Carl Heinrich Graun Vidéos
compositeur et chanteur allemand
Commémorations 2024 (Naissance: Carl Heinrich Graun)
- ténor
- opéra
- Allemagne
- compositeur ou compositrice, artiste lyrique
Dernière mise à jour
2024-04-18
Actualiser
Handel Starker Graun Broschi Quintavalle Trapp Weise 2021
'MIRRORS' by Jeanine De Bique - order/stream here: (http•••) Im Zeichen starker Weiblichkeit: Jeanine De Bique veröffentlicht am 22. Oktober 2021 ihr Debütalbum Mirrors auf Berlin Classics! Barocke Arien – drei davon sind Weltersteinspielungen – über Heldinnen wie Rodelinda, Agrippina und Cleopatra, komponiert von Händel, Graun, Broschi und weiteren Komponisten stehen dabei im Mittelpunkt. Begleitet wird die Sopranistin vom renommierten Barockorchester Concerto Köln unter der Leitung von Luca Quintavalle. Die weiblichen Protagonistinnen sind zentrales Element dieses Konzeptalbums. Es präsentiert die Arien als sich gegenseitig spiegelnd: eine Händel-Arie über eine Heldin wird durch eine eher unbekannte Arie über dieselbe Figur komplementiert – so entstand auch der Albumname Mirrors. „Die Hörer:innen können so verschiedene Reflexionen desselben Charakters erleben, als betrachteten sie ihn durch einen zerbrochenen Spiegel“, erklärt Yannis François, der für die Konzeptualisierung der Aufnahme verantwortlich ist. Die Arien erzählen von Schlüsselmomenten in der psychologischen Entwicklung der Protagonistinnen, beleuchten die Vielfalt emotionalen weiblichen Erlebens und die nachvollziehbaren Perspektiven auf ihr Leben. Das dem außergewöhnlichen Temperament von Jeanine De Biques Stimme angepasste Repertoire, wurde kontrast- und abwechslungsreich gestaltet und so klingen die vielseitigen Stimmfarben gewaltig, emotional und mitreißend. Yannis Francois berichtet: „Nicht viele Sopranistinnen können problemlos von Mozarts Donna Anna, Händels Rodelinda bis hin zu Maria von Trapp in The Sound of Music springen! Die Möglichkeiten, ein Programm für ihr Debütalbum zu entwickeln, waren endlos!“ Mirrors ist ein persönliches Album, dessen Ziel es war, die einzigartigen und reifen Arien von Händel in Bezug zu anderen, unbekannteren zu setzen, deren Komponisten – und das ist vielfach nicht bekannt – zum Teil die eigentlichen Schöpfer dieser Arienfiguren waren. Die mutigen weiblichen Charaktere werden trotz Schicksalsschlägen letztendlich für ihre Zähigkeit, Stärke, Vergebung und Liebe belohnt. Voller Ehrfurcht und Mitgefühl nimmt Jeanine De Bique die einzigartige Möglichkeit wahr, die Vielfalt der weiblichen Erfahrung zu feiern - und nutzt dabei ihren kulturellen Hintergrund aus Trinidad und Tobago. Sie identifiziert sich als neue Stimme, nicht nur für diese vertrauten Charaktere, sondern auch für Frauen, die immer noch versuchen, Räume zu finden, in denen sie ihre Stimmen befreien und zurückfordern können. Von ihren flexiblen Ausdrücken bis hin zu den Figuren, die sie verkörpert, ist sie in der Tat ein Spiegel innerhalb dieses Albums. „Es scheint, als hätte alles, das mich bisher als Person und Musikerin geprägt hat, mir die Mittel gegeben, den musikalischen und emotionalen Anforderungen des Programms gerecht zu werden“, erzählt De Bique. Als inspirierend erwies sich für sie dabei die Zusammenarbeit mit dem Orchester und Dirigenten: „Ich hätte mir keine besseren Weggefährten als Concerto Köln und Luca Quintavalle wünschen können.“ Mirrors erkundet auf musikalische mitreißende Weise menschliche Beziehungen, lässt die Hörenden Ausgelassenheit, Überraschung und Entzückung spüren, neue Musik entdecken sowie Bekanntes genießen. Für die Sopranistin erfüllt sich mit diesem Album ein langgehegter Wunsch: Sie möchte ihren kulturellen Erfahrungsschatz in Verbindung zur Barockmusik reflektieren. BERLIN CLASSICS: Website: (http•••) Facebook: (http•••) Instagram: (http•••) Amazon-Store: (http•••) / #BerlinClassics #JeanineDeBique #ConcertoKöln #Soprano #GeorgeFridericHandel #Mirrors #ClassicalMusic #KlassischeMusik #Músicaclásica #クラシック音楽 #古典音乐 #musiqueclassique #शास्त्रीय संगीत
Elisabeth Von Magnus Gärtner Klaus Mertens Carl Heinrich Graun 2006
