Richard Mühlfeld Vidéos
clarinettiste
- clarinette
- duché de Saxe-Meiningen
Dernière mise à jour
2024-04-19
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Max Bruch Schumann Brahms Liszt Mahler Abbado Gergiev Muti Gatti Nagano Bach Satie Tchaikovsky Beethoven Chopin Haydn Ravel Debussy Verdi Vivaldi Handel Schubert Mendelssohn Rachmaninoff Verbier Festival Copenhagen Philharmonic 1738 1838 1909 1920
Max Bruch +••.••(...)) enjoyed a long, successful and fruitful career as a composer and conductor, holding several important posts in Germany. His musical language is firmly rooted in the German Romantic Tradition of Schumann and Brahms, as opposed to the “New Music” of Liszt, Wagner and Mahler. Bruch wrote his works for clarinet at the end of his musical life, when he actually had declared that his “source of inspiration had dried up”. But the clarinet playing of his son Max Felix inspired him to write two substantial works featuring the clarinet: the beautiful and still neglected Double Concerto for Clarinet, Viola and Orchestra Op. 88 and the substantial “8 Pieces for Clarinet, Viola and Piano” Op. 83, delightful Character Pieces in the style of Schumann’s Märchenerzählungen. Giovanni Punzi is one of the foremost clarinet players of the young Italian generation. He played in the Mahler Youth Orchestra, the Verbier Festival Orchestra under conductors like Abbado, Gergiev, Muti, Gatti and Nagano. On this recording he plays with the Copenhagen Philharmonic Orchestra, of which he is principal Clarinetist. Composer: Max Bruch Artists: Giovanni Punzi (clarinet), Eva Katrine Dalsgaard (viola), Tanja Zapolski (piano), Copenhagen Philharmonica, Vincenzo Millitarì (conductor) Ripe and romantic chamber and orchestral music from the Indian summer of Bruch’s career. The spring of Bruch’s invention was running dry in the first decade of the last century when it was refreshed once more by the sound of the clarinet. Just as the playing of Richard Muhlfeld had inspired Brahms to write his Clarinet Quintet and two sonatas, so Bruch discovered the melodies flowing from his pen once more thanks to his clarinettist son, Max Felix, to write the two works on this new album. Having composed no chamber music for several decades, he wrote the Eight Pieces for clarinet, viola and piano in 1909. They belong to the genre of character pieces by Schumann such as the eight Fantasiestücke Op.12, though they lean towards reflective introversion. The cycle’s high-point arrives with the fourth piece, a Romanian melody introduced to him by a young and beautiful aristocrat, the Princess zu Wied. Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): (http•••) More Information: (http•••) Tracklist: Max Bruch: Double Concerto in E Minor, Op. 88: 00:00 I. Andante con moto 06:56 II. Allegro moderato 12:24 III. Allegro molto 8 Pieces for Clarinet, Viola and Piano, Op. 83: 17:38 I. Andante 21:05 II. Allegro molto 23:37 III. Andante con moto 30:18 IV. Allegro agitato 34:12 V. Rumanische Melodie 38:42 VI. Nachtgesang 44:22 VII. Allegro vivace, ma non troppo 47:54 VIII. Moderato Social media links: Instagram: (http•••) Facebook: (http•••) TikTok: (http•••) Spotify Playlists: Brilliant Classics Spotify: (http•••) New Classical Releases: (http•••) The Best of Liszt: (http•••) The Best of Bach: (http•••) Most Popular Piano Music: (http•••) Beautiful Classical Music: (http•••) Classical Music For Dinnertime: (http•••) Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel: (http•••) And visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more! #Bruch #Punzi #Dalsgaard #Zapolski #Copenhagen #Philharmonica #Millitari #Clarinet #Violin #Piano #Classical #Music #BrilliantClassics
Johannes Brahms Richard Mühlfeld 1833 1891 1897 2020
