Joseph Rudolf Lewy Vidéos
corniste
- cor d'harmonie
- Allemagne
- compositeur ou compositrice, corniste
Dernière mise à jour
2024-03-29
Actualiser
What makes the Bayern star such a reliable penalty taker? ► Sub now: (http•••) When he steps up, the goalkeeper has as good as lost already. Robert Lewandowski has failed to convert just three of 27 penalties, and only one has been saved by the goalkeeper. Bayern's top striker has constantly adapted and improved his penalty-taking technique. We look at how that technique has evolved and analyse the secret to Lewy's success from the spot. What do you think? Will he convert all his penalties this season? Let us know in the comments. ► Watch Bundesliga in your country: (http•••) ► Join the conversation in the Bundesliga Community Tab: (http•••) The Official Bundesliga YouTube channel provides exclusive content for fans of Germany’s top league from all around the world that can’t be found anywhere else. Subscribe now and visit us at (http•••) to see what all the noise is about!
Johann Strauss II Hirschfeld Alfred Zamara Lewy Blatt Richard Wagner Theater Wien 1669 1827 1836 1850 1858 1863 1883 1887 1888 1894 1904 1918 1928 1940 1963
In mid February 1887 Vienna's press broke the news that Johann Strauss had chosen a libretto by Victor Léon (the nom de plume of Viktor Hirschfeld, 1858-1940) as the subject for his next operetta project. The young, and at that time relatively untried, Viennese writer later recalled in an article for the Wiener Tagblatt +••.••(...)) that Strauss's friend and billiard-partner, Josef Priester +••.••(...)), had been the first to propose he write a book for Johann Strauss. Understandably taken aback by this unexpected approach, the librettist of the successful operetta Der Doppelgiinger (The Double, 1887) for Alfred Zamara +••.••(...)) responded to the challenge by offering Strauss the libretto for Simplicius Simplizissimus. Although Johann had made no secret of his desire to compose a stage work "with a German subject" and considered Léon's adaptation of H.J.C. von Grimmelshausen's novel, Der abenteuerliche Simplicissimus (Adventurous simplicissimus, 1669), "the most outstanding of all books of modern times" (letter to Gustav Lewy , circa 1.07.1887), the resulting operetta, called Simplicius, was not crowned by the success which his best efforts - nor the presence of Alexander Girardi +••.••(...)) in the rôle of the hero, simplicius - really deserved. It hardly helped that on the night of the première, 17 December 1887, the audience at the Theater an der Wien was unsettled by a minor alarm on stage when an actor's feather plume touched a gas flame, and instantly re-awoke memories of the fire that had raged through Vienna's Ring-Theater six years earlier, claiming 386 lives. Once the capacity house had again settled, there was little light relief to be gained from this ponderous tale set at the time of the Thirty Years War, and even Johann Strauss's exquisite score could not secure for the work a run of more than 29 performances. (Two subsequent revivals of Simplicius, in 1888 and 1894, fared even less well.) The 'gentlemen of the press' were, for once, generally united in recognising the shift in emphasis in the new Strauss stage work towards a more serious musical style. "Opera or operetta?" was the question posed by Oskar Teuber in the Fremden-Blatt on 18 December 1887, his uncertainty echoed by the reviewer for the Allgemeine Zeitung +••.••(...)) who observed that the music "varies between operetta and opera: the composer has somewhat too hastily burned behind him the bridge which took him out of the realm of operetta, and because he lacks the ability to throw a bridge across to opera, he sits between the two stools - neither flesh nor fish". Simplicius was to prove the last of Johann Strauss's stage work premières to be conducted by the composer himself. A capacity house, which included Archduke Wilhelm +••.••(...)) and Archduchess Elisabeth Marie +••.••(...), daughter of Crown Prince Rudolf and Crown Princess Stephanie) in the Imperial box, greeted the Viennese maestro enthusiastically upon his appearance at the conductor's desk. Referring to the score of the new work, the Wiener Tagblatt +••.••(...)) considered that "the music of our worthy Strauss constitutes an impressive climax to his creative powers". Yet, for all the many fine musical moments the stage work possesses, its overture lacks the unity of other Strauss operetta overtures. With its quiet, almost gloomy opening, it evokes a mood which is more to be expected in the opera house than in the Theater an der Wien. (After the first performance of Simplicius, the composer was accused of obvious 'Wagnerisms'. Such claims by, for example, the Illustrirtes Wiener Extrablatt +••.••(...)), were indeed justifiable, for the stage works of Richard Wagner always had a special significance for Johann Strauss.)
