Arthur Nikisch Vidéos
chef d'orchestre et violoniste hongrois
Commémorations 2025 (Naissance: Arthur Nikisch)
- violon, piano
- musique classique
- Allemagne, Hongrie, Autriche
- chef ou cheffe d'orchestre, pianiste, professeur ou professeure d'université
Dernière mise à jour
2024-06-27
Actualiser
Karl Hasse Hasse Karl Straube Arthur Nikisch Max Reger Felix Mottl Leipziger 1883 1910 1919 1935 1960
Karl Hasse +••.••(...)): Valet will ich dir geben Martin Karl Woldemar Hasse wurde 1883 in Dohna bei Pirna im Erzgebirge geboren. Er studierte am Leipziger Konservatorium, u.a. bei Thomaskantor Karl Straube und Arthur Nikisch und setzte auf Empfehlung Straubes seine Studien an der Münchener Akademie für Tonkunst bei Max Reger und Felix Mottl fort. Nach einer kurzen Kantorentätigkeit in Chemnitz wurde er 1910 Städtischer Musikdirektor in Bielefeld, 1919 sodann Universitäts-Musikdirektor in Tübingen. 1935 übernahm er die Direktion der Kölner Hochschule für Musik. Martin Karl Hasse wurde als Komponist, Dirigent, Pädagoge, Organisator und Musikschriftsteller bekannt; der meist polyphone Aufbau seiner Werke ist eine Frucht der Ausbildung bei Reger. Auch war er ein maßgeblicher Förderer der in den 1920er Jahren einsetzenden "Orgelbewegung". Organist: Thorsten Pirkl Martin Karl Woldemar Hasse was born in Dohna near Pirna in the Ore Mountains in 1883. He studied at the Leipzig Conservatory, among others with Thomaskantor Karl Straube and Arthur Nikisch, and on Straube's recommendation continued his studies at the Munich Academy of Music with Max Reger and Felix Mottl. After a short period as cantor in Chemnitz, he became municipal music director in Bielefeld in 1910, then university music director in Tübingen in 1919. In 1935 he took over the direction of the Cologne Academy of Music. Martin Karl Hasse became known as a composer, conductor, pedagogue, organizer and music writer; the mostly polyphonic structure of his works is a fruit of his training with Reger. He was also a major promoter of the "organ movement" that began in the 1920s.
Schubert David Scull Bispham Francesco Lamperti Lamperti Bayreuth Longueville André Messager Jean Reszke Emma Albani Jean Lassalle Gustav Mahler Ignace Paderewski Ethel Smyth Lillian Nordica Olive Fremstad Ernestine Schumann Heink Schumann Clara Butt Hans Richter Arthur Nikisch Felix Mottl Anton Seidl Walter Damrosch Macmillan Metropolitan Opera Covent Garden 1891 1892 1896 1903 1912 1920
Schubert: “Der Wanderer” by David Bispham 1912 This record is proof that older Columbia 78 rpm records sound really great when they are in near mint condition. For a 1912 acoustic recording the voice sounds very realistic and clear on this record. And, Bispham signed the wax master of the 12 inch record which shows clearly on the runout area of the pressed record. This was a somewhat common thing for classical artists on the Columbia label. David Bisphan was an American operatic baritone born in the mid-19th century. He studied in Italy and then sang extensively in England and the USA as well as across Europe. An incredible voice not all that well known these days. He sang at the Metropolitan opera, mostly in Wagner roles, from 1896 to 1903. After 1903 he sang few opera roles. Instead he performed in recitals and sang and recorded art song and lieder. “David Scull Bispham studied singing in Florence with Luigi Vannuccini and in Milan with Francesco Lamperti. He also studied in Bayreuth. In 1891 he was selected from among fifty applicants to perform the rôle of the Duc de Longueville in a London performance of André Messager's LA BASOCHE, marking his first professional appearance on any stage. He was engaged by the Royal Opera at Covent Garden to sing the part of Beckmesser in DIE MEISTERSINGER VON NÜRNBERG in June 1892. This production was also to feature Jean de Reszke, Emma Albani, and Jean Lassalle in the other leading rôles. De Reszke fell ill during rehearsals, and the production had to be cancelled. On the day of the cancellation, however, Bispham was asked to substitute on the following day as Kurwenal in TRISTAN UND ISOLDE, under Gustav Mahler. This was Bispham's first Wagnerian rôle. His success there brought him a contract for Covent Garden, where he appeared, primarily in Wagnerian rôles, for all but two of the next ten seasons. Bispham made his American début, once again in Wagner, at the Metropolitan Opera on18 November, 1896, as Beckmesser. He remained with the company until 1903, singing mainly Wagnerian rôles; he also appeared in the American premières of Ignace Paderewski's MANRU and Ethel Smyth's DER WALD. He was a close personal friend of American soprano Lillian Nordica, with whom he travelled to Australia on her last tour before her death. He was also a frequent professional colleague of both De Reszke brothers (Jean and Edouard), Olive Fremstad, Ernestine Schumann-Heink and Dame Clara Butt, among singers, and Hans Richter, Arthur Nikisch, Felix Mottl, Anton Seidl and Walter Damrosch, among conductors. Bispham wrote a memoir of his professional career called A QUAKER SINGER'S RECOLLECTIONS, published by Macmillan in January 1920.” - Zillah Dorset Akron DAHR Link: (http•••) Wikipedia Link: (http•••)
Anton Bruckner Eliahu Inbal Arthur Nikisch Frankfurt Radio Symphony Gewandhaus 1881 1883 1884 1885 1931
Anton Bruckner: Symphony No. 7 in E major, WAB 107 [Original version; 1883] (with Score) Composed: 1881-83 Conductor: Eliahu Inbal Orchestra: Frankfurt Radio Symphony (hr-Sinfonieorchester) 00:00 1. Allegro moderato (E major) 19:31 2. Adagio: Sehr feierlich und sehr langsam (C-sharp minor) 43:08 3. Scherzo: Sehr schnell (A minor) – Trio: Etwas langsamer (F major) 52:50 4. Finale: Bewegt, doch nicht schnell (E major) Anton Bruckner's Symphony No. 7 in E major, WAB 107, is one of the composer's best-known symphonies. It was written between 1881 and 1883 and was revised in 1885. It is dedicated to Ludwig II of Bavaria. The premiere, given under Arthur Nikisch and the Gewandhaus Orchestra in the opera house at Leipzig on 30 December 1884, brought Bruckner the greatest success he had known in his life. The symphony is sometimes referred to as the "Lyric", though the appellation is not the composer's own, and is seldom used.
