Valerija L'vovna Auėrbach Video
compositrice e pianista russa
- pianoforte
- opera
- Unione Sovietica, Stati Uniti d'America, Austria
- compositore, pianista, scrittore, poeta, partecipante al forum internazionale
reti sociali
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2024-05-06
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Alois Hába Auerbach Bedřich Smetana Franz Schreker Ferrucio Busoni Josef Suk 1893 1908 1918 1923 1928 1931 1933 1937 1941 1955 1967 1973
Dan Auerbach - Violin 00:00 Allegro Non Troppo 03:59 Andante Cantabile 08:44 Scherzo, Energico 11:17 Moderato Alois Hába +••.••(...)) was a Czech composer. When he was five years old it was discovered that he had absolute pitch. In school, Alois became very interested in the musical aspects of the Czech language, above all in pitch, rhythm, accent, dynamics, and timbre of the speech. In 1908 he entered the teacher's training college in Kroměříž, where he began to develop an interest in Czech national music, analyzing the works of Bedřich Smetana. Already at that time he found out from his textbooks that the European system of music was not the only one in the world and that even some European music had in the past used different scales than the ones used in his time. He therefore started to develop his own point of view in this issue. He studied with Franz Schreker in Vienna in 1918. At that time, Hába wrote his first quarter-tone piece, Suite, consisting of three fugues in the quarter-tone system, composed for two pianos tuned a quarter tone apart. In 1923, he met Ferrucio Busoni in Berlin, who had advocated the sixth-tone system and encouraged Hába to continue his work in microtonality. After that he was kicked out of Nazi Germany and he went back to Czechoslovakia. After the premiere of his quarter-tone opera Matka (Mother) in 1931, introducing a practically athematic concept, Hába emerged as a leader of Czech modernist music and became internationally well known as one of the most important avantgarde composers. This opera also uses two quarter-tone clarinets and two quarter-tone trumpets, which were built especially for this work. Hába expressed his bold socialist viewpoint throughout his operas and that caused controversies already at the time. In 1933, when Josef Suk became director of the Prague Conservatory, Hába was made a full professor and established the Department of Quarter-tone and Sixth-tone Music. Here he had much influence over his many students. His works became banned during Nazi occupation of Czechoslovakia. They closed down the Prague Conservatory in 1941 and prevented him from teaching. During the war Hába wrote a continuation of his Theory of Harmony, completed, as already mentioned, a sixth-tone opera (which was never produced), and considered constructing a twelfth-tone harmonium. At the turn of forties and fifties, the work of Alois Hába was affected by the communist regime in Czechoslovakia, becoming transitionally simplified, much more "thematic" and tonal, and also setting texts projecting communist ideology. He was nevertheless unable to rid himself of the label of “formalist” stuck onto him by Marxist aesthetics. When Hába returned to his style, he continued in his experimental musical studies, which culminated in the 1960s with the use of fifth tones in his Sixteenth String Quartet in 1967. Alois Hába's works total 103 opuses, the majority of which are various kinds of chamber music. Among the most important are his string quartets, which document and demonstrate the development of his style. In addition to quarter tones, Hába used sixth-tones in his String Quartets nos. in the 5, 10, and 11, as well as in Six Pieces for Sixth-tone Harmonium or String Quartet (1928), Duo for Sixth-tone Violins (1937), Thy Kingdom Come, a Sixth-tone Musical Drama in Seven Scenes (1937–42), Suite in Sixth-tones for Solo Violin (1955), and Suite in Sixth-tones for Solo Cello (1955).
Lera Auerbach Boreyko Vadim Gluzman Yoffe Stuttgart Radio Symphony Orchestra 1973 1997
Lera Auerbach (1973) - Double Concerto for violin, piano and orchestra, op.40 (1997) I. Moderato II. Chorale. Andante religioso III. Vivace Vadim Gluzman, violin; Angela Yoffe, piano Stuttgart Radio Symphony Orchestra - Andrei Boreyko
Richard Strauss Rudolf Kempe Auerbach Bülow Eugen Albert Brahms Krause Meiningen Court Orchestra 1885 1886 1890 2003
Richard Strauss Burleske in D minor for piano and orchestra Malcolm Frager, piano Staatskapelle Dresden Rudolf Kempe, conductor Painting: Frank Auerbach, Head of William Feaver, 2003 Early in 1885, Strauss began a conducting apprenticeship with Hans von Bülow, who was then the director of the renowned Meiningen Court Orchestra. Even though this lasted only six months, it was of decisive importance for his career. Strauss hoped that his mentor (who was equally celebrated as a pianist and as a conductor) would perform his Burleske (1886) for piano and orchestra, but Bülow's reaction was not encouraging. "There's a different hand position in every bar; do you think I'm going to sit down for four weeks and study such an unmanageable piece?", he demanded of the fledgling composer. Strauss had better luck with another virtuoso, Eugen d'Albert, who took all the difficulties in his stride at the first performance (which was given as part of the 1890 Eisenach Music Festival). Strauss himself conducted the work, which he dedicated to d'Albert. By this stage, however, the composer had begun to lose interest in the piece, and remarked that he objected to performing a work he had already grown out of. The four accented timpani strokes at the start set the tone of cheerful music-making and give the work its “burlesque" character. Some genuinely Straussian characteristics can already be heard in this piece, despite the strong influence of Brahms. The Burleske looks forward to the cheeky humour of Till Eulenspiegel and is certainly more than the work of a talented beginner. Adapted from notes by Ernst Krause
Provided to YouTube by NAXOS of America Piano Sonata No. 4 in E-Flat Major, Op. 7: II. Largo con gran espressione · Georg Michael Grau Beethoven: Piano Sonatas, Opp. 7 & 10 - Auerbach: 12 Images from Childhood, Op. 52 & Ludwigs Alptraum ℗ 2016 TYXArt Released on: 2016-04-29 Artist: Georg Michael Grau Composer: Ludwig van Beethoven Auto-generated by YouTube.
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