Johann Strauss II Hirschfeld Alfred Zamara Lewy Blatt Richard Wagner Theater Wien 1669 1827 1836 1850 1858 1863 1883 1887 1888 1894 1904 1918 1928 1940 1963
In mid February 1887 Vienna's press broke the news that Johann Strauss had chosen a libretto by Victor Léon (the nom de plume of Viktor Hirschfeld, 1858-1940) as the subject for his next operetta project. The young, and at that time relatively untried, Viennese writer later recalled in an article for the Wiener Tagblatt +••.••(...)) that Strauss's friend and billiard-partner, Josef Priester +••.••(...)), had been the first to propose he write a book for Johann Strauss. Understandably taken aback by this unexpected approach, the librettist of the successful operetta Der Doppelgiinger (The Double, 1887) for Alfred Zamara +••.••(...)) responded to the challenge by offering Strauss the libretto for Simplicius Simplizissimus. Although Johann had made no secret of his desire to compose a stage work "with a German subject" and considered Léon's adaptation of H.J.C. von Grimmelshausen's novel, Der abenteuerliche Simplicissimus (Adventurous simplicissimus, 1669), "the most outstanding of all books of modern times" (letter to Gustav Lewy , circa 1.07.1887), the resulting operetta, called Simplicius, was not crowned by the success which his best efforts - nor the presence of Alexander Girardi +••.••(...)) in the rôle of the hero, simplicius - really deserved. It hardly helped that on the night of the première, 17 December 1887, the audience at the Theater an der Wien was unsettled by a minor alarm on stage when an actor's feather plume touched a gas flame, and instantly re-awoke memories of the fire that had raged through Vienna's Ring-Theater six years earlier, claiming 386 lives. Once the capacity house had again settled, there was little light relief to be gained from this ponderous tale set at the time of the Thirty Years War, and even Johann Strauss's exquisite score could not secure for the work a run of more than 29 performances. (Two subsequent revivals of Simplicius, in 1888 and 1894, fared even less well.) The 'gentlemen of the press' were, for once, generally united in recognising the shift in emphasis in the new Strauss stage work towards a more serious musical style. "Opera or operetta?" was the question posed by Oskar Teuber in the Fremden-Blatt on 18 December 1887, his uncertainty echoed by the reviewer for the Allgemeine Zeitung +••.••(...)) who observed that the music "varies between operetta and opera: the composer has somewhat too hastily burned behind him the bridge which took him out of the realm of operetta, and because he lacks the ability to throw a bridge across to opera, he sits between the two stools - neither flesh nor fish". Simplicius was to prove the last of Johann Strauss's stage work premières to be conducted by the composer himself. A capacity house, which included Archduke Wilhelm +••.••(...)) and Archduchess Elisabeth Marie +••.••(...), daughter of Crown Prince Rudolf and Crown Princess Stephanie) in the Imperial box, greeted the Viennese maestro enthusiastically upon his appearance at the conductor's desk. Referring to the score of the new work, the Wiener Tagblatt +••.••(...)) considered that "the music of our worthy Strauss constitutes an impressive climax to his creative powers". Yet, for all the many fine musical moments the stage work possesses, its overture lacks the unity of other Strauss operetta overtures. With its quiet, almost gloomy opening, it evokes a mood which is more to be expected in the opera house than in the Theater an der Wien. (After the first performance of Simplicius, the composer was accused of obvious 'Wagnerisms'. Such claims by, for example, the Illustrirtes Wiener Extrablatt +••.••(...)), were indeed justifiable, for the stage works of Richard Wagner always had a special significance for Johann Strauss.)
