Josef Myslivecek Video
compositore ceco
- opera, sinfonia, musica classica, oratorio
- Regno di Boemia, Stato Pontificio
- compositore, organista, violinista, maestro di cappella
streaming
Ultimo aggiornamento
2024-05-03
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Johann Christian Bach Bach Haydn Beethoven Domenico Scarlatti Antonio Soler Carl Philipp Emanuel Bach Baldassare Galuppi Muzio Clementi Myslivecek Groth 1735 1782
Er wird als "Vater der Wiener Klassik" bezeichnet, er war Klavierlehrer einer Königin und sogar der junge Wolgang Amadeus Mozart wurde zeitweise von ihm unterrichtet. Die Rede ist von Johann Christian Bach (* 5. September 1735 in Leipzig; † 1. Januar 1782 in London). Wenn Dir das Video gefallen hat und Du gerne Unterricht bei mir nehmen möchtest – entweder über Skype oder bei mir zu Hause in Heroldsberg – dann kannst du gerne mit mir Kontakt aufnehmen: te ( äääääääät ) torsteneil . de Zu meinem Unterricht über Skype gibt es zwischenzeitlich auch zwei interessante Videos: (http•••) (http•••) Verwendete Bilder gemeinfrei auf Wikipedia. / * * * M E H R * V I D E O S * * * Noch mehr interessante Videos rund ums Klavier spielen findest du auf meinem Kanal ((http•••) und in den Playlists Technik-Serie (http•••) Repertoire-Serie (http•••) Fragen & Antworten (http•••) Improvisation für klassische Pianisten (http•••) / * * * K L A V I E R U N T E R R I C H T * * * Der Klavierunterricht von Torsten Eil richtet sich an Schüler aus der Region Heroldsberg, Kalchreuth, Eckental, Nürnberg, Erlangen und Fürth. Darüber hinaus bietet er für Schüler aus der Schweiz, aus Österreich und Deutschland Online-Klavierunterricht über Skype an. Die erste Stunde ist als Probestunde kostenlos. Kontakt über die Homepage: (http•••) Wenn du noch Fragen hast, dann findest du auf der Homepage Antworten zu vielen Themen, die Schüler immer wieder beschäftigen: (http•••) Auch zum Klavierunterricht gibt es einige Fragen, die immer wieder aufkommen. Die Antworten findest du ebenfalls auf der Homepage: (http•••) / * * * V I T A * * * Torsten Eil widmet seine künstlerische Tätigkeit vor allem der Musik des Barock, des Galanten Stils und der Wiener Klassik. Dabei hat er es sich zur Aufgabe gemacht, die fast verlorene Tradition der „Veränderten Reprisen“ wieder zu beleben. Torsten Eils Repertoire umfasst nicht nur Musik solcher Titanen wie Bach, Händel, Haydn, Mozart und Beethoven, sondern gerade auch musikalische Raritäten, darunter Meisterwerke von Domenico Scarlatti, Antonio Soler, Carl Philipp Emanuel Bach, Johann Christian Bach, Baldassare Galuppi, Muzio Clementi, Josef Myslivecek und einigen mehr. Seine künstlerisch-pianistische Ausbildung erhielt er durch Persönlichkeiten wie Prof. Georg Steinschaden, Prof. Anna Hidjova, Angelika Niclaus-Bronnec und Dagmar Groth. In jüngster Zeit übte der Cembalisten Jermaine Sprosse einen besonderen Einfluss auf ihn aus. Bei ihm konnte Torsten Eil viel über die Veränderten Reprisen lernen. Wenn du Torsten Eil für ein Konzert buchen möchtest oder eine kostenlose Probestunde vereinbaren willst, dann kannst du gerne Kontakt aufnehmen. Kontakt über die Homepage: (http•••) Ausführlicher Lebenslauf auf der Homepage: (http•••) / * * * Homepage * * * (http•••) / * * * Impressum * * * (http•••) / #Klavier_lernen #online_Klavierunterricht #Klaviertechnik #Klavierlehrer /
Cristo Myslivecek Waschinski Berg Andreas Karasiak Spering 2005
Provided to YouTube by NAXOS of America La passione di Nostro Signore Gesu Cristo: Part II: Aria: Se la pupilla inferma (Pietro) · Sophie Kartauser Myslivecek, J.: Passione Di Nostro Signore Gesu Cristo (La) ℗ 2005 Capriccio Released on: 2005-01-01 Artist: Sophie Kartauser Artist: Jorg Waschinski Artist: Yvonne Berg Artist: Andreas Karasiak Choir: Chorus Musicus Koln Conductor: Christoph Spering Orchestra: Neue Orchester Composer: Josef Myslivecek Auto-generated by YouTube.
