Pierre Monteux Vidéos
chef d'orchestre
Commémorations 2024 (Décès: Pierre Monteux) 2025 (Naissance: Pierre Monteux)
- violon, alto
- France, États-Unis
- chef ou cheffe d'orchestre, artiste d'enregistrement
Dernière mise à jour
2024-04-25
Actualiser
Europa Galante London Symphony Orchestra Wiener Philharmoniker Berliner Philharmoniker Wiener Staatsoper Quatuor Cambini Paris Gustav Kuhn Fabio Biondi Pierre Monteux Leonard Bernstein Claudio Abbado Wolfgang Amadeus Mozart Cambini Berlioz Liszt 2015
Provided to YouTube by The Orchard Enterprises String Quartet No. 14 in G Major, K. 387: IV. Molto allegro · Academia de Montegral · Europa Galante · London Symphony Orchestra · Wiener Philharmoniker · Berliner Philharmoniker · Mala Púnica · London Chorus · Chor der Wiener Staatsoper · Gustav Kuhn · Fabio Biondi · Pierre Monteux · Leonard Bernstein · Claudio Abbado · Pedro Memelsdorff · Wolfgang Amadeus Mozart · Quatuor Cambini-Paris Selección Clásicos - Wagner, Berlioz, Liszt ℗ 2015 Classical Piros Digital Released on: 2015-06-18 Auto-generated by YouTube.
Lazare Saminsky Nemtsov Rimsky Korsakov Lyadov Schoenberg Stravinsky Serge Koussevitsky Pierre Monteux Willem Mengelberg Walter Damrosch Busch 1882 1910 1935 1940 1959 2000
Lazare Saminsky +••.••(...)) Three Shadows, Op. 41 Composed in 1935 Performed by Jascha Nemtsov (http•••)/ “Saminsky, a former fellow-student at St. Petersburg conservatory under Rimsky-Korsakov and Lyadov, officially banned from Moscow for participating in student protests, had a plentiful life. Blessed with inexhaustible energy, an enthusiastic temperament and exceptional versatility, he was a scholar, well-versed in mathematics, philosophy and languages, several of which he spoke fluently. He was a founding member of the Society for Jewish Music. He also took part in expeditions to collect folk songs and liturgical singing of the Caucasian Jews. An avid traveler, he stayed in Jerusalem before emigrating to the United States. There, shortly after his arrival, he founded the League of Composers. He was responsible for the American premiere performances of Schoenberg's Pierrot Lunaire and Stravinsky's Les Noces. Very committed to the music of younger American and Russian composers, he established the "New York Polyhymnia", an international concert association which goal was to "foster international exchange of unknown musical cultures and of unknown works, old and new." His own works, performed in the 20's under such conductor as Serge Koussevitsky, Pierre Monteux, Willem Mengelberg, Walter Damrosch, and Allan Busch, languished later on living an increasingly shadowy existence. Most of them are conspicuously programmatic in character. This is not always the result of a definite literary model, but is often the consequence of the unusually plastic and gestural quality of the music, whose freely rhapsodic language suggests the presence of a musical protagonist. After the Second World War, when a new generation of composers successfully raised their claims to avant-garde status, his music was dismissed as "not-up-to-date". Only now, at the turn of the century, it has become increasingly obvious that the creative impulses of early Modernism +••.••(...)) were often more original and fertile than any number of fashionable manifestations appearing during the subsequent era. Saminsky stayed in the US until his death in 1959. Saminsky composed his Three Shadows, the first for piano and the second for orchestra. The three Poems (so-called in the subtitle) are dedicated to the memory of the great American poet Edwin Arlington Robinson, and are an immediate response to the news of his death in August 1935. The prevailing mood is correspondingly somber, brightening only in the second movement. The second poem bears the title "A Poet", and a maxim from Robinson: "A singing voice then gathered and ascended, Filled the vast dome above till it glowed, With singing light." This light-filled music is framed by two movements which are darker in atmosphere. The first "Omen", is is set to a poem by Pitts Sanborn: "Seek not to turn al vintages to blood; Leave me one city, War, on a crown stream, The crumbling cornices, the dust, my dreams." The last "Poem" is a setting of Carl Sandburg's "Grass" and subtitled "A Dirge": "Pile up the bodies high at Austerlitz and Waterloo, Shovel them under and let me work - I am the grass; I cover all. And pile them high at Gettysburg. I am grass; let me work.“ Jascha Nemtsov. Liner notes for ACROSS BOUNDARIES: DISCOVERING RUSSIA 1910-1940, VOL. 3: WAITING ROOM, Jascha Nemtsov, EDA Records EDA 016-2, 2000, compact disc.
