Ignaz Holzbauer Vidéos
compositeur autrichien
- opéra, symphonie, musique liturgique, musique classique
- Autriche
- compositeur ou compositrice, chef ou cheffe d'orchestre, maître de chapelle
Dernière mise à jour
2024-05-02
Actualiser
Ludwig August Lebrun Vavilov Carl Stamitz Stamitz Anton Stamitz Franziska Danzi Franz Danzi Ignaz Holzbauer Antonio Salieri Georg Joseph Vogler Charles Burney Bern Heinz Holliger Maurice Bourgue Couperin Netherlands Chamber Orchestra Rotterdam Philharmonic Orchestra 1747 1752 1777 1778 1787 1790 1951 1974 1976 1984 1989
Ludwig August Lebrun Concerto for Oboe and Orchestra No.1 in D minor - 1 Allegro Oboe: Thomas Indermuhle Conductor.: Toomas Vavilov Estonian Orhestra / Ludwig August Lebrun (2 May 1752 in Mannheim 16 December 1790 in Berlin) was a German oboist and composer. The well-known and celebrated oboe virtuoso (a contemporary described being "charmed by his divine oboe"), played with the orchestra at the court of the Prince-Elector Carl Theodor in Mannheim. He started playing with the orchestra at the age of 12 and became a full member at the age of 15. His father, also an oboist of probably Belgian origin, worked from 1747 at the Mannheim court. He was a contemporary of Carl Stamitz and Anton Stamitz, and belonged to the Mannheim school. In the summer 1778 he married the soprano Franziska Danzi, the sister of Franz Danzi, one of the most outstanding and well-known singers of the time. With her he travelled extensively across Europe: Milan, Paris, London, Vienna, Prague, Naples, Munich and Berlin. The couple's playing and singing complemented each other perfectly and arias with obbligato oboe were written for them, as for instance those in Günther von Schwarzburg (1777) by Ignaz Holzbauer, L'Europa riconosciuta (1778) by Antonio Salieri and Castore e Polluce (1787) by Georg Joseph Vogler. The music historian Charles Burney wrote about appearances of the pair: "Franziska Danzi and the excellent oboist Lebrun usually travel together, and it seems as though she has listened to nothing other than his instrument, for when they perform together in thirds and sixths one cannot hear which is the upper or the lower voice!" He died at the age of 38. Thomas Indermühle Born in Bern in 1951, Thomas Indermühle is a scion of a Swiss family of musicians. He studied with Heinz Holliger at the Staatliche Musikhochschule im Freiburg in Breisgau, and with Maurice Bourgue in Paris. Afterwards, he spent several years as a solo oboist in the Netherlands Chamber Orchestra and the Rotterdam Philharmonic Orchestra. In 1974 he was awarded a prize at the International Competition in Prague, and in 1976 he won the International ARD Competition in Munich. Since then, he has appeared as a soloist in almost all European countries, in the USA, Canada, Japan, Korea and Australia. Of great importance to him are his "Ensemble Couperin", his activity as a conductor, and his work with his students. Indermühle has been responsible for an oboe class at the Zurich Conservatory since 1984, and in 1989 he was appointed professor at the Staatliche Hochschule fur Musik in Karlsruhe. His CDs are available on Camerata, Philips, EMI, Claves and Novalis.
Mojca Erdmann Erdmann Bach Holzbauer Paisiello Andrea Marcon Baroque Orchestra 2011
The buzz about Mojca Erdmann, young German lyric soprano, will become louder upon the release of her Deutsche Grammophon recording debut. "Mozart's Garden" combines a variety of Mozart's best beloved arias with cannily chosen works by his contemporaries such as J. C. Bach, Holzbauer, and Paisiello. Mojca Erdmann sheds new light on Mozart's universal genius with a timbre that like light itself, contains every color that exists within it. She makes her music with worthy colleagues: Andrea Marcon and the outstanding period instrumentalists of La Cetra Baroque Orchestra Basle. The album will be released in April 2011. Mojca Erdmann – Mozart: Die Zauberflöte, Act 2: Ach ich fühl's, es ist verschwunden Listen to „Mozart's Garden“ – (http•••) Subscribe here – The Best Of Classical Music: (http•••) For more information please see: (http•••) For more information about the artist please see: (http•••) / Mojca Erdmann La Cetra Barockorchester Basel Andrea Marcon Landgasthof, Riehen, Basle, Switzerland / Find Deutsche Grammophon Online Homepage: (http•••) Facebook: (http•••) Twitter: (http•••) Instagram: (http•••) Newsletter: (http•••) / 最高のクラシック音楽―登録はこちら: (http•••) 最优质古典音乐 – 此处订阅: (http•••) Лучшая Классическая Музыка - Подписаться: (http•••) La mejor música clásica - Suscríbase aquí: (http•••) Le meilleur de la musique classique. Pour vous abonner cliquez ici: (http•••)
Warnier Louis Feltz Bach Marianus Königsperger Ignaz Holzbauer Michael Haydn Haydn Franz Xaver Gruber Stille 1071 1816 1818 1850 2020
Fantaisie de Noël autour de Mozart Le Parlement de Musique avec Eugénie Warnier enregistré le 29 novembre 2020 à Saessolsheim, Alsace Programme * Louis Feltz (né à Huttenheim, Alsace en 1816) : Hodie Christus natus est pour soprano, choeur & instruments (Langres vers 1850) - Ce motet sur le mode pastoral a connu une fortune exceptionnelle, internationale. * W.A.Mozart : Andante du Concerto KV 107,1 d’après la sonate de Joh. Christian Bach op. 5, 2 * W.A.Mozart : Laudate Dominum en la majeur pour soprano, orgue concertant et cordes KV 321 * Marianus Königsperger : Concerto pastorale pour hackbrett (psaltérion), cordes et continuo * Ignaz Holzbauer : Pastorella, cantate de bergers se rendant à la crèche : soprano, choeur, instruments * W.A.Mozart : Sonata a l’Epistola en ut pour orgue concertant & cordes KV 336 * Michael Haydn : Ave Regina Coelorum, motet pour soprano, cordes et orgue 6’30 * W.A. Mozart : Romanze extraite de la Sérénade "Eine Kleine Nachtmusik" * Franz Xaver Gruber : Stille Nacht, version originale (1818) pour soprano, choeur, et tous les instruments Avec le concours des Noëlies / Noël en Alsace, Le Parlement de Musique est soutenu par la Ville de Strasbourg.