Trio in A minor for clarinet, cello, and piano, Opus 114 by Johannes Brahms +••.••(...)) I. Allegro II. Adagio III. Andante grazioso IV. Allegro William. R. Hudgins, clarinet Blaise Dejardin, cello Benjamin Pasternack, piano Late in life Brahms had been feeling himself on the verge of a creative impasse when he met Richard Mühlfeld, principal clarinetist of the court orchestra of Meiningen, which had become an important champion of Brahms's music. Brahms was captivated by Mühlfeld's playing. He spent hours listening to the virtuoso, giving instrument and player teasingly affectionate nicknames: "Fräulein Klarinette," "my dear nightingale," and so on. During his summer working vacation in Ischl in 1891, Brahms produced the Clarinet Trio and what with his self-deprecating wit he called "a far greater folly,” the Clarinet Quintet; later he added two clarinet sonatas. Together these works constitute a kind of autumnal renewal in his music The Clarinet Trio in A minor, Opus 114, is an almost unceasingly songful and intimate work, one Brahms himself was particularly fond of. The colors of the clarinet, from rich and warm to piquant and incisive, give it a distinctive quality in the trio literature. That color and the all but unclassifiable form of the first Allegro, which steadily develops its train of lyric themes throughout, form a classic demonstration of how Brahms was innovative within the context of traditional genres and models. There is much passionate music in the first movement, the opening cello announcing a mournful and archaic tone close to what has been called Brahms's “bardic" style. The movement ends on a meltingly beautiful and gemütlich tone, the latter that untranslatable German word meaning something on the order of warm, cozy, good spirits. The second-movement Adagio is if anything even more flowingly lyrical, starting with the clarinet's opening marked dolce, sweet. Soon the instruments fall into a warm and lovely dialogue that spins out with nothing repeating literally, everything a continuous leisurely variation. Rather than the expected scherzo third movement comes an Andante grazioso in the form of a lilting, wistful waltz, one of Brahms's many tributes to that highViennese dance and state of mind. The concise Allegro finale is a prime example of the late-Brahms fascination with unusual meters: the movement constantly mixes 2/4 and 6/8, and there are sections moving between those meters and 9/8. The tone is tinged with Brahms's beloved gypsy atmosphere, here less fiery than-again-lyrical. January 19, 2020
Johannes Brahms Wolfgang Amadeus Mozart Joseph Haydn Beethoven Robert Schumann Bach Richard Mühlfeld 1833 1891
Si quieres apoyar este canal, por favor SUSCRIBETE. Johannes Brahms, nacido en 1833, fue un compositor, pianista y director de orquesta alemán del romanticismo, considerado el más clásico de los compositores de dicho periodo. Nacido en Hamburgo en una familia luterana, pasó gran parte de su vida profesional en Viena. Se mantuvo fiel toda su vida al clasicismo romántico y conservador, influenciado por Wolfgang Amadeus Mozart, Joseph Haydn y, particularmente, por Ludwig van Beethoven y Robert Schumann. Fue posiblemente el mayor representante del círculo conservador en la Guerra de los románticos. Brahms compuso para orquesta sinfónica, conjuntos de cámara, piano, órgano y voz y coro. Fue pianista y estrenó muchas de sus propias obras. Muchas de sus obras se han convertido en elementos básicos del repertorio de conciertos moderno. Es considerado, junto con Bach y Beethoven, uno de los tres mayores compositores de la historia de la música. El Quinteto para clarinete y cuarteto de cuerdas en si menor (conocido como Quinteto para clarinete), op. 115, es una obra de cámara compuesta por Johannes Brahms en 1891 para el clarinetista Richard Mühlfeld. La obra se interpretó por primera vez en una sesión privada el 24 de noviembre de 1891 en Meiningen, con Richard Mühlfeld y el Cuarteto Joachim, dirigido por Joseph Joachim. El estreno se realizó en Berlín el 12 de diciembre del mismo año. El quinteto para clarinete es una de las piezas de cámara más reconocidas de Brahms. Desde este canal se apoya al proyecto COVID-19 Free: (http•••) #Brahms #musicaclasica #classicalhits #Clarinetquintet
Johannes Brahms Richard Mühlfeld Wolfgang Amadeus Mozart Anton Reicha Giacomo Meyerbeer Sigismund Neukomm Weber Franz Krommer Alexander Glazunov Heinrich Baermann Thomas Täglichsbeck Bülow Fritz Steinbach Meiningen Court Orchestra 1891
