Franz Gleißner Video
litografo, compositore, musicologo
- Sacro Romano Impero
Ultimo aggiornamento
2024-05-01
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Tiere zeichne ich eher selten, würde das aber super gerne öfter machen. Viele denken oft ich würde nur Anime, und Charaktere aus dem Marveluniversum zeichnen. Ich zeichne diese Charaktere zwar sehr oft, aber das liegt eher daran, dass die meisten genau das haben wollen. Ich glaube aber, ich werde mal ein bisschen Abstand von dem nehmen, was andere wollen und eher mehr das machen, was ich möchte. Ich versuche euch im Video genau zu erklären wie ich Fell/Haare zeichne und hoffe es hilft euch ein bisschen ;) Papier: Toned Tan (DIN A3 zugeschnitten) Stifte: Luminance, Copics, Time: ca. 20h Web: (http•••) SHOP: (http•••) Sozial Media: YouTube: (http•••) INSTAGRAM: (http•••) ???? Facebook: (http•••) TikTok: (http•••) Twitch: (http•••) PaypalMe: (http•••) Material: (affiliate links): Buntstifte / Colored Pencils: • Luminance: (http•••) • Luminance einzeln kaufen: (http•••) • Prismacolor: (http•••) • Box: (http•••) • Bleistifte / Pencils: 2H-8B: (http•••) • Stifteverlängerung / Tool "pencilholder": (http•••) • Spitzer/ Sharpener: (http•••) • Papierwischer: (http•••) • Knetradirgummi: (http•••) • Radierstift/ Pencil-eraser: (http•••) • Radierer/ Eraser: (http•••) Paint on Paper DIN A4/3/2 oder 65x50cm: • weiß/ white A3: (http•••) • weiß/ white A4: (http•••) • braun/ Brown: (http•••) • grau/ Grey: (http•••) Strathmore Paper • Toned Tan: 22,9 x 30,5cm (http•••) 45,7 x 61cm (http•••) • Toned Grey: 22,9 x 30,5cm (http•••) 45,7 x 61cm / • strathmore series bristol: (http•••) • Lana Bristol: (http•••) • Lana A3: (http•••) Perfect coloring A3: (http•••) (for copics) Marker: • Copic Ciao 36er A Set: : (http•••) (http•••) • Copic Sketch 72 A Set : (http•••) • Copic Sketch 36 A Set (http•••) • 6er Multiliner STAEDTLER: (http•••) • 4er Multiliner copic: (http•••) Highlights / für weiße Details • copic opaque white: (http•••) • Signo white gel pen: (http•••) • Molotow: (http•••) Radierer/ Eraser: (http•••) Acrylic paint: (http•••) Pinsel/Brush: (http•••) Spraypaint / cans: • Montana Black: (http•••) • Molotow NEON: (http•••) • Molotow BASIC: (http•••) Klebeband/ Tape to cover: (http•••) Scalpel: (http•••) Digital: Tablet: (http•••) Program: (http•••) Pen: (http•••) Monitor: (http•••) Tages-Licht/Day-Light: (http•••) Video editing Programm: (http•••) Camera: (http•••) Stativ: (http•••) Ringlicht/ ring light: (http•••) ALL RIGHTS BELONG TO THEIR RESPECTIVE OWNERS! Music: Lunatic by Daniel Lehmann SUBSCRIBE: (http•••) BANDCAMP: (http•••) SPOTIFY: (http•••) INSTAGRAM: @daniellehmannmusic Vorlage/Template: Photographer: Uriel Soberanes (http•••)
Amberg Johann Anton André Offenbach Stocks Steiner Haslinger Vogler 1703 1759 1761 1766 1793 1796 1798 1799 1800 1801 1803 1805 1806 1809 1818
Original source ► (http•••) Composer: Franz Johannes Gleissner +••.••(...)) Work: Missa I aus Missae Breves, Op.I (1793) Performers: Solists, Chor und Orchester der Stаdtpfаrrkirche St. Georg, Neustаdt an der Wаldnааb Painting: Corrado Giaquinto +••.••(...)) - El Paraíso Image in high resolution: (http•••) Further info: (http•••) Listen free: (http•••) / Franz Johannes Gleissner (Neustadt, 1759 - Munich, 18 Sept 1818) German composer and lithographer. After early training in the seminary at Amberg he moved to Munich, where he continued studies in music and philosophy and became a court musician. There he met Alois Senefelder, the inventor of lithography, initially when he was commissioned to compose some songs in connection with Senefelder's theatrical activities. In 1796 Gleissner was approached by Senefelder to make commercial use of his method of relief printing from stone for the publication of music. Gleissner was the first to see the possibilities of this and had his 12 neue Lieder produced by it the same year. This was the beginning of a partnership that lasted over 20 years. Between 1796 and 1798 Senefelder and Gleissner