Richard Wetz Bader Carl Reinecke Salomon Jadassohn Richard Hofmann Hofmann Ludwig Thuille Felix Weingartner Anton Bruckner Franz Liszt Arthur Nikisch 1875 1897 1899 1900 1906 1909 1911 1914 1917 1918 1919 1920 1921 1922 1925 1933 1934 1935 1943
It is my explicit and heartfelt desire that any and all monetary compensation that may be due me from this presentation be instead directed towards all holders of copyright. Should any such copyright holders deem its removal necessary, I hereby ask only that I be notified prior to the filing of a claim with YouTube, and I will not hesitate to delete it as soon as possible. Richard Wetz +••.••(...)) Symphony No. 1 in C minor, Op. 40 I. Ruhig bewegt - angfangs ewtas gehalten 0:00 II. Scherzo: Leicht bewegt, aber nicht zu schnell 19:43 III. Sehr langsam und ausdrucksvoll 30:55 IV. Finale: Kraftig und entschieden bewegt 44:32 Cracow Philharmonic Orchestra Roland Bader, conductor Richard Wetz +••.••(...)) was a German late Romantic composer best known for his three symphonies. Wetz was born to a merchant family in Gleiwitz, Upper Silesia (now Poland). Although his family owned a piano, no family member was particularly interested in music. The young Richard, who felt drawn to music early on, did not receive regular piano lessons until the age of eight years, but quickly taught himself by composing smaller piano and song pieces. He later stated that he resolved to dedicate his life to music by the age of 13. After passing his final examinations in 1897, he went to Leipzig to study at the conservatoire under such tutors as Carl Reinecke and Salomon Jadassohn. After only 6 weeks, however, he discontinued his studies after suffering from disillusionment regarding what he considered overly academic lessons. He instead took private lessons from Richard Hofmann, then leader of the Leipzig music academy, for half a year. He later became a follower of the philosophical ideas of Arthur Schopenhauer. In the Autumn of 1899, Wetz left Leipzig and moved to Munich, where he began to study music with Ludwig Thuille. Again in 1900, Wetz interrupted his study and moved to Stralsund where Felix Weingartner found him employment as a theatrical bandmaster. After some months he was in the same position in Barmen (now Wuppertal), but only a short time later he found himself again unemployed in Leipzig. Here he educated himself further in music history, also studying scores of classical and modern composers. Anton Bruckner and Franz Liszt became his most important role models. Wetz was appointed a manager of the Erfurt music association in 1906. He fell in love with the town and remained there for the rest of his life. Until this point, Wetz's published compositional works had almost exclusively been piano songs, though he twice tried to write opera. He wrote the librettros for both works, Judith (op. 13) and The Eternal Fire (op. 19). In 1909 he received a better reception with his Kleist-Ouvertüre (op. 16) which Arthur Nikisch conducted in Leipzig. During the following years, Wetz devoted himself to the music profession. He gave lessons in the Erfurt city conservatoire (in 1911–1921, composition and history of music), and honed his skills in conducting various choirs (the Erfurt Song Academy in 1914/15, the "Riedelscher Gesangverein" in Leipzig, and after 1918, the "Engelbrechtscher Madrigalchor"). Some of the most notable works of the period were the Song of Life (op. 29), Hyperion (op. 32) (after Friedrich Hölderlin) and a setting of the Third Psalm (op. 37). However, his mature style had not yet fully developed. In 1917, He become a lecturer (assistant professor), and in 1920 professor, of the history of music and composition to the ducal college for music in Weimar. In 1917 he completed his First Symphony in C minor (op. 40). The symphonies No. 2 in A major (op. 47) and No. 3 in B flat minor, op. 48) followed in 1919 and 1922. In parallel, Wetz worked on his two string quartets in F minor (op. 43) and E minor (op. 49). Afterwards, he devoted himself to working on choral pieces. In the mid-1920s the composer organized and led in Erfurt numerous music parties in which he performed his own works. He resigned the formal management of the Erfurt music association in 1925, but remained the central figure of the musical life of the city. Durg the last years of his life, the work at the Weimar college of music increasingly took up his time. Nevertheless, he managed to produce further compositions. As his last great work, in 1933 he completed his violin concerto in B minor (op. 57). In October of 1934, Wetz was diagnosed with lung cancer, brought about by excessive smoking. Although strongly impaired, the composer continued with unbroken creative urge, working on the outlines of an oratorio, Love, Life, Eternity after the texts of Goethe, which he wanted to be a monument to his favorite poet. The work, however, was left unfinished on his death. A fourth symphony was also left in a fragmentary state, and a third string quartet was also found incomplete amongst his papers. Richard Wetz died on 16 January 1935 in Erfurt, age 59.
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