Hans von Koessler Vidéos
compositeur allemand
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- compositeur ou compositrice, musicologue, professeur ou professeure de musique, professeur ou professeure d'université
Dernière mise à jour
2024-04-28
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Béla Bartók Franz Liszt Hans Koessler Max Reger Johannes Brahms István Thomán David Popper Dittrich Stravinsky Malipiero Milhaud Debussy Franz Liszt Academy Music 1885 1895 1903 1904 1905 1908 1958
Samuel Michalec - Piano 00:00 Allegro Appasionato 08:56 Tempo di minuetto - Poco piu lento - Andante con motto - Allegro molto moderato Alexander Albrecht +••.••(...)) was a Slovak composer and an important exponent of the Slovak music in the first half of the 20th century. From 1895 to 1903 he attended the Royal Catholic Gymnasium in Bratislava, where he met and befriended Béla Bartók. From 1904 to 1908 he studied at the Franz Liszt Academy of Music in Budapest. He studied composition as a pupil of Hans Koessler (a cousin of Max Reger and a great admirer of Johannes Brahms), and piano with István Thomán. Among his other teachers were Ferencz Szandtner, with whom he studied conducting, and David Popper (a chamber music teacher). During his studies Albrecht asserted himself as a successful pianist. Following his return to Bratislava in 1908, he accepted the post of organist at the St. Martin's Cathedral. Simultaneously he perfected his organ playing technique with Rudolph Dittrich in Vienna. He began his composing career at the Budapest Academy. His teacher Hans Koessler attempted to instill the classical composing principles in his pupils, but Albrecht found an inspiration also in modern compositions of his contemporaries. He studied works of Stravinsky, Malipiero, Milhaud, Reger, Debussy and others. He commited suicide.
Ernst Dohnányi István Thomán Hans Koessler Max Reger Franz Liszt Johannes Brahms Eugen Albert Bronisław Huberman Bartók Royal National Hungarian Academy Music Kodály 1877 1894 1897 1912 1917 1919 1949 1953 1955 1957 1960
Ernst von Dohnányi +••.••(...)) was a Hungarian composer, pianist and conductor. He used a German form of his name on most of his published compositions. (not Dohnányi Ernő). Dohnányi was born in Pozsony, Kingdom of Hungary, Austria-Hungary (today Bratislava, capital of Slovakia). He first studied music with his father, a professor of mathematics and an amateur cellist, and then when he was eight years old, with Carl Forstner, organist at the local cathedral. In 1894, in his 17th year, he moved to Budapest and enrolled in the Royal National Hungarian Academy of Music, studying piano with István Thomán and composition with Hans von Koessler, a cousin of Max Reger. István Thomán had been a favorite student of Franz Liszt, while Hans von Koessler was a devotee of Johannes Brahms's music. These two influences played an important part in Dohnányi's life: Liszt on his piano playing and Brahms on his compositions. Dohnányi did not study long at the Academy of Music: in June 1897 he sought to take the final exams right away, without completing his studies. Permission was granted, and a few days later he passed with high marks, as composer and pianist, graduating at less than 20 years of age. After a few lessons with Eugen d'Albert, another student of Liszt, Dohnányi made his debut in Berlin in 1897 and was recognized at once as a performer of high merit. Similar success followed in Vienna and on a subsequent tour of Europe. Before World War I broke out, Dohnányi met and fell in love with a German actress (also described as a singer), Elsa Galafrés, who was married to the Polish Jewish violinist Bronisław Huberman. They could not yet marry as their spouses refused to divorce them, but nonetheless, Dohnányi and Elsa Galafrés had a son, Matthew, in January 1917. Both later gained the divorces they sought and were married in June 1919. (this piece was composed in 1912) From 1949, Dohnányi taught for ten years at the Florida State University School of Music in Tallahassee. He became an honorary member of the Epsilon Iota chapter of Phi Mu Alpha Sinfonia fraternity there. He and his wife Ilona became American citizens in 1955. In the United States, he continued to compose and became interested in American folk music. His last orchestral work (except for a 1957 revision of the Symphony No. 2) was American Rhapsody (1953), written for the sesquicentennial of Ohio University and including folk material, for example, "Turkey in the Straw", "On Top of Old Smokey" and "I am a poor wayfaring stranger". Dohnányi's composing style was personal, but very conservative. His music largely subscribes to the Neoromantic idiom. Although he used elements of Hungarian folk music, he is not seen to draw on folk traditions in the way that Bartók or Kodály do. Some characterize his style as traditional mainstream Euro-Germanic in the Brahmsian manner (structurally more than in the way the music actually sounds) rather than specifically Hungarian, while others hear very little of Brahms in his music. / - A method to find scores: (http•••) - My donation link to keep the channel growing: (http•••) Thanks for listening :-)
Ulf Wallin Smirnov Hans Koessler 2021
Provided to YouTube by Believe SAS Hungarian Dance Tunes: No. 2, Allegro vivo · Ulf Wallin · Juri Smirnov · Hans Koessler · Ulf Wallin · Juri Smirnov Koessler - Works for Violin and Piano ℗ VMS Musical Treasures Released on: 2021-10-17 Auto-generated by YouTube.
Zoltán Kodály Franz Liszt Hans Koessler Tales Béla Bartók Widor Claude Debussy Andrássy Kodály Franz Liszt Academy Music 1900 1905 1906 1907 1909 1910 1914 1915 1917 1923
Zoltan Kodaly, Born in Kecskemét, Kodály's father was a stationmaster and keen amateur musician, and Kodály learned to play the violin as a child. He also sang in a cathedral choir and wrote music, despite having little formal musical education. In 1900, Kodály entered the University of Budapest to study modern languages, and began to study music at the Franz Liszt Academy of Music in Budapest, where Hans Koessler taught him composition. One of the first people to undertake the serious study of folk tales, Kodály became one of the most significant early figures in the field of ethnomusicology. In 1905 he visited remote villages to collect songs recording them on phonograph cylinders. In 1906 he wrote the thesis on Hungarian folk song ("Strophic Construction in Hungarian Folksong"). Around this time Kodály met fellow composer Béla Bartók, whom he took under his wing and introduced to some of the methods involved in folk song collecting. The two became lifelong friends and champions of each other's music. After gaining his PhD in philosophy and linguistics, Kodály went to Paris where he studied with Charles Widor. There he discovered and absorbed various influences, notably the music of Claude Debussy. In 1907 he moved back to Budapest and gained a professorship at the Academy of Music there. He continued his folk music-collecting expeditions through World War I without interruption. Commemorative plaque in Andrássy Avenue, BudapestKodály had composed throughout this time, producing two String quartets (op.2, 1909 and op.10, 1917 respectively), Sonata for cello and piano (op.4, 1910) and Sonata for cello solo (Op. 8, 1915), and his Duo for violin and cello (op.7, 1914). All these works show a great originality of form and content, a very interesting blend of highly sophisticated mastery in the Western-European style of music, including classical, late-romantic, impressionistic and modernist tradition and at the other hand profound knowledge and respect for the folk music on Hungary, Slovakia, Bulgaria, Albania and other Eastern-European countries. Due to the outbreak of the First World War and subsequent major geopolitical changes in the region and partly because of the personal shyness Kodály had no major public success until 1923 when his Psalmus Hungaricus premiered at a concert to celebrate the fiftieth anniversary of the union of Buda and Pest (Bartók's Dance Suite premiered on the same occasion.) Following this success, Kodály travelled throughout Europe to conduct his music.
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