Hanover in the summer of 1857 but not performed until March 1860 (by Joachim himself, then still only twenty-eight years old), is the second of Joachim's three violin concertos and the only one of his works with Hungarian characteristics. Of all of the "forgotten" works of the Romantic era, this D minor concerto of Joachim is surely one of the most substantial. The listener expecting merely an elaborated csardas-confection and/or a parcel of pyrotechnics will be in for a surprise, for the work is as melodically appealing and as craftsmanlike in its construction as, for example, the popular G minor concerto of Bruch, or the Vieuxtemps concertos that are performed still. As Joachim originally set it down, the D minor concerto is one of the longest violin concertos in the literature, its first movement alone longer than the entire G minor concerto of Bruch. In this performance, judicious minor cuts have been made in the outer movements, without eliminating any of its rich thematic content or in any way affecting its basic structure.” (from Album Notes)
Takako Nishizaki Meir Minsky Minsky Stanisław Serwaczyński Wittgenstein Felix Mendelssohn Beethoven Ferdinand David Franz Liszt Richard Wagner Hector Berlioz Brendel Johannes Brahms Robert Schumann Clara Schumann Amalie Schneeweiss Weiss Simrock Hausmann Stuttgart Radio Symphony Orchestra London Philharmonic Gewandhaus Tonhalle Zurich 1831 1833 1839 1844 1847 1848 1852 1853 1854 1856 1863 1866 1875 1884 1895 1899 1907
It is my express wish that any and all monies I might receive from publication of this video be forwarded to the performers instead. If they, or a label, desire the removal of this video please contact me. Joseph Joachim +••.••(...)) Violin Concerto No. 3 in G Major (1875) I. Allegro non troppo 0:00 II. Andante 16:36 III. Allegro giocoso ed energico, ma non troppo vivace 25:18 Takako Nishizaki, violin Stuttgart Radio Symphony Orchestra Meir Minsky, conductor Joseph Joachim (28 June 1831 – 15 August 1907) was a Hungarian violinist, conductor, composer and violin teacher. Joachim was born in Kittsee, near Bratislava and Eisenstadt, in what is today's Burgenland area of Austria. In 1833 his family moved to Pest, where he studied violin with Stanisław Serwaczyński, the concertmaster of the opera in Pest. In 1839, Joachim continued his studies at the Vienna Conservatory. He was taken by his cousin, Fanny Wittgenstein to live and study in Leipzig, where he became a protégé of Felix Mendelssohn. On 27 May 1844 Joachim, at age not quite 13, in his London Philharmonic debut with Mendelssohn conducting, played the solo part in Beethoven's violin concerto. This was a triumph in several respects. Despite Beethoven's recognition as one of the greatest composers, and the ranking nowadays of his violin concerto as among the greatest few, it was far from being so ranked before Joachim's performance. But Joachim was very well prepared to play Beethoven's concerto, having written his own cadenzas for it and memorized the piece. Joachim's performance helped establish the Beethoven concerto as a pinnacle of the literature and made him popular in England for the rest of his long career. Following Mendelssohn's death in 1847, Joachim stayed briefly in Leipzig, teaching at the Conservatorium and playing on the first desk of the Gewandhaus Orchestra with Ferdinand David. In 1848, Franz Liszt took up residence in Weimar, determined to re-establish the town's reputation as the Athens of Germany. There, he gathered a circle of young avant-garde disciples, vocally opposed to the conservatism of the Leipzig circle. Joachim was amongst the first of these. He served Liszt as concertmaster, and for several years enthusiastically embraced the new "psychological music," as he called it. In 1852 he moved to Hanover, at the same time dissociating himself from the musical ideals of the 'New German School' (Liszt, Richard Wagner, Hector Berlioz, and their followers, as defined by journalist Franz Brendel). In 1853, Joachim met the then publicly unknown 20-year-old Brahms, was highly impressed by him, and gave him a letter of recommendation to Robert Schumann. Brahms was received by Schumann and his wife Clara with great enthusiasm. After Robert's mental breakdown in 1854 and death in 1856, Joachim, Clara, and Brahms remained lifelong friends and shared musical views. Joachim's time in Hanover was his most prolific period of composition. Then and during the rest of his career, he frequently performed with Clara Schumann. On 10 May 1863 Joachim married the contralto Amalie Schneeweiss (stage name: Amalie Weiss) (1839–99). In 1866, Joachim moved to Berlin, where he was invited to help found a new department of the Royal Academy of Music. There he became the director of the Hochschule für ausübende Tonkunst, or High School for Musical Performance. In 1884, Joachim and his wife separated after he became convinced that she was having an affair with the publisher Fritz Simrock. Brahms, certain that Joachim's suspicions were groundless, wrote a sympathetic letter to Amalie, which she later produced as evidence in Joachim's divorce proceeding against her. This led to a cooling of Brahms and Joachim's friendship, which was not restored until some years later, when Brahms composed the Double Concerto in A minor for violin and cello, Op. 102, as a peace offering to his old friend. It was co-dedicated to the first performers, Joachim and cellist Robert Hausmann. In late 1895 both Brahms and Joachim were present at the opening of the new Tonhalle at Zurich, Switzerland; Brahms conducted and Joachim was assistant conductor. But in April, two years later, Joachim was to lose forever this revered friend, as Johannes Brahms died at the age of 64 at Vienna. At Meiningen, in December 1899, it was Joachim who made the speech when a statue to Brahms was unveiled. Joachim remained in Berlin until his death in 1907.
