Karl Wilhelm Vidéos
chef d'orchestre et compositeur
Commémorations 2025 (Naissance: Karl Wilhelm)
- royaume de Prusse
- chef ou cheffe d'orchestre, compositeur ou compositrice
Dernière mise à jour
2024-05-07
Actualiser
Linden Wilhelm Peterson Berger Berger 2000
Provided to YouTube by NAXOS of America 3 Nya dans-poem (3 New Dance Poems) : No. 2. Pa graset under lindarna (In the Grass Under the Linden) (arr. for orchestra) · Orebro Chamber Orchestra Peterson-Berger: Froso Flowers & Other Pieces (Orchestral Version) ℗ 2000 Swedish Society Released on: 2000-01-01 Conductor: Lennart Hedwall Orchestra: Orebro Chamber Orchestra Composer: Anonymous Composer: Wilhelm Peterson-Berger Auto-generated by YouTube.
Tchaikovsky Meek Modest Tchaikovsky Usatov 1847 1883 1884 1885 1913 1940
Tchaikovsky: Six Romances, Op. 57 (1884) V. Death (Смерть) Moderato (F major) Tchaikovsky's Six Romances (Шесть романсов), Op. 57 (TH 105 ; ČW 275-280), were mostly written between September and November 1884, except for No. 1 which is from an earlier date. Instrumentation: Scored for high voice (Nos. 1, 5), medium voice (Nos. 3, 4), baritone (No. 2) or low voice (No. 6), with piano accompaniment. Tchaikovsky made minor changes to the texts of the poems used in On the Golden Cornfields (No. 2), Do Not Ask! (No. 3), Sleep! (No. 4), and more significant changes in Only You Alone (No. 6). Movements: V. Death (Смерть) Moderato (F major) If the roses fall silently If the stars fade in the sky The waves crash on the rocks, The ray of dawn on the clouds goes out, It's death, death. This is death, but without a painful struggle; This is death, captivating beauty, Promises a delightful rest, The best gift of all-good nature. She, the teacher of the divine, Learn, people, to die, So that with a meek and solemn smile, So that with a meek and solemn smile, Meekly meet your end. Dmitry Merezhkovsky, from an untitled poem (by 1883). Composition: The earliest of the romances to be written was Tell Me, What in the Shade of the Branches? (No. 1). In a letter to Pyotr Jurgenson of 1/13 December 1884 (see below). the composer expressed his surprise at this discovery of this romance, which it seems he had forgotten about. The exact time and place of its composition are uncertain. On the Golden Cornfields (No. 2) and Do Not Ask (No. 3) were composed at Pleshcheyevo in late September 1884. Before the rough draft of No. 2 in the composer's notebook is the date "Pleshcheyevo, 26 Sept 1884". Do Not Ask (No. 3) was composed next, and its text was probably chosen by Tchaikovsky after he read Goethe's novel The Apprenticeship of Wilhelm Meister("God, how marvellous this is..."), which he found in Nadezhda von Meck's library at Pleshcheyevo [4]. The remaining three romances were written in Paris between 19 November/1 December (the date of his arrival) and 1/13 December 1884, when Tchaikovsky wrote to Pyotr Jurgenson: "I was very surprised to learn that Komissarzhevsky has my romance. Incidentally, I already have another five. Congratulations to you on my new opus". Writing to Modest Tchaikovsky from Paris on 3/15 December 1884, the composer reported: "I cannot say that I am bored from idleness. I managed here to devise the main revisions to Vakula, and to write three new romances, and one church number". Publication: The romances were published by Jurgenson in April 1885, and in 1940 they were included in volume 45 of Tchaikovsky's Complete Collected Works, edited by Ivan Shishov and Nikolay Shemanin. Autographs: Tchaikovsky's manuscript scores of Nos. 2 to 6 are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 143). The autograph of No. 1 is lost. Dedication: Each romance is dedicated to a different person: V. Dmitry Usatov (1847–1913), tenor who premiered the role of Andrey in Mazepa.
