Charlotte von Bülow Vidéos
compositeur
- Allemagne
Dernière mise à jour
2024-05-04
Actualiser
Willy Burmester Bach Rondeau Mendelssohn Bülow Tchaikovsky Édouard Colonne Spohr Wieniawski Beethoven Brahms Robert Kajanus Paganini 1869 1882 1885 1888 1889 1892 1893 1894 1909 1926 1933
Recorded in 1909. Unknown pianist. Willy Burmester, German violinist (1869, Hamburg; 1933, Hamburg). The son of a violinist in the Hamburg Philharmonic Orchestra, Willy by the age of seven had won the reputation of a child prodigy in his native city, and three years later he played Mendelssohn's Violin Concerto at the Conventgarten. He studied under Joseph Joachim from 1882 to 1885 at the Hochschule in Berlin, where he was thoroughly grounded in the classical tradition, although he would later depart from the ideals of the Joachim school in concentrating on music of the bravura type. After returning to Hamburg Willy received some encouragement in his career from Hans von Bülow. Tchaikovsky and Burmester On 8/20 January 1888, the day that Tchaikovsky was due to conduct a Philharmonic Society concert in Hamburg featuring his own works, he was visited in the morning by Willy, his sister Johanna (a pianist), and their father. Willy played him his Violin Concerto, and Tchaikovsky promised that he would write letters of recommendation to Édouard Colonne and Hans von Bülow on behalf of the "talented young violinist" (as he called him in the Autobiographical Account of a Tour Abroad in the Year 1888). On 28 March 1888 Burmester wrote the first of his 11 letters to Tchaikovsky (they corresponded in German), asking if he could help him to be engaged as concertmaster and soloist at the summer concerts in Pavlovsk, near Saint Petersburg, which the German conductor Julius Laube was going to conduct. (Laube]] and his orchestra had been invited to Pavlovsk on Tchaikovsky's recommendation). Burmester obtained such an engagement and went to Pavlovsk that summer, where Tchaikovsky heard him play at a concert on 8/20 July 1888. At the end of the summer Burmester was considering staying in Russia for the winter season and wrote to Tchaikovsky asking for permission to perform his Violin Concerto, as well as for recommendations to the Russian Musical Society in Moscow. However, Tchaikovsky, who was on the society's board of directors, explained that all the concerts in Moscow had already been scheduled, and Burmester returned to Germany. The following year, at the Philharmonic Society concert in Hamburg on 3/15 March 1889, in the first half of which Tchaikovsky conducted the first performance in Germany of his Symphony No. 5, Burmester appeared as a soloist in the second half, playing Ernst's Violin Concerto in F♯ minor and two solo violin pieces by Spohr and Wieniawski, with Julius von Bernuth conducting. An entry in Tchaikovsky's diary during that stay in Hamburg suggests that the young violinist's requests for support in advancing his career were beginning to get on his nerves: "Burmester is becoming more and more repulsive to me". Nevertheless, Burmester would again receive an invitation to play at Pavlovsk that summer. After having had some lessons with Bülow in the autumn of 1889 (they studied Bach and sonatas by Beethoven and Brahms), Burmester accepted an appointment as orchestral leader at Sondershausen. In the summer of 1892 he was engaged as concertmaster and soloist with the "Aquarium Orchestra" in the Zoological Garden of Saint Petersburg. He wrote again to Tchaikovsky, asking if they could take part in a joint concert, but the composer was too busy to consider such an idea. At the end of that summer Burmester removed to Helsingfors (Helsinki) where he obtained an appointment as concertmaster and soloist with the newly established Philharmonic Orchestra under Robert Kajanus. Burmester's last letter to Tchaikovsky, sent from Helsingfors on 2 February 1893, contained an invitation (seconded by Kajanus) to the composer to come to Helsingfors, "a small but music-loving city which is full of enthusiasm for your masterpieces", and conduct some concerts there as he had done in so many other European cities. Tchaikovsky was unable to travel to Finland that spring, and so Burmester's hopes of playing the Violin Concerto with the composer himself conducting were never fulfilled. A Paganini recital which Burmester gave in Berlin in 1894 led to the international breakthrough he had so yearned for. His solo recitals in Europe and America would attract much attention for their technical feats, although his subsequent career did not fulfil the promise of his earlier years. He finally settled in Berlin, where he taught with success. He was also known for his editions of small pieces for the violin by the older masters. In his autobiography Fünfzig Jahre Künstlerleben (1926) there is a whole chapter dedicated to Tchaikovsky and Hans von Bülow.
