Albertina Vidéos
musée d'art, à Vienne en Autriche
- Innere Stadt
- Autriche
réseaux sociaux
chaînes vidéo
Dernière mise à jour
2024-05-01
Actualiser
Amadeo Roldán Gallardo Pablo Sarasate Conrado Campo Alejandro García Caturla Stravinsky Schoenberg Cabrera Henry Cowell Edgard Varèse John Cage Tambuco Albertina 1900 1908 1916 1917 1919 1922 1924 1925 1927 1928 1929 1930 1932 1933 1939 1996
Interpretación: Ricardo Gallardo & Ensamble Tambuco e invitados [Grabación efectuada en Septiembre de 1996; Sala Nezahualcóyotl, CDMX] Amadeo Roldán Gardés (París, Francia 12/VII/1900 † 07/III/1939 La Habana, Cuba) Compositor, violinista y director de orquesta. Hijo primogénito de Moisés Roldán (español) y Albertina Gardés (cubana), Amadeo nació en la capital francesa debido a que sus familiares asistieron a la Exposición Universal de París 1900; desde su infancia hasta la adolescencia vivió en Madrid. En 1908 ingresó al Real Conservatorio de Música y Declamación para estudiar solfeo, armonía y violín, se graduó con honores en 1916; un año antes de concluir estudios obtuvo el Primer Premio del 'Concurso Internacional de Violín Pablo Sarasate'. En 1917 se incorporó a la Orquesta Filarmónica de Madrid, en paralelo emprendió clases particulares de composición con Conrado del Campo hasta 1919; a mediados de aquel año se trasladó junto a toda su familia a Cuba para radicar en La Habana. De ahí en adelante Roldán figuraría a la postre como uno de los gigantes de la modernidad musical cubana. Al poco tiempo de su llegada a la isla, Roldán obtuvo la nacionalidad cubana y entabló amistad con el compositor Pedro Sanjuán Nortes con quien prosiguió sus estudios de composición durante el lapso 1919-1922. También se relacionó ideológicamente con Alejo Carpentier, uno de los pensadores más ilustres y defensores del 'Afrocubanismo' que era la bandera insigne del 'Grupo Minorista', una agrupación de arte vanguardista con alto contenido político en Cuba por aquellos años. En 1922 se desempeñó Roldán como Concertino de la Sinfónica de La Habana (en la misma agrupación conoció a Alejandro García Caturla, fiel colega y futuro gran compositor de la escena modernista afrocubana); al reformarse en 1924 la orquesta como Filarmónica y puesta su conducción en manos de Pedro Sanjuán, Roldán inicia su actividad como director de orquesta. Para 1925 se desempeñó como subdirector y en 1932 fue designado director artístico de la Filarmónica de La Habana. Esta orquesta fue pionera en dar a conocer en Cuba las obras más relevantes de Bartok, Stravinsky, Schoenberg y demás compositores modernistas de su tiempo. En el campo camerístico fundó en 1927 el Cuarteto de Cuerdas de La Habana cuyos integrantes eran Amadeo Roldán (violín 1°), Rafael Cabrera (violín 2°), José Sinelnikow (viola) y -el hermano menor del compositor- Alberto Roldán (violonchelo). A partir de 1928 figuró Roldán como miembro de la 'Pan-American Association of Composers' que gestaba Henry Cowell, su principal promotor; en 1930 Roldán fue designado como director de la West Indies Sections de dicha cooperativa. En sus últimos años de vida se desempeñó como catedrático de armonía y composición en la Escuela Normal de Música y el Conservatorio Municipal de La Habana. Con casi 39 años de edad Roldán dejó trunca su brillante carrera musical pues falleció a causa de un Cáncer facial que le desfiguró el rostro, ya que en vida había sido un fumador empedernido. RÍTMICAS: V y VI. Esta es una colección de piezas que fue compuesta entre 1929-30 en dos series, la primera (I-IV) para Quinteto de Alientos y Piano, mientras que la segunda (V y VI) para 11 percusionistas. De la Serie II es sobre la que nos ocuparemos. Dentro de la música de cámara del siglo XX, 'Ionisation' de Edgard Varèse y las 'Rítmicas' de Roldán abrieron un nuevo género hasta entonces insólito: El Ensamble de Percusiones. Sin embargo, mientras que la primera fue estrenada en marzo de 1933 y rápidamente considerada como un ejemplo indiscutible de la vanguardia musical, el destino de las Rítmicas (escritas en 1930) fue tenue y parco. En gran medida esto fue provocado por el propio compositor, quien mostró escaso interés para que fuesen difundidas estas piezas; se desconoce la fecha de su estreno, pero la más antigua referencia que avala el haber sido interpretadas públicamente las RÍTMICAS V y VI es el Concierto que dio John Cage en la Cornish School de Seattle, el 9 de diciembre de 1939, pocos meses después de la muerte de Roldán. En las RÍTMICAS V y VI se condensan varias yuxtaposiciones polirrítmicas que generan la sensación de una ágil improvisación espontanea aunque todo está meticulosamente bien escrito y medido; además, el carácter de cada toma como base el Son (V) y la Rumba (VI), que pese a lo breve de su duración, son gigantes en cuanto a su propuesta y alcance originales, pues el planteamiento pone en alto relieve las expresiones vernáculas intrínsecas de la música con instrumentos de origen afrocubano, en sincronía con un pensamiento musical de vanguardia y claramente personal.
