Wilhelm Albert Rischbieter Vídeos
músico, violinista, profesor universitario
Conmemoraciones 2024 (Nacimiento: Wilhelm Albert Rischbieter)
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Jacob Arcadelt Carlos Gomes Moro Sem Rischbieter Johann Sebastian Bach Mestres Sob 1507 1538 1568 1685 1750 2011 2012 2013 2014 2015 2016
FOLIA RENASCENTISTA, uma noite de madrigais e canções da Renascença, com trajes de época, grupo de flautas, violão e cravo. Regência: Roberto Rossbach Preparação Vocal: Marcos Liesenberg Teatro Carlos Gomes, Blumenau (SC) Junho de 2015 Jacob Arcadelt (?1507-1568) – Il bianco e dolce cigno (c.1538, Florença) – madrigal a 4 vozes Texto original – italiano: Il bianco e dolce cigno cantando more, ed io piangendo giung' al fin del viver mio. Stran' e diversa sorte, ch'ei more sconsolato ed io moro beato. Morte che nel morire m'empie di gioia tutto e di desire. Se nel morir, altro dolor non sento, di mille mort' il di sarei contento. Tradução: O cisne branco e doce não canta mais, e eu em prantos, chego ao fim da minha vida. Estranha e diversa sorte, ele morre desconsolado e eu morro feliz. Morte que me enche de vontade de morrer com alegria. Se eu morrer sem nenhuma outra dor sentir, com mil mortes serei feliz. O Coro de Câmara Vocal Consort Blumenauensis é formado, basicamente, por cantores de Blumenau e região. Iniciou suas atividades em agosto de 2012, com o intuito de fomentar e divulgar a música coral clássica em Blumenau. O embrião para a fundação do coro surgiu em 2011, quando cantores de Blumenau e região, liderados por Marcos Liesenberg e Roberto Rossbach, se reuniram para realizar um concerto sacro em homenagem póstuma a Sra. Freya Rischbieter. O concerto de estreia do coro de câmara Vocal Consort Blumenauensis, denominado “Soli Deo Gloria”, ocorreu em 2012, no Teatro Carlos Gomes, em Blumenau, cuja obra principal foi o moteto “Jesu, meine Freude” (BWV 227), de Johann Sebastian Bach +••.••(...)), acompanhado ao órgão positivo e violoncelo. Em dezembro de 2013, o grupo apresentou uma série de Concertos de Natal em igrejas de Blumenau. O repertório contou com villancicos do século XVI, canções natalinas tradicionais de diversos países, spirituals e obras do século XX. O concerto foi acompanhado por um quarteto de flautas e instrumentos de percussão. Em 2014, juntamente com uma orquestra arregimentada, apresentou o concerto “Mestres do Barroco”, no Teatro Carlos Gomes e na Vila Itoupava, em Blumenau. O concerto obteve grande êxito, granjeando grande repercussão junto à comunidade do Vale do Itajaí. Novamente, em dezembro de 2014, realizaram-se mais três Concertos de Natal, em igrejas blumenauenses, a exemplo do ocorrido em 2013. Em 2015, com grande êxito, o coro de câmara realizou, no Teatro Carlos Gomes, seu concerto “Folia Renascentista”, uma noite de madrigais e canções da Renascença, com trajes de época, grupo de flautas, violão e cravo. Este concerto foi realizado também na Sociedade Harmonia-Lyra, em Joinville, em julho do mesmo ano. Até agosto de 2015 o coro recebeu a orientação vocal do tenor Marcos Liesenberg. Participou em 2015 do Projeto Magia de Natal da cidade de Blumenau, apresentando repertório natalino para coro, orquestra e solistas. Em 2016 apresentou o concerto de música coral a capella “Cantate Domino – Tributo a Marcos Liesenberg”, com motetos sacros através da história da música. Atualmente o grupo se apresenta no formato de octeto vocal e desde sua fundação, o coro está sob a regência do maestro Roberto Rossbach.