Staatskapelle Weimar Gewandhaus Halász Johannes Brahms Esterházy Paul Wittgenstein Stanisław Serwaczyński Lublin Wieniawski Miska Hauser Hauser Hellmesberger Böhm Felix Mendelssohn Moritz Hauptmann Heinrich Wilhelm Ernst Ferdinand David Franz Liszt Richard Wagner Robert Schumann 1831 1833 1839 1850 1851 1852 1853 1907
It is my sincere desire that any and all remuneration that is or may be my due be forwarded instead to the performers, label, and/or any holders of copyright. Joseph Joachim +••.••(...)) Violin Concerto No. 1 in G minor, Op. 3 'in einem Satz' Allegro - Presto assai Sunyoen Kim, violin Staatskapelle Weimar Michael Halász, conductor Joseph Joachim was a Hungarian violinist, conductor, composer and teacher. A close collaborator of Johannes Brahms, he is widely regarded as one of the most significant violinists of the 19th century. He was born in Kittsee, near Eisenstadt and what is now Bratislava, Slovakia, in what is today's Burgenland area of Austria, the seventh of eight children born to Julius, a wool merchant, and Fanny Joachim, who were of Hungarian Jewish origin. His infancy was spent as a member of the Kittsee Kehilla (Jewish community), one of Hungary's prominent Siebengemeinden ('Seven Communities') under the protectorate of the Esterházy family. He was a first cousin of Fanny Wittgenstein, the mother of Karl Wittgenstein and the grandmother of the philosopher Ludwig Wittgenstein and the pianist Paul Wittgenstein. In 1833 his family moved to Pest, where he studied violin with Stanisław Serwaczyński, the concertmaster of the opera in Pest. (Serwaczyński later moved back to Lublin, Poland, where he taught Wieniawski). In 1839, Joachim continued his studies at the Vienna Conservatory (briefly with Miska Hauser and Georg Hellmesberger, Sr.; finally – and most significantly – with Joseph Böhm). He was taken by his cousin, Fanny Wittgenstein to live and study in Leipzig, where he became a protégé of Felix Mendelssohn, who arranged for him to study theory and composition with Moritz Hauptmann at the Leipzig Conservatory. In his début performance in the Leipzig Gewandhaus he played the Otello Fantasy by Heinrich Wilhelm Ernst. In Leipzig he had some lessons from Ferdinand David, Mendelssohn's concertmaster in the Gewandhaus Orchestra and a composer in his own right. The Violin Concerto in G minor dates from 1851, when Joachim had a brief flirtation with the musically 'Progressive" school of Franz Liszt and Richard Wagner, headquartered in Weimar. It is dedicated to Liszt, for whom Joachim led the Weimar court orchestra from 1850 to 1852. It is a true one-movement concerto, following an expansive sonata-form layout, with several cadenzas for the soloist, and a brief coda, where the tempo increases from Allegro to Presto assai. Joachim went to Hanover in 1853 to serve as the concertmaster in the orchestra there. It was in Hanover that he gained the acquaintanceship, and later, the friendship of the young Johannes Brahms and Robert Schumann, which eventually led him to renounce the progressive ideas of Liszt and Wagner and to instead become one of the 'keepers of the flame' of musical conservatism.
Bach Stanislaus Lublin Wieniawski Miska Hauser Hauser Hellmesberger Böhm Wittgenstein Felix Mendelssohn Heinrich Wilhelm Ernst Beethoven Leipzig Gewandhaus Orchestra Gewandhaus 1831 1833 1839 1844 1904 1907
Joseph Joachim (June 28, 1831 / August 15, 1907) (pronounced YO-a-chim) was a violinist, conductor, composer and teacher. He is regarded as one of the most influential violinists of all time. Joseph Joachim was born to Julius and Fanny Joachim, who were Hungarian Jews, as the seventh of eight children. Joachim was born in Kittsee (Kopčany / Köpcsény), near Bratislava and Eisenstadt, in today's Burgenland area of Austria. At the time, Kittsee was part of the Esterhazy holdings in Hungary, and for this reason Joachim is often considered to be Hungarian. Joseph Joachim's birth house in Kittsee. In 1833 his family moved to Pest, where he studied violin with Stanislaus Serwaczynski, the concertmaster of the opera in Pest. (Serwaczynski later moved to Lublin, Poland, where he taught Wieniawski). In 1839, Joachim continued his studies in Vienna (briefly with Miska Hauser and Georg Hellmesberger, Sr.; finally — and most significantly — with Joseph Böhm). He was taken by his cousin, Fanny Wittgenstein (grandmother of the philosopher Ludwig Wittgenstein) to live and study in Leipzig, where he became a protégé of Felix Mendelssohn. In his first public performance with the Leipzig Gewandhaus Orchestra he played a violin concerto by Heinrich Wilhelm Ernst. The twelve-year-old Joachim's 1844 performance of the Beethoven violin concerto in London (under Mendelssohn's baton) was a triumph, and helped to establish that work in the repertory. Although his second concert tour there was less successful, Joachim was to remain a favorite in England. (http•••)
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- cronología: Compositores (Europa).
- Índices (por orden alfabético): S...