Jean Joseph Cassanéa Mondonville Dolmetsch Dumesnil Latour Jean Philippe Rameau André Campra Charles Hubert Gervais Michel Blavet Jean Pierre Guignon Marie Fel Barrière Jacques Duphly Maximilien Pancrace Royer Antoine Dauvergne Claude Balbastre Gossec Holzbauer Wagenseil Lalande Concert Spirituel 1680 1685 1704 1708 1711 1719 1731 1733 1734 1738 1739 1740 1744 1746 1747 1748 1749 1755 1758 1762 1772 1780 1788 1791 1804 1911 1997
★ Follow music ► (http•••) Composer: Jean-Joseph de Mondonville +••.••(...)) Work: Sonate (I) en trio, œuvre II (1734) Performers: Fiona Howes (flute); Carl Dolmetsch +••.••(...), recorder); Andrew Pledge (cembalo); Marguerite Dolmetsch (viola da gamba) Painting: Louis-Michel Dumesnil +••.••(...)) - The Reception of Cornelis Hop +••.••(...)) as Legate of the States-General at the Court of Louis XV, 24 July 1719 Image in high resolution: (http•••) Painting: Maurice Quentin de Latour +••.••(...)) - Portrait of Jean-Joseph Cassanéa de Mondonville (c.1746) Image in high resolution: (http•••) Further info: (http•••)o/files/imglnks/usimg/5/53/IMSLP261560-PMLP424190-mondonville_sonatas_em_trio.pdf Listen free: (http•••) / Jean-Joseph Cassanéa de Mondonville (Narbonne, bap. 25 December 1711 - Belleville, 8 October 1772) French composer, violinist and conductor. With Jean-Philippe Rameau, he was one of the outstanding figures of French music in the 18th century. He probably received his musical education from his father, who was organist of Narbonne Cathedral. In 1731 he settled in Paris and made his début as a violinist at the Concert Spirituel on Palm Sunday 1734, on which occasion the Mercure de France praised him for his virtuosity. At about this time he also published his first collections of instrumental music, a set of violin sonatas op.1 (1733) and the Sonates en trio op.2 (1734). He was first violin in the Concert de Lille when, in 1738, he published Les sons harmoniques op.4, a set of violin sonatas with an introduction setting out, for the first time, the technique of playing harmonics on the violin by lightly touching an open string. On 1 April 1739, he was appointed violinist of the royal chamber and chapel. Mondonville's first grands motets, performed at Versailles in 1738, met with great success at the Concert Spirituel the following year. The Mercure de France (April 1739) stated that the fame of the ‘young master’ was now established not only as a violinist but also as a composer. He was extremely busy at this time; in 1739 he received fees for about 100 concerts in Versailles, Compiègne, Fontainebleau and Marly. In July 1740 Mondonville acquired the reversion of André Campra's post as sous-maître of the royal chapel and acceded to the position itself on 4 March 1744 on the death of Charles-Hubert Gervais; but, since he was not permitted to publish the motets he composed for the chapel, he resigned the post in 1758. He was also pursuing his career as a violinist, performing both as a soloist and with the flautist Michel Blavet, the violinist Jean-Pierre Guignon and the singer Marie Fel, for whom he wrote a violin concerto with a vocal part (now lost) given at the Concert Spirituel in 1747. In 1748 Mondonville married the harpsichordist Anne Jeanne Boucon +••.••(...)), a pupil of Rameau to whom Jean Barrière, Jacques Duphly and Rameau himself all dedicated harpsichord pieces; their son, Maximilien Joseph (1749–1804), became an amateur violinist and oboist. In June 1748 Mondonville became associated with Pancrace Royer in the organization of the Concert Spirituel. On Royer's death in 1755 he became director of the Concert, with Capperan, until July 1762, when Antoine Dauvergne obtained the privilege for a nine-year period. As conductor of the orchestra Mondonville introduced various innovations from 1755 onwards, including organ concertos by Claude Balbastre, who also entertained the audience by playing organ adaptations of Mondonville's overtures to Daphnis et Alcimadure and Titon et l'Aurore. Mondonville also included in the programmes symphonies by Gossec and by foreign composers such as Holzbauer and Wagenseil. His own works were very popular. Up to 1791 Mondonville was the composer most frequently played at the Concert Spirituel; with 39 pieces on the programmes, and a total of 510 performances, he comes ahead of Lalande (31 pieces and 421 performances) in the repertory of the Concert from the time of its creation. His motets – in which the influence of Lalande is perceptible – were extremely successful, both the grands motets with chorus (Dominus regnavit, Magnus Dominus, Jubilate Deo, Coeli enarrant) and the petits motets for solo voice (Regina coeli, Simulacra gentium) forming part of the basic repertory of the Concert Spirituel.
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