printed music from etched stones, but in 1798 or early in 1799 Senefelder developed a chemical method of printing from stone, for which he and Gleissner were granted a 15-year privilege on 3 September 1799 by Maximilian Joseph of Bavaria. This was the planographic process now called lithography. An announcement of the privilege in a Munich newspaper on 26 September 1799 was seen by Johann Anton André, and within a month André entered into an agreement with Senefelder and Gleissner to set up a lithographic workshop in Offenbach. Lithographical music began to come off André’s presses early in 1800. As the first lithographer with a knowledge of music, Gleissner probably instructed André’s music engravers in the new process. Senefelder soon fell out with André over the latter’s business plans, and in August 1801 he left for Vienna, where he set up the Chemische Druckerey, eventually securing a privilege to print by lithography in Lower Austria on 18 January 1803. Gleissner apparently ran the Chemische Druckerey on a day-to-day basis. The press was not successful, either technically or commercially, and produced some music printing of very poor quality. Its output included compositions by Gleissner, stocks of which remained unsold when Senefelder disposed of the press to Sigmund Anton Steiner, probably in 1805 (see Haslinger). Gleissner and Senefelder returned to Munich in October 1806 to establish a new press for G.J. Vogler and Johann Christoph Freiherr von Aretin. Vogler soon withdrew from the arrangement, but for some years Gleissner and Senefelder ran the press, producing a variety of work. In October 1809 Senefelder and Gleissner were offered posts at the lithographic press of the Bavarian cadastral office, with permission to continue running their own press. Gleissner was a composer of some merit, and wrote instrumental and vocal works, many of which are among the earliest examples of lithography. However, what remains significant today is his role in promoting the use of lithography for music printing.
Hauff Berges Gärtner Gerhartz Gleißner Scholz Vuletić 2017
Das kalte Herz — Ein Spiel um Ansehen, Gier und Ego — nach Wilhelm Hauff — Premiere am 1. Oktober 2017 im Central — Eine Produktion der Bürgerbühne des Düsseldorfer Schauspielhauses Mit: Philine Berges, Annett Frauendorf, Jennifer Friedrich, Frank Gärtner, Jörg Uwe Gerhartz, Sandy Gleißner, Angelika Heints, Benjamin Kieselbach, Rika Scholz, Pablo Vuletić Regie: Christof Seeger-Zurmühlen — Bühne und Kostüm: Kirsten Dephoff — Musik: Bojan Vuletić — Dramaturgie: Juliane Hendes — Künstlerische Mitarbeit: Julia Dillmann (http•••)
Fumiko Shiraga Geringas Kraus Vladimir Krainev Nikita Magaloff Yara Bernette Menuhin Paul Badura Skoda Edith Picht Axenfeld Dusseldorf Symphony 1996
H.KHOURY- SONATA FOR CELLO & PIANO n.2-NIKOLAUS TRIEB ( CELLO),FUMIKO SHIRAGA (PIANO My second cello sonata was written in 1996 and get the first performance at balamand University-Lebanon with the Collaboration of Kulturzentrum-Jounieh Lebanon. Nikolaus trieb is the first cello of the Dusseldorf symphony Orchestra.He studied with eminent teachers as Prof. Rudolf Gleissner,avid Geringas fort and Andrè Navarra.He performes with different ensemble.He won many international competition and he is a professor at the Robert Schmann Conservatory in Dusseldorf. Fumiko Shiraga was born in Tokyo and had already begun learning the piano at the age of three before moving to Germany three years later. Her professors included Detlef Kraus (Folkwang Hochschule Essen), Friedrich Wilhelm Schnurr (Musikhochschule Detmold) and Vladimir Krainev (Hochschule für Musik und Theater Hannover).She received additional artistic inspiration at international masterclasses with Nikita Magaloff, Yara Bernette, Jeremy Menuhin, Paul Badura-Skoda and Edith Picht-Axenfeld. During. for more details please visit her website:(http•••)
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- cronologia: Compositori (Europa).
- Indici (per ordine alfabetico): G...