Arthur Campbell, clarinet Gregory Maytan, 1st violin Oleg Bezuglov, 2nd violin - www.olegbezuglov.com Paul Swantek, viola Pablo Mahave-Veglia, cello Johannes Brahms's Clarinet Quintet in B minor, Op. 115 was written in 1891 for the clarinettist Richard Mühlfeld. 1. Allegro 2. Adagio 3. Andantino 4. Con moto Recorded live in Cook-Dewitt Center of Grand Valley State University ABOUT THE PIECE: Johannes Brahms's Clarinet Quintet in B minor, Op. 115, was written in 1891 for the clarinettist Richard Mühlfeld. It is scored for a clarinet in A with a string quartet. At the time Brahms started composing his Clarinet Quintet, only a few works had been composed for this type of ensemble. Examples of clarinet quintets include those by Wolfgang Amadeus Mozart, Anton Reicha, Giacomo Meyerbeer, Sigismund von Neukomm, Carl Maria von Weber, Franz Krommer, Alexander Glazunov, Heinrich Baermann, and Thomas Täglichsbeck. Brahms modeled his composition after Mozart's. Brahms had retired from composing prior to listening to Richard Mühlfeld play. Brahms may have met Mühlfeld already when Hans von Bülow was directing the Meiningen Court Orchestra. But it was Fritz Steinbach, von Bülow's successor, who brought Mühlfeld's playing to the attention of Brahms in March 1891. Brahms was very enthusiastic about Mühlfeld. That summer at Bad Ischl, he composed the Clarinet Quintet and his Clarinet Trio Op. 114, both of them for Mühlfeld. He later also composed his two Clarinet Sonatas Op. 120. The quintet received its first private performance on 24 November 1891 in Meiningen, with Richard Mühlfeld and the Joachim Quartet, led by Joseph Joachim who often collaborated with Brahms. The public premiere was on 12 December 1891 in Berlin. It soon received performances across Europe, including London and Vienna both with the original and other ensembles. 1st Movement. Like the quintet by Mozart, the strings begin the piece. Only several bars after the clarinet's entry is it finally made clear that the key of the music is B minor rather than D major (the latter being the key in which the exposition ends, leading smoothly into the repeat of the clarinet's opening). This movement sets an autumnal mood for the rest of the composition. One phrase, towards the middle played by the clarinet, sounds closely related to one in the first movement of Carl Maria von Weber's Clarinet Concerto No. 1 in F minor. This was possibly inserted because when Brahms listened to Richard Mühlfeld at his recital, he was playing this concerto. 2nd Movement The bowed strings are played with mutes (con sordino) throughout the movement. Mainly in B major, the reflective melody is first introduced by the clarinet, and is sometimes chromatic with some shifts to B minor. The middle section is in B minor, its mood recalling the gloomy atmosphere of the first movement. Here, the clarinet performs technical runs playing from all ranges. Via an agitated transition with even more modulations, the music calms down and returns to the beginning theme, and then subsides. 3rd Movement The shortest of all four, the movement begins sweetly being one of the composition's few uplifting passages. In measure 23, the clarinet and violin play as if they were talking in a conversation. It modulates back from its heart-warming D major into the darker B minor. This section is highly influenced by the first part and even ends the same except being in a 2/4 meter. 4th Movement This movement is marked Con moto (with motion) and contains a theme and five variations as do the final movements of Mozart's Clarinet Quintet and Brahms's Clarinet Sonata No. 2. Tempo varies according to the musician. The fourth variation, in B major, has a sweet melody mostly performed by the clarinet, which recalls the mood of the second movement. The fifth (final) variation, beginning with the viola playing the melody over the pizzicato cello, is back in B minor but bears a different metrical sign (6/8) till the end of the movement. The coda brings multiple themes from the first movement, and finally ends with a sudden loud B minor chord which eventually fades away (as opposed to the quiet ending in the first movement).
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