Provided to YouTube by NAXOS of America Te Deum: I. Te Deum laudamus · Monika Mauch · Monika Mauch · Elisabeth Von Magnus · Elisabeth Von Magnus · Bernhard Gärtner · Bernhard Gärtner · Klaus Mertens · Klaus Mertens · Basler Madrigalisten · Basler Madrigalisten · L'arpa festante · L'arpa festante · Fritz Näf · Fritz Näf Graun: Te Deum & 3 Motets in Vierstimmige Motetten und Arien ℗ 2006 CPO Released on: 2006-09-01 Artist: Monika Mauch Artist: Elisabeth Von Magnus Artist: Bernhard Gärtner Artist: Klaus Mertens Ensemble: Basler Madrigalisten Ensemble: L'arpa festante Conductor: Fritz Näf Composer: Carl Heinrich Graun Auto-generated by YouTube.
Bach Carl Philipp Emanuel Bach Hartmut Haenchen Frederick Great Georg Monn Sammartini Johann Stamitz Graun Carl Philipp Emanuel Bach Chamber Orchestra 1741 1755
Carl Philipp Emanuel Bach Chamber Orchestra conducted by Hartmut Haenchen I - Allegro assai: 0:00 II - Andante: 3:17 III - Allegro: 7:04 C.P.E. Bach composed the Symphony in C major in 1755, while working for Frederick the Great in Berlin. The "symphonic form," in general, was finally coming into its own during this time. Composers such as Bach, his brother J.C., Georg Monn, G.B. Sammartini, and Johann Stamitz did much to develop and establish the symphonic genre. The work was originally orchestrated for string orquestra and two horns, but later Bach added two flutes to the score. This is also the only early symphony that survives in an autograph score. Fourteen years separate this work with Bach's first symphony in 1741, and notable differences are apparent. These can largely be explained by the great development of the concerto, especially the keyboard concerto, in Bach’s hands in the intervening years. The individual movements, particularly the first movements, are longer. In the structure of the first movements the ritornello principle is less evident; there is a tendency for the movement to fall into three sections, the third of them a tonally prepared section in the tonic key that increasingly resembles the recapitulation of a sonata design. A further innovation rooted in developments in the concerto and the operatic overture is a tendency to link the three movements of the cycle. Starting with the C major symphony (Wq 174) and continuing until the final Berlin work, the Symphony in F Major (Wq 181). Bach provides transitions between at least one pair of movements in each symphony, ending one movement on the dominant of the following movement and proceeding attacca into it. In this way Bach shows that he has gone beyond the formal model of Graun. The first movement, in C major, is written in three section, being less evident the principle of ritornellos. It begins with the strings presenting a vivacious and transparent theme, over the support of the basso and the woodwinds, ornamenting and adding flourishes. The comes the second section as a kind of development, with the presence of two ritornellos. The unusual modulations and strong, passionate contrasts are the marks of the personality of the composer. The third final section is a brief decrescendo to establishes the beginning of the next movement. The second movement, in F major, is written in ternary form. It opens with a graceful, arioso-like theme presented by flutes and violins, continued with plain melodic figures in thirds and sixths. In the middle section we find a more expressive and drammatic culmination of the theme. Then, the music returns to the Apollonian initial calm, ending with a gentle coda. The third and last movement, returning to the tonic key of C major, is written in a binary form separated by repeats. In the first section, the orchestra presents an energetic and playful theme. Then, as the second section, comes a short development, including an intriguing little jaunt into the parallel minor. The work ends with a fast coda that ends brightly. Picture: Engraving of Carl Philipp Emanuel Bach (c1987) Sources: (http•••) and (http•••) Musical analysis done by myself
Johann Philipp Kirnberger Johann Sebastian Bach Herzog Braunschweig Wolfenbüttel Marpurg Max Seiffert Kellner Gerber Reusch Quantz Agricola Graun Schulz Sulzer Severe 1721 1722 1725 1738 1739 1740 1741 1751 1754 1758 1762 1770 1771 1773 1783 1789 1794 1889 1910 1994
