Franz Lachner Vidéos
compositeur et chef d'orchestre allemand
- orgue
- opéra, symphonie
- Reich allemand
- chef ou cheffe d'orchestre, compositeur ou compositrice
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2024-05-13
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Julius Röntgen Klengel Ferdinand David Moritz Hauptmann Carl Reinecke Franz Lachner Johannes Brahms Amanda Maier Edvard Grieg Carl Nielsen Percy Grainger Carl Flesch Bronisław Hubermann Pablo Casals Gewandhaus Concertgebouw Thomanerchor Leipzig 1230 1810 1829 1831 1854 1855 1864 1870 1873 1874 1877 1888 1894 1897 1913 1924 1929 1930 1932 1940 1976 2005
00:00 - I. Lento e mesto 04:50 - II. Un poco agitato 08:10 - III. Fantasia: Lento, improvisando 12:30 - IV. Allegro / Bassoon: Peter Gaasterland Piano: Ariane Karres Year of Recording: 2005 / Copyright remark: This video has been published under the permission of Accolade Musikverlag, Germany (the score of which is featured in this video). This score is available for purchase at several online sheet music retailers, such as TrevCo Music or Accolade Notenversand. / "Julius Röntgen was born on 9 May 1855 in Leipzig and grew up in a musical household. His mother Pauline (1831–1888), a gifted pianist, was a descendant of the famous Klengel musical dynasty in Leipzig, while his father, the violinist Engelbert Röntgen (1829–1897) who was born in the Dutch city of Deventer, was leader of the Gewandhaus Orchestra. Julius, who never went to school, received a thorough education from private tutors and began to learn the piano at the age of four. Following musical tuition from his mother and his grandfather Moritz Klengel, Julius had violin lessons from his father and Ferdinand David (1810–1873). Among his theory and composition teachers were Moritz Hauptmann, cantor of the Thomanerchor in Leipzig, Carl Reinecke and later Franz Lachner in Munich. Julius wrote his first composition, a violin duo, in 1864 at the age of eight. A meeting with Brahms in the spring of 1874 had a decisive influence on his compositional style, but Röntgen’s admiration for Brahms later brought with it accusations of second-rate imitation of the older composer’s music, a stigma which stayed with him for a long time. In 1877 Julius Röntgen decided to take up the post of a piano teacher in Amsterdam. He remained in that city until his death and became one of the most important personalities in Dutch musical life, not only as a teacher, pianist and conductor, but as a co-founder of the Amsterdam Conservatory, whose director he was from 1913 to 1924, as the promoter of concert series and as a driving force behind the design and construction of the Concertgebouw building. After the early death of his first wife Amanda Maier (1854–1894), a Swedish violinist and composer, in 1897 Röntgen married his piano pupil Abrahamine van der Hoeven (1870–1940). Five of his sons became successful musicians with whom he made countless concert appearances. His fifth son, Frants, was to become an architect. Among Röntgen’s friends were the composers Edvard Grieg, (after whose death he was not only the executor of Grieg’s musical estate but the author of a biography of the composer), Johannes Brahms (who used the main theme of the first movement of Röntgen’s Wind Serenade, Op. 14, in his Symphony No. 2), Carl Nielsen and Percy Grainger. Julius Röntgen was also a soloist and an in-demand piano accompanist of Carl Flesch, Bronisław Hubermann, Joseph Joachim and Pablo Casals. A few months before the composer’s death, on 13 September 1932, Casals paid his longtime friend a final visit and Röntgen dedicated one of his last works to him. Julius Rontgen’s musical output comprises around 650 works, written in almost every genre. At first his music was deeply rooted in the romanticism of the nineteenth century but in later years Röntgen developed his own individual style. Latterly he experimented with bitonality, was influenced by elements of Afro-American music and wrote incidental music for several folkloristic films by the Dutch director Dirk Jan van der Veen. It was not until a few years before his death that Julius Röntgen received the public recognition that was earlier denied him. The University of Edinburgh conferred an honorary doctorate on him in 1930 and shortly afterwards his native city of Amsterdam honoured him with a ceremonial gala concert in the Concertgebouw in which Röntgen was the soloist in performances of his last two piano concertos." (NAXOS) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Julius Röntgen Lachner Hauptmann Louis Plaidy Carl Reinecke Julius Stockhausen Stockhausen Liszt Coenen Daniël Daniël Lange Heinze Johannes Verhulst Pablo Casals Brahms Grieg Schumann Reger Debussy Niederrheinisches Musikfest Felix Meritis 1855 1869 1870 1877 1878 1884 1885 1891 1901 1912 1924 1925 1926 1930 1932