Lazare Saminsky Nemtsov Rimsky Korsakov Lyadov Schoenberg Stravinsky Serge Koussevitsky Pierre Monteux Willem Mengelberg Walter Damrosch Busch Kafka 1882 1910 1919 1940 1959 1999
Lazare Saminsky +••.••(...)) Ritual Dance on the Sabbath, Op. 26, No. 1 Composed in 1919 Performed by Jascha Nemtsov (http•••)/ “Saminsky, a former fellow-student at St. Petersburg conservatory under Rimsky-Korsakov and Lyadov, officially banned from Moscow for participating in student protests, had a plentiful life. Blessed with inexhaustible energy, an enthusiastic temperament and exceptional versatility, he was a scholar, well-versed in mathematics, philosophy and languages, several of which he spoke fluently. He was a founding member of the Society for Jewish Music. He also took part in expeditions to collect folk songs and liturgical singing of the Caucasian Jews. An avid traveler, he stayed in Jerusalem before emigrating to the United States. There, shortly after his arrival, he founded the League of Composers. He was responsible for the American premiere performances of Schoenberg's Pierrot Lunaire and Stravinsky's Les Noces. Very committed to the music of younger American and Russian composers, he established the "New York Polyhymnia", an international concert association which goal was to "foster international exchange of unknown musical cultures and of unknown works, old and new." His own works, performed in the 20's under such conductor as Serge Koussevitsky, Pierre Monteux, Willem Mengelberg, Walter Damrosch, and Allan Busch, languished later on living an increasingly shadowy existence. Most of them are conspicuously programmatic in character. This is not always the result of a definite literary model, but is often the consequence of the unusually plastic and gestural quality of the music, whose freely rhapsodic language suggests the presence of a musical protagonist. After the Second World War, when a new generation of composers successfully raised their claims to avant-garde status, his music was dismissed as "not-up-to-date". Only now, at the turn of the century, it has become increasingly obvious that the creative impulses of early Modernism +••.••(...)) were often more original and fertile than any number of fashionable manifestations appearing during the subsequent era. Saminsky stayed in the US until his death in 1959. Although not expressly mentioned in the title, "Danse rituelle du Sabbath" (or "Ritual Dance on the Sabbath") in unquestionably about a Hassidic Sabbath celebration for it is not customary to celebrate the Holy Sabbath by dancing. However, in Hasidism, prayer is an expression of joy and thus singing and dancing play an important role in worship. The Hasidim are especially well-known for their musicality. "Melodies are created... A miracle-working rabbi suddenly put his head down on his arms resting on the table and stayed like that for three hours while everyone else remained silent. When he woke up, he wept and then sang us a completely new and merry march." (Franz Kafka, Diaries) It is a "merry march" such as this in the "Aavo rabo" modus with the characteristic augmented second which the Hasidim are so fond of that one can hear as the theme in Saminsky's piece. This theme is varied several times whereby it alternates between pounding with heavy chords and shooting up like the tongues of flames.” Jascha Nemtsov. Liner notes for ACROSS BOUNDARIES: DISCOVERING RUSSIA 1910-1940, VOL. 2: THE NEW JEWISH SCHOOL, Jascha Nemtsov, EDA Records EDA 14-2, 1999, compact disc.