Brahms Walter Johannes Damrosch Leopold Damrosch Wilhelm Albert Rischbieter Felix Draeseke Anton Seidl Bülow Sarnoff Schonberg Franz Schubert Tchaikovsky Richard Wagner Gustav Mahler Edward Elgar George Gershwin Dresden Conservatory Carnegie Hall Metropolitan Opera Oratorio Society New York Symphony Society New York Damrosch Opera Company 1832 1859 1862 1867 1871 1884 1885 1887 1890 1891 1894 1898 1899 1900 1902 1903 1912 1920 1923 1925 1926 1927 1928 1937 1942 1947 1949 1950
1.Allegro non troppo 13:47 2.Adagio non troppo 24:00 3. Allegretto grazioso (quasi andantino) 29:33 4. Allegro con spirito Recorded in 1928. Walter Damrosch +••.••(...)) The distinguished German-American conductor, music educator and composer, Walter (Johannes) Damrosch, was the son of the eminent German-American conductor and violinist, Leopold Damrosch +••.••(...)), and brother of the German-American conductor and teacher, Frank (Heino) Damrosch +••.••(...)). Walter Damrosch exhibited an interest in music at an early age and was instructed by his father in harmony and also studied under Wilhelm Albert Rischbieter and Felix Draeseke at the Dresden Conservatory. Walter Damrosch went to New York with his family in 1871, where he continued his music studies. In 1884, when his father began his season of German Opera in New York, Walter was made an assistant conductor. When his father fell ill, he received some deathbed coaching from him and made his Metropolitan Opera debut conducting Tannhäuser on February 11; 1885, just 4 days before his father succumbed. He remained on the roster of the Metropolitan Opera (under Anton Seidl) until 1891. He also served as his father's successor as conductor of the Oratorio Society of New York +••.••(...)) and the Symphony Society of New York (from 1885). In 1887 he pursued training in conducting with Hans von Bülow in Frankfurt am Main. In 1894 he founded the Damrosch Opera Company in New York, which he conducted in performances of German operas until 1899, both there and in other major USA cities. From 1900 to 1902 he was again on the roster of the Metropolitan Opera. He was conductor of the New York Philharmonic Orchestra in 1902-1903. After the reorganisation of the Symphony Society of New York in 1903, he was its conductor until it merged with the New York Philharmonic Orchestra in 1928. In 1920 he conducted the Symphony Society of New York on a major tour of Europe. In 1912 he took over the symphonic concerts for young people originally organised by his brother, and he also conducted young people's concerts with the Symphony Society of New York. Walter Damrosch's interest in music education prompted him to utilise the medium of radio to further the cause of music appreciation; on October 19, 1923, he conducted the Symphony Society of New York in its first radio broadcast from Carnegie Hall. He the National Broadcasting Company's music director under David Sarnoff, and in 1926 he inaugurated a regular series of radio broadcasts, which were later aired as the "NBC Music Appreciation Hour" throughout the USA and Canada from 1928 to 1942. This was a popular series of radio lectures on classic music aimed at students. (The show was broadcast during school hours, and teachers were provided textbooks and worksheets by the network.) According to former New York Times critic Harold C. Schonberg in his collection Facing the Music, Damrosch was notorious for making up silly lyrics for the music he discussed in order to "help" young people appreciate it, rather than letting the music speak for itself. An example: for the first movement of Franz Schubert's Unfinished Symphony, the lyric went: This is the symphony, That Schubert wrote and never finished He also served as musical counsel to NBC from 1927 to 1947. Damrosch conducted the USA premieres of Tchaikovsky's 4th and 6th symphonies as well as scores by Wagner, Gustav Mahler, and Edward Elgar. He also conducted premieres of works by American composers, including world premiere performances of George Gershwin's Piano Concerto in F (1925), and An American in Paris (1928). Walter Damrosch was best known in his day as a conductor of Richard Wagner and was also a pioneer in the performance of music on the radio, and as such became one of the chief popularizers of classical music in the USA. Although now remembered almost exclusively as a conductor, before his radio broadcasts he was equally well-known as a composer. On May 17, 1890, Walter Damrosch married Margaret Blaine +••.••(...)), the daughter of American politician and presidential candidate James G. Blaine. They had four daughters.
