Johann Georg Albrechtsberger Vidéos
compositeur autrichien
- orgue
- Autriche
- compositeur ou compositrice, musicologue, musicien ou musicienne, pédagogue, théoricien ou théoricienne de la musique, professeur ou professeure de musique, organiste
Dernière mise à jour
2024-04-28
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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.
Beethoven Joseph Haydn Wolfgang Amadeus Mozart Christian Gottlob Neefe Antoine Reicha Nikolaus Simrock Franz Ries Ries Johann Georg Albrechtsberger Antonio Salieri Johannes Brahms Richard Wagner Herbert Karajan Berliner Philharmoniker 1770 1792 1794 1800 1811 1817 1827
Ludwig van Beethoven, +••.••(...)), born in Bonn, Germany, was the predominant musical figure in the transitional period between the Classical and Romantic eras. Widely regarded as the greatest composer who ever lived, he dominates a period of musical history as no one else before or since. Rooted in the Classical traditions of Joseph Haydn and Wolfgang Amadeus Mozart, his art reaches out to encompass the new spirit of humanism and incipient nationalism expressed in the works of Johann Wolfgang von Goethe and Friedrich von Schiller, his elder contemporaries in the world of literature, in the stringently redefined moral imperatives of the German philosopher Immanuel Kant, and in the ideals of the French Revolution, with its passionate concern for the freedom and dignity of the individual. He revealed more vividly than any of his predecessors the power of music to convey a philosophy of life without the aid of a spoken text; and in certain of his compositions is to be found the strongest assertion of the human will in all music, if not in all art. He received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. He moved to Vienna in 1792 to study with Joseph Haydn, and despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. His works also include the celebrated 9 symphonies; the opera Fidelio; 2 masses; 5 piano concertos; a violin concerto; 6 piano trios; 10 violin sonatas; 5 cello sonatas; and several concert overtures. Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. He profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works. The Romantic tradition of descriptive music began with Beethoven's "Pastoral" Symphony No. 6". Even in the second half of the nineteenth century, Beethoven still directly inspired both conservatives (such as Johannes Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Richard Wagner, who viewed the Symphony No.9 as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power. He died in Vienna, Austria on March 26, 1827. Symphony No.9 in D minor, Op.125 I. Allegro ma non troppo, un poco maestoso Performed by the Berliner Philharmoniker Orchestra Herbert von Karajan, Conductor
Beethoven Christian Gottlob Neefe Antoine Reicha Nikolaus Simrock Franz Ries Ries Joseph Haydn Johann Georg Albrechtsberger Antonio Salieri Johannes Brahms Richard Wagner Dorati London Symphony Orchestra 1770 1792 1794 1800 1811 1817 1827
Ludwig van Beethoven, (1770 – 1827), born in the small city of Bonn, Germany, was the predominant musical figure in the transitional period between the Classical and Romantic eras. The events of Beethoven's life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. He received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. He moved to Vienna in 1792 to study with Joseph Haydn; despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. His works also include the celebrated 9 symphonies; the opera Fidelio; 2 masses; 5 piano concertos; a violin concerto; 6 piano trios; 10 violin sonatas; 5 cello sonatas; and several concert overtures. Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. He profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works. The Romantic tradition of descriptive music began with Beethoven's "Pastoral" Symphony No. 6. Even in the second half of the nineteenth century, Beethoven still directly inspired both conservatives (such as Johannes Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Richard Wagner, who viewed the Ninth Symphony as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power. Ludwig van Beethoven died in Vienna, Austria on March 26, 1827. Symphony No.7 in A, Op. 92 - Allegretto Performed by the London Symphony Orchestra Antal Dorati, Conductor
Conradin Kreutzer Kreutzer Heinz Wallberg Joseph Haydn Johann Georg Albrechtsberger Weber Anton Diabelli Bamberger Symphoniker Theater Wien 1780 1804 1811 1812 1816 1824 1834 1849
Günter Ludwig/Bamberger Symphoniker/Heinz Wallberg 00:00 Allegro agitato con impeto 04:34 Andante 12:48 Allegro con anima Conradin Kreutzer +••.••(...)) was a German Composer. Kreutzer abandoned his studies in the law (University of Freiburg) and went to Vienna about 1804, where he met Joseph Haydn and may have studied with Johann Georg Albrechtsberger, while he tried his hand unsuccessfully at singspielen. He spent 1811–12 in Stuttgart, where at least three of his operas were staged and he was awarded the post of Hofkapellmeister. He was from 1812 to 1816 Kapellmeister to the king of Württemberg. Once he was successful, he became a prolific composer, and wrote a number of operas for the Theater am Kärntnertor, Theater in der Josefstadt and Theater an der Wien Vienna, which have disappeared from the stage. Kreutzer owes his fame almost exclusively to Das Nachtlager in Granada (1834), which kept the stage for half a century in spite of changes in musical taste. It was written in the style of Carl Maria von Weber. The same qualities are found in Kreutzer's part-songs for men's voices, which at one time were extremely popular in Germany. Among these "Das ist der Tag des Herrn" ("The Lord's Day") may be named as the most excellent. His Septet for wind and strings, Op. 62, remains in the chamber music repertory. He was one of the 50 composers who wrote a variation on a waltz of Anton Diabelli for Part II of the "Vaterländischer Künstlerverein" (published 1824). / Please support this channel (http•••)
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