Josef Hofmann Chopin Pierre Monteux Dimitri Mitropoulos Kazimierz Hofmann Honorata Majeranowska Camille Saint Saëns Burden Moszkowski Heinrich Urban Rubinstein Hollywood Bowl Carnegie Hall Hollywood Bowl Orchestra Metropolitan Opera House 1876 1887 1888 1894 1913 1926 1937 1938 1939 1946 1957
LIKE and SUBSCRIBE for more videos ! (http•••) SUBSCRIBE to my PATREON ! → (http•••) Josef Hofmann, filmed here, is rehearsing/performing Chopin's E minor Piano Concerto No. 1 with Pierre Monteux and the Hollywood Bowl Orchestra on or around 10 or 11 July 1939. This footage was filmed by violist Philip Kahgan 00:00 This extract could be glimpses of passagework from the 1st movement 00:32 This extract is likely the final few bars of the 3rd movement. It seems to me that the choice of tempi in general is roughly the same from his recording with Dimitri Mitropoulos and the NY Philharmonic. AUTHENTICITY There were a couple of mannerisms that matched the Bell Telephone footage. And there were a couple of fleeting moments when his profile came into view. Gregor Benko (who's probably the world's foremost Hofmann authority), confirmed it was Hofmann. He knew about the footage and the name of the musician who shot it. He also immediately knew the concerto and the conductor. BIOGRAPHY Josef Hofmann, the pianist, teacher, composer and inventor, born on 20th January 1876 in Krakow. He came from the family of musicians. His father, Kazimierz Hofmann, was a famous composer, pianist and conductor, his mother, Matylda Pindelska and the father’s two sisters, Honorata Majeranowska and Josefa Hofmann-Rapacka were singers. When Josef was three years old he began to learn playing the piano. The boy’s outstanding gift, his father’s pedagogical care and also the artistic atmosphere in his family contributed to his continuous progress. When he was eight he appeared in Warsaw, where he played the Mozart’s Concert D-Minor conducted by his father. Two years later, he had his first European tournée. He was performing in Prague, Germany, Denmark (where his performance was admired by the King of Denmark), Sweden, Holland, France (in the presence of Camille Saint-Saëns) and in England. In 1887 he went to the United States, where he made a great success performing in the Metropolitan Opera House. He was engaged for a few dozen concerts. Despite his great success he achieved and the admiration for his mature performances, after 10 weeks during which he gave 52 concerts, the tournée was cancelled at the request of New York Society for the Prevention of Cruelty to Children. They decided that the tournée was too an excessive burden for the 11 years old boy and might be dangerous to his health.However, thanks to the publicity young Hofmann gained by playing, Alfred Coming Clark funded him a scholarship, under the condition, however, that the boy would not perform in public before his 18th birthday. The scholarship helped him to complete music studies in Berlin in 1888-1894. He was taught by such teachers as Maurycy Moszkowski (piano), Heinrich Urban (composition), and by Antoni Rubinstein. In 1894 he received the first prize at the Antoni Rubinstein competition in Hamburg during which he performed his D-Minor Concert Op. 70. After this success, he began the real career as a pianist performing in many European countries (England, Scandinavian countries, Russia, Poland), where he enjoyed great popularity, especially in Petersburg (1913). Apart from performances in Europe he gave annual concerts in United States, which became his second homeland. In 1926, he received American citizenship. In 1926-1938 he was the Principal of the music school Curtis Institute of Music in Philadelphia. On 28th November 1937, on the 50th anniversary of his American debut the jubilee concert was held in Metropolitan Opera House. He finished his career as the pianist on 19th January 1946 when he gave his last recital in Carnegie Hall. He died in Los Angeles on 16th February 1957. He was married twice. Maria Eustis was his first wife and he had one daughter with her, the second wife was Betty Short and they had 3 sons. (http•••)o/ SOURCE : That footage comes from this video, (http•••) (from 19'12" to 19'59").
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