Ravel Walter Johannes Damrosch George Gershwin Leopold Damrosch Wilhelm Albert Rischbieter Felix Draeseke Anton Seidl Franz Liszt Sarnoff Schonberg Franz Schubert Bizet Brahms Dresden Conservatory Metropolitan Opera 1862 1871 1881 1884 1885 1886 1896 1903 1911 1913 1925 1927 1928 1937 1942 1950
Recored in 1927. New York Symphony Orchestra The most enchanting recording of this work - my favorite. Ma Mère l'Oye - suite (1911) I. Pavane de la belle au bois dormant - Lent Pavane of Sleeping Beauty 1:52 II. Petit Poucet - Très modéré Little Tom Thumb / Hop o' My Thumb 6:42 III. Laideronnette, impératrice des pagodes - Mouvt de marche Little Ugly Girl, Empress of the Pagodas 10:13 IV. Les entretiens de la belle et de la bête - Mouvt de valse très modéré Conversation of Beauty and the Beast 14:14 V. Le jardin féerique Lent et grave The Fairy Garden Thanks to Rolf for allowing me to use his excellent transfers. You can find this and many other wonderful selections and information at his website: (http•••) Walter Johannes Damrosch, 1862 / 1950) was a German-born American conductor and composer. He is best remembered today as long-time director of the New York Symphony Orchestra and for conducting the world premiere performances of George Gershwin's Piano Concerto in F (1925), and An American in Paris (1928). Damrosch was born in Breslau, Silesia, a son of Helene von Heimburg, a former opera singer, and the conductor Leopold Damrosch. His parents were Lutheran (his paternal grandfather was Jewish). He exhibited an interest in music at an early age and was instructed by his father in harmony and also studied under Wilhelm Albert Rischbieter and Felix Draeseke at the Dresden Conservatory. He emigrated with his parents in 1871 to the United States. During the great music festival given by his father in May 1881, he first acted as conductor in drilling several sections of the large chorus, one in New York City, and another in Newark, New Jersey. The latter, consisting chiefly of members of the Harmonic Society, elected him to be their conductor. In 1884, when his father initiated a run of all-German opera at the Metropolitan Opera in New York, Walter was made an assistant conductor. After his father's death in 1885, he held the same post under Anton Seidl and also became conductor of the Oratorio and Symphony Societies in New York. Damrosch was a pioneer in the performance of music on the radio, and as such became one of the chief popularizers of classical music in the United States. One of his principal achievements was the successful performance of Parsifal for the first time in the US, in 1886, by the Oratorio and Symphony societies. During his visit to Europe in the summer of 1886, he was invited by the Deutsche Tonkünstler-Verein, of which Franz Liszt was president, to conduct some of his father's compositions at Sondershausen. Although now remembered almost exclusively as a conductor, before his radio broadcasts Damrosch was equally well known as a composer. He composed operas based on stories such as The Scarlet Letter (1896), Cyrano (1913), and The Man Without a Country (1937). He also composed songs such as the intensely dramatic Danny Deever. Damrosch was the National Broadcasting Company's music director under David Sarnoff, and from 1928 to 1942, he hosted the network's Music Appreciation Hour, a popular series of radio lectures on classical music aimed at students. (The show was broadcast during school hours, and teachers were provided with textbooks and worksheets by the network.) According to former New York Times critic Harold C. Schonberg in his collection Facing the Music, Damrosch was notorious for making up silly lyrics for the music he discussed in order to "help" young people appreciate it, rather than letting the music speak for itself . An example: for the first movement of Franz Schubert's Unfinished Symphony, the lyric went This is the symphony, That Schubert wrote and never finished. Although Damrosch took an interest in music technologies, he recorded sporadically. His first recording, the prelude to Bizet's Carmen, appeared in 1903 (on Columbia, with a contingent of the New York Symphony credited as the "Damrosch Orchestra"). He recorded very few extended works; the only symphony he recorded was Brahms's Second with the New York Symphony shortly before the orchestra merged with the New York Philharmonic.
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