Alles Gute zum Geburtstag Johann Philipp Kirnberger! Composer: Johann Philipp Kirnberger +••.••(...)) Work: Concerto (c-moll) per il Cembalo Obligato (c.1770) previously attributed to Johann Sebastian Bach Performers: Luciano Sgrіzzі +••.••(...), cembalo); Orchestre Jeаn-Frаnçois Pаllаrd Painting: Johann Heinrich Tischbein +••.••(...)) - Herzog Karl I. und Herzogin Philippine Charlotte von Braunschweig-Wolfenbüttel mit Familie (1762) Image in high resolution: (http•••) Painting: Christoph Friedrich Reinhold Lisiewski +••.••(...)) - Portrait of Johann Philipp Kirnberger Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / Johann Philipp Kirnberger [Kernberg] (Saalfeld, bap. 24 April 1721 - Berlin, 26 or 27 July 1783) German theorist and composer. All information relating to his career before 1754 is based on F.W. Marpurg’s biographical sketch (1754), an autograph album described by Max Seiffert (1889) and comments found in letters Kirnberger wrote to J.N. Forkel in the late 1770s. He received his earliest training on the violin and harpsichord at home, and attended grammar school in Coburg and possibly Gotha. He studied the organ with J.P. Kellner in Gräfenroda before 1738, and then the violin with a musician named Meil and the organ with Heinrich Nikolaus Gerber in Sondershausen in 1738. According to Marpurg, Kirnberger went in 1739 to Leipzig, where he studied composition and performance with Bach for two years (the autograph book shows that he was in Sondershausen in 1740 and Leipzig in 1741, which does not preclude his period of study with Bach). In June 1741 Kirnberger travelled to Poland, where he spent the next ten years in the service of various Polish noblemen. He also held a position as music director at the Benedictine convent at Reusch-Lemberg. In 1751 Kirnberger returned to Germany apparently stopping at Coburg and Gotha before going to Dresden, where he studied the violin for a short time. He was then engaged by the Prussian royal chapel in Berlin as a violinist. By 1754 he had resigned that post and obtained permission to join the chapel of Prince Heinrich of Prussia, and in 1758 was given leave to enter the service of Princess Anna Amalia of Prussia, a position he retained to the end of his life. Kirnberger was among the most significant of a remarkable group of theorists, centred in Berlin, which included J.J. Quantz, C.P.E. Bach and Marpurg. Almost without exception his contemporaries described him as emotional and ill-tempered, but dedicated to the highest musical standards. Criticized for being inflexible, conservative, tactless, and even pedantic, his detractors still acknowledged his devotion to his students and friends. These included his employer Princess Anna Amalia (whose famous library he helped to assemble), and such eminent musicians as C.P.E. Bach, J.F. Agricola, the Graun brothers, J.A.P. Schulz (his most important pupil) and the encyclopedist J.G. Sulzer, to whose Allgemeine Theorie der schönen Künste +••.••(...)) he contributed articles. Most accounts agree that he was a middling performer and that his compositions were correct if uninspired. Many are in a galant style similar to that of C.P.E. Bach; others are in the older ‘strict’ style in the manner of J.S. Bach, but in neither category does Kirnberger display the harmonic or melodic imagination of his models. Although his musical knowledge was wide and profound, it was, according to his contemporaries, disorganized. He found it so difficult to express his ideas in writing that he had to call on others to edit or even rewrite his theoretical works (Die wahren Grundsätze (1773), for example, was written by J.A.P. Schulz under Kirnberger’s supervision). Nonetheless, even his most severe critics, such as Marpurg, considered his theoretical and didactic works to be invaluable. Kirnberger regarded J.S. Bach as the supreme composer, performer and teacher. He regretted that Bach left no didactic or theoretical works and tried through his own teaching and writing to propagate ‘Bach’s method’. His devotion to this cause is reflected in 14 years’ intermittent effort to obtain the publication of all Bach’s four-part chorale settings.
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- chronologie: Compositeurs (Europe). Artistes lyriques (Europe).
- Index (par ordre alphabétique): G...