Frank Beermann Vidéos
chef d'orchestre allemand
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2024-03-29
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Helsingborgs Symfoniorkester Frank Beermann Edvin Kallstenius 1941 2014
Provided to YouTube by NAXOS of America Symphony No. 1 in E-Flat Major, Op. 16: I. Allegro ordinario (1941 Version) · Helsingborgs Symfoniorkester · Frank Beermann Kallstenius: Orchestral Works ℗ 2014 CPO Released on: 2014-11-04 Orchestra: Helsingborgs Symfoniorkester Conductor: Frank Beermann Composer: Edvin Kallstenius Auto-generated by YouTube.
Robert Schumann Frank Beermann Assisi Hermann Hans Wetzler 2009
Provided to YouTube by NAXOS of America Visionen, Op. 12: V. Fugato · Robert-Schumann-Philharmonie · Frank Beermann Wetzler, H.H.: Visionen / Assisi ℗ 2009 CPO Released on: 2009-01-01 Orchestra: Robert-Schumann-Philharmonie Conductor: Frank Beermann Composer: Hermann Hans Wetzler Auto-generated by YouTube.
Charles Auguste Bériot Albrecht Breuninger Frank Beermann Giovanni Battista Viotti Pierre Baillot Paganini Nordwestdeutsche Philharmonie 1625 1802 1810 1857 1870
Charles-Auguste de Bériot - Concerto for Violin No. 2 in B minor, Op.32, Laurent Albrecht Breuninger (violin), Nordwestdeutsche Philharmonie, Frank Beermann (conductor) I. Allegro maestoso – 00:00 II. Andantino – 16:25 III. Rondo russe. Allegretto – 23:05 Charles Auguste de Bériot (20 February 1802 – 8 June 1870) was a Belgian violinist and composer. In 1810 he moved to France, where he studied violin with Jean-François Tiby, a pupil of Giovanni Battista Viotti. Bériot was performing publicly by age nine. He was later encouraged by Viotti himself and briefly worked with Pierre Baillot but did not embrace all their teachings. “Bériot’s music is highly engaging and romantic. He flourished at the height of the romantic era, and his music reflects this. His ten violin concertos and the first Scène de Ballet are probably his best known works. In the former he was quite inventive, writing concertos with only one movement, or connected movements (one “official” movement though each of the traditional three movements is visible in the structure), or using themes in more than one movement as a unifying device—fairly new procedures for the time. Bériot also used many of the same techniques that Paganini was also using in his works: harmonics, extensive use of double stops, ricochet bowing. In his concertos, however, Bériot is not after mere technique. All of his violin writing, no matter how much it relies on a formidable technique, is very much “within” the capabilities of the violin. Bériot was also a dedicated pedagogue and spent a great deal of time on his various studies or caprices designed to create mastery of the instrument. He wrote a Méthode de violon in 1857 and l’Ecole transcendante du violon, Op. 123, among many other similar works. The goal was not just technical mastery, though that was, of course, important. It was to create a well-rounded musician who was as good a communicator as technician. Certainly Bériot attempted, and achieved, this goal often, as the evidence of the works included here amply shows. The technique and style of Bériot eventually became part and parcel of the violinist’s trade. Building on the French School tradition of his youth, he was a door to a modern conception of violin composition and playing.” (by Bruce R. Schueneman)
Ndr Radiophilharmonie Frank Beermann Friedrich Ernst Fesca Ernst Fesca 2000
Provided to YouTube by NAXOS of America Symphony No. 2 in D Major, Op. 10: III. Scherzo (Presto) · NDR Radiophilharmonie · Frank Beermann Fesca: Symphonies Nos. 2 & 3 - Cantemire Overture ℗ 2000 CPO Released on: 2000-01-01 Orchestra: NDR Radiophilharmonie Conductor: Frank Beermann Composer: Friedrich Ernst Fesca Auto-generated by YouTube.
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