Heinrich Strecker Vidéos
compositeur autrichien d'opérettes et de chansons viennoises
- opérette
- Autriche
- compositeur ou compositrice, compositeur de musique de film
Dernière mise à jour
2024-04-28
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Heinz Holecek Denk Heinrich Strecker 1988 2013
Provided to YouTube by Rebeat Digital GmbH Wo du bist, da bin auch ich zuhaus · Heinz Holecek · Emmy Denk Evergreens von Heinrich Strecker ℗ 1988 Preiser Records Released on: 2013-05-16 Composer: Heinrich Strecker Auto-generated by YouTube.
Paul Hindemith Sviatoslav Richter Strecker 1895 1921 1922 1940 1963 1989
-Composer: (16 November 1895 – 28 December 1963) -Performer: Sviatoslav Richter -Recorded in 1989 Suite 1922, for piano, Op. 26, written in 1921-22 00:00 - I. Marsch 01:36 - II. Shimmy 04:54 - III. Nachtstück 11:44 - IV. Boston 18:04 - V. Ragtime Whereas in the Kleine Kammermusik of 1921 Hindemith chuckled good-naturedly about such shopworn forms as marches and waltzes, in the 1922 Suite for solo piano, his attitude toward the march, shimmy, Boston and ragtime is more plainly bad-tempered. In the years immediately following the First World War, Hindemith had been privately composing pastiches of popular dances of the day, but had held them back from publication, considering them mere "sports." By 1922, however, Hindemith no longer had any qualms about using popular music as a basis for serious musical statements. In Suite "1922", satire borders on sarcasm; in the opening "Marsch," the pianist is instructed to play it "rather clumsily." The writing for the piano is unusually thick and heavy with chords, especially in the left hand; as such it is almost unrecognizable as coming from one of the master contrapuntalists of the twentieth century. The rhythm is irregular, and the harmonies / built on dissonant, cluster-like explosions and angular aggregations of fourths and fifths / make for a very unmarchable march indeed. The other dance forms are similarly undermined in the suite. The second movement, "Shimmy," is based on a dance-hall variant of the foxtrot, but makes only occasional allusions to the form, spending most of its time musing on a dour, ambiguously harmonized theme. The central "Nachtstück" anticipates Hindemith's serious and contemplative mature style / harmonically quite dark in this instance; the central section is ethereal, with haunting motives drifting about in the upper range of the keyboard. It is succeeded by an equally unsettled "Boston" / an old American dance with similarities to the waltz. Repeated attempts to establish the requisite triple-time drift instead into tonally ambiguous (albeit fascinating) meditations. For the "Ragtime" finale, Hindemith instructs the pianist to play wildly but in strict rhythm, and to "[r]egard the piano here as an interesting percussion instrument." Dissonance reaches its maximum intensity in this loud and disturbing movement. In 1940, Hindemith wrote to Hugo Strecker, "I think it is not necessary to reprint that awful Suite '1922'.... The piece is really not an honorable ornament in the music-history of our time, and it depresses an old man rather seriously to see that just the sins of his youth impress the people more than his better creations." That it continued to impress listeners, however, amply demonstrates its intrinsic value. [allmusic.com]
Moritz Eggert Eggert Huw Watkins Schott Hanser Strecker 2012
Huw Watkins plays "Hämmerklavier XXIV: Trigonometrie". Read and download the score on Notafina (http•••) The Petrushka Project is an unprecedented international live concert and commissioning initiative presented by Schott Music, boasting premieres of 75 solo piano pieces by a wide range of composers around the world. The Project affords a rare and unique opportunity for the infusion of a huge variety of new piano works into the international repertoire. Composers from 26 countries took part in Petrushka Project 2012, and the Project will be continued in the coming years. "One of Peter (Hanser-Strecker's) indisputably greatest talents is his ability to be in almost all places around the world simultaneously and create continuous new connections between pairs of opposites and among an amazingly broad spectrum of individuals. He constantly succeeds in discovering the individual points which can be joined up with connecting lines. This is for example how he succeeds in linking the Orient and the Occident and serious and light music with a dizzying ease and incredible gracefulness. Naturally, his height helps him to retain an overview. We learn at school that geometry begins with the linking of points and that trigonometry helps us to calculate the surface area of geometric objects. Despite the most complex calculations and the stretching of the fingers to achieve maximum simultaneousness on a variety of musical levels in my piece, I have unfortunately not succeeded in calculating the precise surface area of Peter, but my attempt / which is certainly also a dance, particularly a dance for the fingers / has however resulted in the creation of this piece." (Moritz Eggert, 16.5.2012) - Learn more about Eggert at (http•••) - The entire "Dances of Our Time" collection is available at (http•••)
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