Arvo Pärt Hagman Storey Albertina 1719 1720 1727 1772 1778 1793 1829 1881 1950 1978 2015
Tullgarn Palace. The Royal Sweden & Arvo Pärt Estonia Tullgarn Palace (Swedish: Tullgarns slott) is a royal summer palace in the province of Södermanland, south of Stockholm, Sweden. Built in the 1720s, the palace offers a mixture of rococo, Gustavian and Victorian styles. The interior design is regarded as one of Sweden's finest. Music by Arvo Pärt EST Spiegel im Spiegel is a piece of music written by Arvo Pärt in 1978, just prior to his departure from Estonia. Enjoy watching!/ Head vaatamist! Tullgarn Palace is mainly associated with King Gustaf V and Queen Victoria, who spent their summers here at the end of the 19th century and beginning of the 20th century. However, the palace was originally built for Duke Fredrik Adolf in the 1770s. Since Tullgarn was a popular summer palace amongst Swedish royalty, the palace houses fine examples of interiors from different epochs and personal styles, such as the small drawing room, decorated in the 1790s, the breakfast room in southern German Renaissance style from the 1890s and Gustav V's cigar room, which has remained largely untouched since his death in 1950. In 1719, the old Renaissance castle from the late 16th century was demolished. The newly appointed Privy Councillor Magnus Julius De la Gardie commissioned architect Joseph Gabriel Destain to design the present palace, built between 1720 and 1727. The courtyard is open to the sea and took on its present appearance in the 1820s. It is modelled on the garden of Logården at the Royal Palace in Stockholm. In 1772, Tullgarn was acquired by the crown and became a royal residence. Occupancy was granted to Duke Fredrik Adolf, youngest brother of King Gustav III. Between 1778 and 1793, Frederick Adolf resided there with his lover Sophie Hagman, and many episodes from this period are preserved as the Tullgarnsmminnena, The Tullgarn memories. Frederick Adolf modernized the palace in neo classical style, adding another storey to the wings, giving the palace a flat Italian-style roof. Fredrik Adolf's interiors are some of the finest examples of Gustavian style in Sweden. Among the designers involved were Louis Masreliez, Jean Baptiste Masreliez, Per Ljung and Ernst Philip Thoman. Many of the interiors created at that time remain today in their original form. After the death of Frederick Adolf, it was granted to his sister, Princess Sophia Albertina, who spent all her summers her until her death in 1829. The following year, it was granted to the heir to the throne, the future Oscar I of Sweden, and served as the summer residence of the Swedish royal court during his reign. King Gustaf V (then Crown Prince) took over Tullgarn in 1881 and together with his consort Victoria, implemented extensive changes. The main building was decorated more like a modern functional summer home then a royal pleasure palace. Much of the present interior dates from the time of King Gustav V and Queen Viktoria, including the vestibule, whose walls are covered in hand-painted Dutch tiles. The breakfast room is furnished like a south German Bierstube, possibly reflecting the fact that Queen Viktoria came from Baden in Southern Germany. The royal couple used the palace as their summer residence. Cameras: GoPro3, GoPro4 & Canon EOS 5D Mark III Filmed by Allan Tark Company: Rein Mets 2015 Stockholm. Sweden This video is not for commercial purposes, only educational / See video ei taotle ärilisi eesmärke, ainult üldhariduslikul eesmärgil. Enjoy watching!/ Head vaatamist!
