Alfred Sittard Vidéos
compositeur et organiste
- orgue, voix
- Reich allemand
- musicien ou musicienne, organiste, chanteur ou chanteuse, chef ou cheffe de chœur, compositeur ou compositrice, professeur ou professeure de musique, professeur ou professeure d'université
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2024-05-06
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Johannes Brahms Albert Dietrich Hermann Levi Sittard Wandelt Boden Handel Mozart Bach 1770 1833 1843 1868 1871 1897
Johannes Brahms: Schicksalslied Op 54 In the summer of 1868, Johannes Brahms (1833–1897) traveled to Wilhelmshaven to visit his friend Albert Dietrich, who earlier that year had arranged for his Ein deutsches Requiem to be performed in Bremen in its nearly final form. Dietrich relates that early one morning Brahms (an early riser) found a copy of Friedrich Hölderlin’s (1770–1843) novel Hyperion in Dietrich’s library. He was especially intrigued by “Hyperions Schicksalslied,” a poem within the novel. Later in the day, Brahms began a sketch of his Schicksalslied (Song of Destiny). The poem contrasts the peace-filled joy of the spirits with the trials of earth-bound mortals. Brahms struggled with the ending for nearly three years, wanting neither to end with the bleak reality of the second movement nor a return to the idyllic existence portrayed in the first. Finally, at the suggestion of the conductor Hermann Levi, Brahms wrote an orchestral postlude that offers glimmers of tranquility reminiscent of the first movement. Schicksalslied premiered on October 18, 1871 in Karlsruhe, with Levi conducting. Nineteenth-century German musicologist Josef Sittard wrote, "Had Brahms never written anything but this one work, it would alone have sufficed to rank him with the best masters." German: Ihr wandelt droben im Licht auf weichem Boden, selige Genien. Glänzende Götterlüfte rühren euch leicht, wie die Finger der Künstlerin heilige Saiten. Schicksallos, wie der schlafende Säugling, atmen die Himmlischen. Keusch bewahrt in bescheidener Knospe, blühet ewig ihnen der Geist, und die seligen Augen blicken in stiller ewiger Klarheit. Doch uns ist gegeben, auf keiner Stätte zu ruhn. Es schwinden, es fallen die leidenden Menschen blindlings, von einer Stunde zur andern, wie Wasser von Klippe zu Klippe geworfen jahrlang ins Ungewisse hinab. English: You wander above in the light on soft ground, blessed spirits. Shining, divine breezes brush by you as lightly, as the fingers of a performer on her holy strings. Unencumbered by fate, like sleeping infants, the divine beings breathe. Chastely preserved in a simple bud, their spirit blooms forever, and their blessed eyes gaze in silent, eternal clarity. But there is granted to us no place to rest. We suffering humans waste away and fall blindly from one hour to the next, like water thrown from cliff to cliff all through the year, into the uncharted depths. Children who listened to classical music for one hour a day over a six-month period exhibited brain changes that indicated greater levels of relaxation—even when the children were not asked to pay attention to the music. Additionally, if testing anxiety causes sleepless nights, classical music can help reduce insomnia. A team of researchers at the University of Toronto found that tuning in to classical music before bedtime helped people fall asleep faster and stay asleep longer. The study found that works by Brahms, Handel, Mozart, Strauss, and Bach were effective sleep aids because they use rhythms and tonal patterns that create a meditative mood and slow brainwaves. brahms schicksalslied Kellys classical music
Lully Ehlen Möller Moreau Sittard 2018
Ad Mosam BaRock, artistic director Huub Ehlen Channa Malkin, soprano Volker Möller, violin I Louise Moreau, violin II Bernard Wolteche, cello Michiel Niessen, theorbe Stefano Intieri, harpsichord Venus, De Schone Verleiding in De Domijnen, Sittard on Oct 5, 2018
Benoit Franssen Hermans Closson Borowsky Badings Webern Messiaen Sittard 1918 1937 1939 1941 1943 1944 1960 1978 1989
Matty Niël +••.••(...)) Quatuor : for clarinet, violin, violoncello and piano (1960) 1. Vif et nerveux - 00:00 2. Adagio - 10:36 3. Vif et léger - 17:43 Matty Niël Consort Matty Niël was a Dutch composer and music teacher. After a thorough grounding at the Maastricht Musieklyceum (with Alphonse Crolla, Benoit Franssen and Henri Hermans), he studied piano in Liège +••.••(...)) with Louis Closson and in Amsterdam with Alexander Borowsky +••.••(...)). Around that time he also studied composition with Badings. Hermans referred him to Webern in Vienna, whose private pupil he became +••.••(...)). In 1944 Niel completed his studies in Paris with Lesur and Messiaen. At the intercession of Hermans, he worked for the Limburg Regional Broadcast. He also taught at the music schools of Heerlen and Sittard and the music academies of Maastricht and Leuven. In 1978 he stopped teaching, devoting himself only to composition. During his lifetime Niël had to endure incomprehension and ignorance, as a result of which performances of his works were infrequent. Nevertheless he pursued an independent path, going counter to public opinion. Most of his works remained unpublished and unperformed during his lifetime. His manuscripts are held in the Maastricht Municipal Records Office.
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