Wolfgang Amadeus Mozart Domenico Guardasoni Burden Antonio Caldara Gluck Josef Mysliveček Antonio Salieri Secco Franz Xaver Süssmayr Rossini Estates Theatre Opera Vienna 1698 1734 1752 1774 1782 1789 1791
La clemenza di Tito (English: The Clemency of Titus), K. 621, is an opera seria in two acts composed by Wolfgang Amadeus Mozart to an Italian libretto by Caterino Mazzolà, after Pietro Metastasio. It was started after the bulk of Die Zauberflöte (The Magic Flute), the last opera that Mozart worked on, was already written. The work premiered on 6 September 1791 at the Estates Theatre in Prague. Background In 1791, the last year of his life, Mozart was already well advanced in writing Die Zauberflöte by July when he was asked to compose an opera seria. The commission came from the impresario Domenico Guardasoni, who lived in Prague and who had been charged by the Estates of Bohemia with providing a new work to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia. The coronation had been planned by the Estates in order to ratify a political agreement between Leopold and the nobility of Bohemia (it had rescinded efforts of Leopold's brother Joseph II to initiate a program to free the serfs of Bohemia and increase the tax burden of aristocratic landholders). Leopold desired to pacify the Bohemian nobility in order to forestall revolt and strengthen his empire in the face of political challenges engendered by the French Revolution. The ceremony was to take place on 6 September; Guardasoni had been approached about the opera in June. No opera of Mozart was more clearly pressed into the service of a political agenda than La clemenza di Tito, in this case to promote the reactionary political and social policies of an aristocratic elite. No evidence exists to evaluate Mozart's attitude toward this, or even whether he was aware of the internal political conflicts raging in the kingdom of Bohemia in 1791. In a contract dated 8 July, Guardasoni promised that he would engage a castrato "of leading quality" (this seems to have mattered more than who wrote the opera); that he would "have the libretto caused to be written...and to be set to music by a distinguished maestro". The time was tight and Guardasoni had a get-out clause: if he failed to secure a new text, he would resort to La clemenza di Tito, a libretto written more than half a century earlier by Pietro Metastasio (1698–1782). Metastasio's libretto had already been set by nearly 40 composers; the story is based on the life of Roman Emperor Titus, from some brief hints in The Lives of the Caesars by the Roman writer Suetonius, and was elaborated by Metastasio in 1734 for the Italian composer Antonio Caldara. Among later settings were Gluck's in 1752 and Josef Mysliveček's version in 1774; there would be three further settings after 1791. Mozart was not Guardasoni's first choice. Instead, he approached Antonio Salieri, the most distinguished composer of Italian opera in Vienna and head of the music establishment at the imperial court. But Salieri was too busy, and he declined the commission, although he did attend the coronation. The libretto was edited into a more useful state by the court poet Caterino Mazzolà. Unusually, in Mozart's personal catalogue of compositions, Mazzolà is credited for his revision with the note that the libretto had been "reworked into a true opera". Mazzolà conflated the original three act libretto into two acts, and none of the original Metastasio arias are from the original middle act. Mazzolà replaced a lot of the dialogue with ensembles and wrote a new act 1 finale, cobbled from lines in the original libretto, which actually presents the uprising, whereas Metastasio merely describes it. Guardasoni's experience of Mozart's work on Don Giovanni convinced him that the younger composer was more than capable of working on the tightest deadline. Mozart readily accepted the commission given his fee would be twice the price of a similar opera commissioned in Vienna. Mozart's earliest biographer Niemetschek alleged that the opera was completed in just 18 days, and in such haste that the secco recitatives were supplied by another composer, probably Franz Xaver Süssmayr, believed to have been Mozart's pupil. Although no other documentation exists to confirm Süssmayr's participation, none of the secco recitatives are in Mozart's autograph, and it is known that Süssmayr traveled with Mozart to Prague a week before the premiere to help with rehearsals, proofreading, and copying. Mozart scholars have suggested in the past that Mozart had been working on the opera much longer, perhaps since 1789, however all such theories have now been thoroughly refuted in the English-language musicological literature. The opera may not have been written in just 18 days, but it certainly ranks with Rossini's L'italiana in Algeri, Il barbiere di Siviglia and La Cenerentola as one of the operas written in the shortest amount of time that is still frequently performed today.
Milan Harašta Josef Mysliveček Čestmír Gregor Antonín Dvořák 1979 2021
Provided to YouTube by Supraphon Polonín Dances, Op.10 - Vivo /att./ - Intermezzo (Lento) /att./ - Presto · Milan Harašta · Orchestr konzervatoře Kroměříž/Jaroslav Hýl Josef Mysliveček, Čestmír Gregor, Antonín Dvořák, Milan Harašta ℗ 1979 SUPRAPHON a.s. Released on: 2021-06-11 Auto-generated by YouTube.
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- cronologia: Compositori (Europa). Interpreti (Europa).
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