Johann Strauss II Hirschfeld Alfred Zamara Lewy Blatt Richard Wagner Theater Wien 1669 1827 1836 1850 1858 1863 1883 1887 1888 1894 1904 1918 1928 1940 1963
In mid February 1887 Vienna's press broke the news that Johann Strauss had chosen a libretto by Victor Léon (the nom de plume of Viktor Hirschfeld, 1858-1940) as the subject for his next operetta project. The young, and at that time relatively untried, Viennese writer later recalled in an article for the Wiener Tagblatt +••.••(...)) that Strauss's friend and billiard-partner, Josef Priester +••.••(...)), had been the first to propose he write a book for Johann Strauss. Understandably taken aback by this unexpected approach, the librettist of the successful operetta Der Doppelgiinger (The Double, 1887) for Alfred Zamara +••.••(...)) responded to the challenge by offering Strauss the libretto for Simplicius Simplizissimus. Although Johann had made no secret of his desire to compose a stage work "with a German subject" and considered Léon's adaptation of H.J.C. von Grimmelshausen's novel, Der abenteuerliche Simplicissimus (Adventurous simplicissimus, 1669), "the most outstanding of all books of modern times" (letter to Gustav Lewy , circa 1.07.1887), the resulting operetta, called Simplicius, was not crowned by the success which his best efforts - nor the presence of Alexander Girardi +••.••(...)) in the rôle of the hero, simplicius - really deserved. It hardly helped that on the night of the première, 17 December 1887, the audience at the Theater an der Wien was unsettled by a minor alarm on stage when an actor's feather plume touched a gas flame, and instantly re-awoke memories of the fire that had raged through Vienna's Ring-Theater six years earlier, claiming 386 lives. Once the capacity house had again settled, there was little light relief to be gained from this ponderous tale set at the time of the Thirty Years War, and even Johann Strauss's exquisite score could not secure for the work a run of more than 29 performances. (Two subsequent revivals of Simplicius, in 1888 and 1894, fared even less well.) The 'gentlemen of the press' were, for once, generally united in recognising the shift in emphasis in the new Strauss stage work towards a more serious musical style. "Opera or operetta?" was the question posed by Oskar Teuber in the Fremden-Blatt on 18 December 1887, his uncertainty echoed by the reviewer for the Allgemeine Zeitung +••.••(...)) who observed that the music "varies between operetta and opera: the composer has somewhat too hastily burned behind him the bridge which took him out of the realm of operetta, and because he lacks the ability to throw a bridge across to opera, he sits between the two stools - neither flesh nor fish". Simplicius was to prove the last of Johann Strauss's stage work premières to be conducted by the composer himself. A capacity house, which included Archduke Wilhelm +••.••(...)) and Archduchess Elisabeth Marie +••.••(...), daughter of Crown Prince Rudolf and Crown Princess Stephanie) in the Imperial box, greeted the Viennese maestro enthusiastically upon his appearance at the conductor's desk. Referring to the score of the new work, the Wiener Tagblatt +••.••(...)) considered that "the music of our worthy Strauss constitutes an impressive climax to his creative powers". Yet, for all the many fine musical moments the stage work possesses, its overture lacks the unity of other Strauss operetta overtures. With its quiet, almost gloomy opening, it evokes a mood which is more to be expected in the opera house than in the Theater an der Wien. (After the first performance of Simplicius, the composer was accused of obvious 'Wagnerisms'. Such claims by, for example, the Illustrirtes Wiener Extrablatt +••.••(...)), were indeed justifiable, for the stage works of Richard Wagner always had a special significance for Johann Strauss.)
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