Julius Röntgen +••.••(...)) Sonate for piano and violoncello, Op. 41 (1901) Doris Hochscheid, violoncello Frans van Ruth, piano dedicated to Isaac Mossel The CD and more information on Dutch Cello Sonatas are available at: www.cellosonate.nl Julius Röntgen was a Dutch composer, conductor and pianist, son of Engelbert Röntgen. The most celebrated member of the family, he studied composition with Friedrich Lachner, harmony and counterpoint with Hauptmann and E.F. Richter and the piano with Louis Plaidy and Carl Reinecke. He began composing at the age of nine, and in 1869 he made his début as a composer at the Niederrheinisches Musikfest in Düsseldorf with a duo for two violins, performed by his father and Joseph Joachim. After giving concerts in Düsseldorf, Hamburg and Baden-Baden he settled in Cannstatt (18734) as accompanist to the baritone Julius Stockhausen. He visited Liszt in Weimar in 1870. From 1877 to 1925 Röntgen lived in Amsterdam, where he became a piano teacher at the music school in 1878 (the school acquired conservatory status in 1884). From 1912 to 1924 he was director of the Amsterdam Conservatory, succeeding Frans Coenen and Daniël de Lange, and he remained there as a piano teacher until 1926. He succeeded G.A. Heinze as conductor of the choral society Excelsior (18846) and Johannes Verhulst as conductor of the Amsterdam Toonkunstkoor +••.••(...)); he also directed the Felix Meritis concerts for some time. As a pianist, he gave many recitals, was accompanist to the Dutch baritone Johannes Messchaert and Pablo Casals and, with his sons Julius Röntgen and Engelbert Röntgen, formed the Röntgen Trio before World War I. During his stay in Amsterdam he became friendly with Brahms, who visited the Netherlands in 1884 and 1885; he was also friendly with Grieg, who dedicated his Lyrische Stücke op.54 to him (1891). In 1925 he retired to a villa in Bilthoven to spend the remaining years of his life composing and writing; after World War II the Gaudeamus Foundation was established in his house. A prolific composer, Röntgen belongs to the late Romantic school. His early works show the influence of Schumann (in the Serenade for Wind op.14) and Brahms (in the Toskanische Rispetti op.9); in other works a Scandinavian influence can be detected, even in some written before his acquaintance with Grieg. He was also attracted by the folk music of many countries, especially evident in his Boerenliedjes en contradansen. In later years the influence of Reger is apparent in his polyphonic works, and the bitonal Symphony of 1930 looks back to Debussy.
Franz Liszt Ernst Pauer Andreae Eugen Albert Vincenz Lachner Lachner Samuel Lange Michaelis 1813 1866 1885 1887 1897 1901 1908 1917 1918 1920 1924 1932 1933 1934 1945
Franz Liszt +••.••(...)) ETUDE NR. 11 (Harmonies du soir), Gespielt von Prof. Max von Pauer +••.••(...)) Notenrolle der Firma Philipps (Nr. 600) Flügel "GROTRIAN STEINWEG" (Braunschweig) mit Selbstspieleinbau der Firma "PHILIPPS" (Frankfurt / M.) (um 1918) Max von Pauer (* 31. Oktober 1866 in London; † 12. Mai 1945 in Jugenheim) war ein deutscher Pianist und Musikpädagoge. Pauer wurde 1866 in London als Sohn des Pianisten Ernst Pauer und dessen Frau Ernestine Pauer, geb. Andreae, geboren. Er studierte bis 1885 Klavier bei seinem Vater an der Royal Academy of Music zusammen mit Eugen d’Albert, seit 1885 Komposition bei Vincenz Lachner am Großherzoglichen Konservatorium in Karlsruhe. Von 1887 bis 1897 unterrichtete er am Konservatorium Köln und von 1897 bis 1924 am Königlichen Konservatorium für Musik Stuttgart. Im Jahr 1908 wurde er als Nachfolger von Samuel de Lange Direktor der Institution, für seine Verdienste wurde er von König Wilhelm II. von Württemberg geadelt. 1920 gestaltete er das Konservatorium zur modernen Musikhochschule um. Von 1924 bis 1932 leitete er das Landeskonservatorium der Musik zu Leipzig. 1933 bis 1934 war er Direktor der städtischen Musik-Hochschule in Mannheim. Im Frühjahr 1917, mitten im Ersten Weltkrieg, unternahm er mit der Violinistin Melanie Michaelis eine Deutschlandtournee, u. a. nach Berlin und Freiberg. Er war ein Pianist von Weltgeltung, der großen Wert auf die Werktreue legte und wie sein Vater zahlreiche Werke in Bearbeitungen herausgab. (Quelle: Wikipedia)
Tchaikovsky Bach Sergei Prokofiev Lachner Modest Tchaikovsky Sergei Taneyev Rubinstein 1831 1878 1879 1894