Frieda Hempel Bellini Stern Humperdinck Hänsel Selma Kurz Gatti Casazza Maschera Caruso Emmy Destinn Margarete Matzenauer Pasquale Amato Geraldine Farrar Antonio Scotti Weber Amelita Galli Curci Galli Schubert Schumann Brahms Jenny Lind Covent Garden Metropolitan Opera House 1885 1905 1907 1912 1913 1914 1916 1917 1919 1921 1955
From Wikipedia: Frieda Hempel (26 June 1885 – 7 October 1955) was a German soprano singer in operatic and concert work who had an international career in Europe and the United States. Hempel was born in Leipzig and studied first at the Leipzig Conservatory and afterwards at the Stern Conservatory, Berlin, where she was a pupil of Selma Nicklass-Kempner. Her earliest appearances were in Breslau, singing Violetta, the Queen of the Night and Rosina. She made a debut in Schwerin in 1905, and was engaged there for the next two years, singing also Gilda, Leonora (Il Trovatore) and Woglinde. She made such a success that the Kaiser Wilhelm II requested the Schwerin authorities to release her to sing also in Berlin. She made a debut there in 1905 as Frau Fluth (in Nicolai's Die Lustigen Weiber von Windsor). She sang at the Royal Court Opera, Berlin, from 1907 to 1912, where she was also admired as Lucia, Marguerite de Valois and Marie. She appeared at the Covent Garden, London in 1907 as Bastienne, as Humperdinck's Hänsel und Gretel, as Eva and Elsa and again as Frau Fluth: Melba and Selma Kurz were taking centre stage in the more popular roles. In 1912 she made her debut at the Metropolitan Opera, in New York City as Marguerite de Valois in Les Huguenots. She sang regularly in New York thereafter into the 1920s. She was the first to sing the Marschallin in Der Rosenkavalier in New York (for Gatti-Casazza, December 9, 1913) and in Berlin, and she also sang the role in London in 1913. She was in the Met 1913 Un Ballo in Maschera as Oscar, with Caruso, Emmy Destinn, Margarete Matzenauer and Pasquale Amato; also the 1916 Marriage of Figaro with Matzenauer, Geraldine Farrar and Antonio Scotti. Her La Fille du Régiment was presented there in 1917. Hempel had a very wide dramatic range, from Rosina or Queen of the Night to Wagner's Eva and Weber's Euryanthe (Metropolitan, 1914 revival). After 1919 she devoted herself to concert recitals, and left the Metropolitan Opera House somewhat abruptly, making way for the career of Amelita Galli-Curci. However she then made a second career on the concert platform, excelling in the performance of lieder of Mozart, Schubert, Schumann, Brahms and Wolf, in Mozart concert arias, and the like. She became famous for recitals in which she appeared in costume as the famous nineteenth-century soprano Jenny Lind. She died in Berlin in 1955 at the age of 70.
Frieda Hempel Puccini Stern Humperdinck Hänsel Selma Kurz Gatti Casazza Maschera Caruso Emmy Destinn Margarete Matzenauer Pasquale Amato Geraldine Farrar Antonio Scotti Weber Amelita Galli Curci Galli Schubert Schumann Brahms Jenny Lind Covent Garden Metropolitan Opera House 1885 1905 1907 1912 1913 1914 1916 1917 1919 1955
Hempel sings Mimi's aria from 'La Boheme,' recorded in Berlin on 18 September 1913. This side is a little more 'well-loved' than those I have previously uploaded, but still quite acceptable. From Wikipedia: Frieda Hempel (26 June 1885 – 7 October 1955) was a German soprano singer in operatic and concert work who had an international career in Europe and the United States. Hempel was born in Leipzig and studied first at the Leipzig Conservatory and afterwards at the Stern Conservatory, Berlin, where she was a pupil of Selma Nicklass-Kempner. Her earliest appearances were in Breslau, singing Violetta, the Queen of the Night and Rosina. She made a debut in Schwerin in 1905, and was engaged there for the next two years, singing also Gilda, Leonora (Il Trovatore) and Woglinde. She made such a success that the Kaiser Wilhelm II requested the Schwerin authorities to release her to sing also in Berlin. She made a debut there in 1905 as Frau Fluth (in Nicolai's Die Lustigen Weiber von Windsor). She sang at the Royal Court Opera, Berlin, from 1907 to 1912, where she was also admired as Lucia, Marguerite de Valois and Marie. She appeared at the Covent Garden, London in 1907 as Bastienne, as Humperdinck's Hänsel und Gretel, as Eva and Elsa and again as Frau Fluth: Melba and Selma Kurz were taking centre stage in the more popular roles. In 1912 she made her debut at the Metropolitan Opera, in New York City as Marguerite de Valois in Les Huguenots. She sang regularly in New York thereafter into the 1920s. She was the first to sing the Marschallin in Der Rosenkavalier in New York (for Gatti-Casazza, December 9, 1913) and in Berlin, and she also sang the role in London in 1913. She was in the Met 1913 Un Ballo in Maschera as Oscar, with Caruso, Emmy Destinn, Margarete Matzenauer and Pasquale Amato; also the 1916 Marriage of Figaro with Matzenauer, Geraldine Farrar and Antonio Scotti. Her La Fille du Régiment was presented there in 1917. Hempel had a very wide dramatic range, from Rosina or Queen of the Night to Wagner's Eva and Weber's Euryanthe (Metropolitan, 1914 revival). After 1919 she devoted herself to concert recitals, and left the Metropolitan Opera House somewhat abruptly, making way for the career of Amelita Galli-Curci. However she then made a second career on the concert platform, excelling in the performance of lieder of Mozart, Schubert, Schumann, Brahms and Wolf, in Mozart concert arias, and the like. She became famous for recitals in which she appeared in costume as the famous nineteenth-century soprano Jenny Lind. She died in Berlin in 1955 at the age of 70.
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