Richard Strauss Rudolf Kempe Auerbach Bülow Eugen Albert Brahms Krause Meiningen Court Orchestra 1885 1886 1890 2003
Richard Strauss Burleske in D minor for piano and orchestra Malcolm Frager, piano Staatskapelle Dresden Rudolf Kempe, conductor Painting: Frank Auerbach, Head of William Feaver, 2003 Early in 1885, Strauss began a conducting apprenticeship with Hans von Bülow, who was then the director of the renowned Meiningen Court Orchestra. Even though this lasted only six months, it was of decisive importance for his career. Strauss hoped that his mentor (who was equally celebrated as a pianist and as a conductor) would perform his Burleske (1886) for piano and orchestra, but Bülow's reaction was not encouraging. "There's a different hand position in every bar; do you think I'm going to sit down for four weeks and study such an unmanageable piece?", he demanded of the fledgling composer. Strauss had better luck with another virtuoso, Eugen d'Albert, who took all the difficulties in his stride at the first performance (which was given as part of the 1890 Eisenach Music Festival). Strauss himself conducted the work, which he dedicated to d'Albert. By this stage, however, the composer had begun to lose interest in the piece, and remarked that he objected to performing a work he had already grown out of. The four accented timpani strokes at the start set the tone of cheerful music-making and give the work its “burlesque" character. Some genuinely Straussian characteristics can already be heard in this piece, despite the strong influence of Brahms. The Burleske looks forward to the cheeky humour of Till Eulenspiegel and is certainly more than the work of a talented beginner. Adapted from notes by Ernst Krause
Chicago Symphony Orchestra Shore Strande Frederick Stock Richard Strauss Bülow Brahms Brewer Baedeker Luigi Denza 1864 1885 1886 1887 1935 1949
Recorded in 1935. Frederick Stock, Chicago Symphony Orchestra RICHARD STRAUSS Born June 11, 1864 in Munich; died September 8, 1949 in Garmisch-Partenkirchen Aus Italien ("From Italy"), Opus 16 (1886) PREMIERE OF WORK: Munich, March 2, 1887 Bavarian Court Orchestra Richard Strauss, conductor APPROXIMATE DURATION: 47 minutes INSTRUMENTATION: piccolo, three flutes, two oboes, English horn, two clarinets, three bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, percussion, harp and strings In the autumn of 1885, Hans von Bülow, music director of the Meiningen Orchestra, appointed the 21-year-old Richard Strauss as his conducting assistant. Within months, Strauss was asked to become von Bülow's successor, but he declined the offer in favor of a post as third conductor at the Court Opera in Munich, his hometown. Strauss left his post at Meiningen in April 1886 and did not have to report for his new duties in Munich until August, so, encouraged by Brahms, who shared with the young musician his fond memories of his visits to Italy, he undertook a trip across the Alps during April and May. The journey, financed by his father and by his uncle Georg Pschorr, a wealthy Munich brewer (Pschorr Beer is still a Bavarian favorite and a mainstay of the famous Oktoberfest), took Richard to Verona, Bologna, Rome, Naples, Florence and many smaller cities. Despite losing his leather suitcase in Naples, his laundry in Rome and his Baedeker in a theater, being overcharged by the local merchants, and having to skip a stop in Venice because of an outbreak there of cholera, he thoroughly enjoyed the junket. When he returned to Munich in late May, Strauss was bubbling with ideas for a new work, and he immediately set about creating the set of four tone pictures that became the "Symphonic Fantasy" titled Aus Italien ("From Italy"). Strauss provided the following comments about Aus Italien: "1. Auf der Campagna ('In the Country'). This prelude reproduces the mood experienced by the composer at the sight of the broad extent of the Roman Campagna bathed in sunlight as seen from the Villa d'Este at Tivoli. "2. In Roms Ruinen ('Amid the Ruins of Rome'). Fantastic images of vanished glory, feelings of melancholy and grief amid the brilliant sunshine of the present. The formal structure of the movement is that of a great symphonic [sonata-form] first movement. "3. Am Strande von Sorrent ('On the Shore at Sorrento'). This movement represents in tone painting the tender music of nature, which the inner ear hears in the rustling of the wind in the leaves, in bird song and in all the delicate voices of nature, and in the distant murmur of the sea, whence a solitary song reaches the beach. Contrasting with that distant song are the sensations experienced by the human listener. The interplay in the separation and partial union of these contrasts constitutes the spiritual content of this mood-picture. "4. Neapolitanisches Volksleben ('Neapolitan Folk Life'). The principal theme is a well-known Neapolitan folk song. [Strauss was incorrect. This melody is actually the familiar Funiculi-Funicula by the Italian composer Luigi Denza, but it was so ubiquitous in Naples that he assumed it to be a traditional tune.] In addition, a tarantella the composer heard in Sorrento is used in the coda. After a few noisy introductory bars, the statement of the principal theme by the violas and cellos launches this crazy orchestral fantasy, which attempts to depict the colorful bustle of Naples in a hilarious jumble of themes; the tarantella, at first heard only in the distance, gradually asserts itself towards the end of the movement, and provides the conclusion for this humoresque. A few reminiscences of the first movement may express nostalgia for the peace of the Campagna." Dr. Richard E. Rodda
Kowal Ruth Schönthal Kaija Saariaho Eisinger Ming William Shakespeare Johanna Doderer Bülow Richard Strauss Johannes Brahms Grażyna Bacewicz 1909 1914 1924 1941 1952 1955 1962 1968 1969 1985 1996 1999 2001 2006 2016 2020
Live aus der Alten Schmiede am 15.6.22 Komponistinnen-Liederabend Violetta Kowal Sopran Carol Morgan Klavier Programm: Ruth Schönthal +••.••(...)) Die Angst der Verwandlung Text von Lotte Kottek für Mezzosopran und Klavier Kaija Saariaho (*1952) Arabesques et adages (2016) für Klavier Felicitas Kukuck +••.••(...)) Sieben Lieder (1996/97) nach Gedichten von Selma Meerbaum-Eisinger 1. Den gelben Astern ein Lied 2. Schlaflied 3. Lied 4. Regenlied 5. Schlaflied für mich 6. Schlaflied für dich 7. Wiegenlied Ming Wang (*1962) Stiller Donner für Klavier Roxanna Panufkin (*1968) Mine Eye (1999) Text von William Shakespeare für Mezzosopran und Klavier Johanna Doderer (*1969) Schweigt der Menschen laute Lust (2020) Text von Joseph von Eichendorff Viera Janárčeková (*1941) Drei Chansons für Mascha (1985) für Singstimme und Klavier 1. Der Kultivierte (Hans von Bülow) 2. Der Tüchtige (Richard Strauss) 3. Der Liebenswürdige (Johannes Brahms) Grażyna Bacewicz +••.••(...)) Boli mnie głowa / Mir schmerzt der Kopf (1955) * Violetta Kowal studierte in Krakau und Wien. Seit einigen Jahren beschäftigt sie sich mit dem Liedrepertoire europäischer Komponistinnen des 20./21. Jahrhunderts und bringt gemeinsam mit Carol Morgan selten gehörte Werke wieder ins Konzertleben ein. Das Programm verbindet Komponistinnen der zweiten Hälfte des 20. Jahrhunderts mit heutigen in Wien beheimateten wie Ming Wang und Johanna Doderer. A. del Valle-Lattanzio
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