Tchaikovsky: Orchestral Suite No. 1 in D minor, Op. 43 (1879) VI. Gavotte. Allegro (D major) Tchaikovsky's Suite No. 1 in D minor, Op. 43 (TH 31 ; ČW 28), was written and orchestrated between August 1878 and April 1879, except for the second movement (Divertimento), which was added in August 1879. Instrumentation: The Suite is scored for an orchestra comprising 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets (in A, B-flat), 2 bassoons + 4 horns (in F), 2 trumpets (in D, F) + 2 timpani, triangle, glockenspiel + violins I, violins II, violas, cellos, and double basses. Movements and Duration: There are six movements. The complete suite lasts between 35 and 40 minutes in performance. VI. Gavotte. Allegro (D major) Tchaikovsky may have chosen to model this movement after a stately Baroque dance, but the music had less to do with J. S. Bach's style than it does, with its discreet piquancy, as a precursor to the corresponding movement in Sergei Prokofiev's Classical Symphony. Composition: In the early stages of composition, Tchaikovsky did not envisage that his new work would take the form of a suite. On 15/27 August 1878 he wrote to Nadezhda von Meck from Brailov: "This morning I had such an urge to write down an orchestral scherzo that I could not resist the urge, and spent two hours working on it". The idea to compile an orchestral suite occurred to him later. In a letter to Nadezhda von Meck of 25 August/7 September the same year, from Verbovka, Tchaikovsky wrote: "In Brailov I managed to note down on paper sketches for an orchestral scherzo. It was only afterwards that the idea came into my head for a whole cycle of pieces for orchestra, which should form a Suite in the style of Lachner. On arriving in Verbovka, I felt I simply could not resist my inner compulsion, and consequently hastened to set down on paper sketches for this suite. I worked with such enjoyment, with such enthusiasm, that I literally did not notice the hours fly by. Currently three movements of these future orchestral pieces are ready, a fourth is roughly outlined, while a fifth is taking shape in my head ... The suite will consist of five movements: 1) Introduction and Fugue, 2) Scherzo, 3) Andante, 4) Intermezzo (Echos de bals), 5) Rondo". During the course of composition, the names of the movements were continually changing. For instance, in letters to Modest Tchaikovsky of 13/25 November and to Pyotr Jurgenson of 15/27 November 1878, the composer called the third movement Andante melancolico, and the last two movements: March of the Lilliputians and Dance of the Giants. Complicating matters was that, in August 1879, after Pyotr Jurgenson had already started engraving the printing plates for the suite, Tchaikovsky realized all the movements were in duple meter—in other words, two beats per measure. He quickly penned a Divertimento in triple meter, which he called a minuet but is actually a waltz, to break up this potential metric monotony. Tchaikovsky suggested replacing the March with the Divertimento. Jurgenson liked the March and suggested letting the suite expand to six movements. Six movements, to Tchaikovsky, was one movement too many. He suggested that Sergei Taneyev be asked his opinion of the March. If Taneyev thought it worthwhile, then Tchaikovsky wanted to drop the Andante and reorder the movements as Introduction and Fugue, Divertimento, Scherzo, March, Gavotte. The Andante's case was then pleaded to the composer. By the time Rubinstein conducted the premiere, the order of the six movements was the one finally established. Arrangements: The Suite was arranged for piano duet (4 hands) by the composer. The arrangement of the Gavotte was completed on 29 November/11 December 1878, and of the Marche miniature on 30 November/12 December. The first, third and fifth movements were arranged in the period 12/24 April to 22 April/4 March 1879, at Kamenka. The additional Divertimento was arranged by Tchaikovsky on 22 August/3 September 1879. Publication: During the period September to November 1879, Tchaikovsky was occupied with correcting the proofs of the Suite. On 22 November/4 December Pyotr Jurgenson informed Tchaikovsky that the Suite was ready. The full score, parts and the composer's piano duet arrangement of the First Suite appeared in print at the end of November/start of December 1879. Autographs: Tchaikovsky's manuscript full score (ф. 88, No. 73) and arrangement for piano duet (ф. 88, No. 74) are now preserved in the Russian National Museum of Music in Moscow. Dedication: The Suite was secretly dedicated to the composer's friend and benefactress Nadezhda von Meck (1831–1894).
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