Beethoven Michael Umlauf Umlauf Roger Norrington Ullman Albertina Museum Stuttgart Radio Symphony Orchestra Gächinger Kantorei Stuttgart Cincinnati Symphony Orchestra 1824 2000 2014 2015 2016 2020 2022
BEETHOVEN is a digital recreation of the premiere of Ludwig van Beethoven's iconic Symphony No. 9, colloquially known as the "Ode to Joy," which occurred at the Theater am Kärntnertor in Vienna, Austria on May 7th, 1824. Widely considered to be one of Beethoven's greatest masterpieces and one of the most celebrated compositions of all time, the Ninth Symphony cemented Beethoven's legacy as one of the greatest composers who ever lived. This recreation is the most accurate, extensive, and detailed visualization ever constructed of the Theater am Kärntnertor (which was razed in the 1870s), the City of Vienna at the time (which includes the medieval city walls and the glacis), and the groundbreaking performance itself. Based on our exhaustive research over the last 5 years and digital construction of the Theater space using architectural plans, we determined the choir was actually situated in front of the orchestra instead of behind it, an arrangement that differs dramatically from how the piece is performed today. The number of musicians, their position on stage, and in many cases their actual names, are all accurately portrayed in the piece. Additionally, the piece accurately portrays the four principal soloists (soprano, alto, tenor, and baritone), the conductor, Michael Umlauf, and Beethoven himself, who famously stood on stage next to the conductor for the entire performance. The recording used is from Sir Roger Norrington, known for his expertly orchestrated historically-informed performances. With Kind Assistance From: The Albertina Museum - Vienna, Austria @Albertina Museum Beethoven Haus Bonn - Bonn, Germany @Beethoven-Haus Bonn Center for Beethoven Studies - San Jose State University @Ira F. Brilliant Center for Beethoven Studies Wien Museum - Vienna, Austria @Wien Museum Dr. Theodore Albrecht - Professor of Musicology at Kent State University Dr. Thomas Forrest Kelly - Morton B. Knafel Research Professor of Music at Harvard University Michaela Ullman - Exile Studies Librarian at USC Libraries Special Collections Performer Information Sourced From: Theodore Albrecht, “Die Uraufführungen von Beethovens Sinfonie Nr. 9 (Mai 1824) aus der Perspektive des Orchesters,” [“The Premiere Performances of Beethoven’s Symphony No. 9 (May, 1824), Seen from the Orchestra’s Perspective,”] trans. Ernst Kobau, Journal der Gesellschaft der Wiener Oboe 61 (March, 2014), 6-16; 62 (June, 2014), 8-24; 63 (October, 2014), 4-13; 64 (December, 2014), 13-22; 65 (March, 2015), 3-12; 67 (October, 2015), 13-22; No. 68 (December, 2015), 9-19; and No. 69 (March, 2016), 3-19. MUSIC CREDIT: Symphony No. 9 in D minor, Op. 125 Composed by Ludwig van Beethoven Performed by the Stuttgart Radio Symphony Orchestra and the Gächinger Kantorei Stuttgart, 2000 Conducted by Sir Roger Norrington 2020 SWR Records Courtesy of NAXOS Records @Naxos Music IMAGE CREDITS: “May Festival Chorus and Cincinnati Symphony Orchestra” by KMoore CSymphony is licensed with CC BY-SA 4.0. (http•••) “The Hemicycle of the European Parliament in Strasbourg during a plenary session in 2014” by DAVID ILIFF is licensed with CC-BY-SA 3.0. (http•••) “Putin attended the opening ceremony of 2022 Beijing Winter Olympics” by Presidential Executive Office of Russia is licensed with CC BY-SA 4.0 CONNECT WITH EX LIBRIS Website: (http•••) Facebook: (http•••) Instagram: (http•••) Twitter: (http•••) ABOUT EX LIBRIS Ex Libris aims to recreate moments of history in an accurate and engaging format. By using virtual reality technology, viewers are fully immersed in these experiences, allowing them to truly “witness history." COMMITMENT TO ACCURACY We at Ex Libris pride ourselves on the extensive research conducted for each of our projects in order to make them as historically accurate as possible. By working with the leading experts in the relevant fields, consulting as many physical and online sources as are available (such as university research libraries and state archives), and sorting through thousands of reference images, we try our best to deliver as accurate a product as possible. However, conflicting sources and scant information are challenges that we inevitably face, as are the limited visual details for many historical events that either pre-date the widespread use of photography or are unfortunately lost to history. We are always looking to improve the historical accuracy of each of our experiences and are committed to making necessary changes in future versions if warranted. We understand the placement of the 4 principal singers on stage may be different based certain accounts and will be addressed in our updated piece.
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