Felix Otto Dessoff Video
direttore d'orchestra e compositore tedesco
Commemorazioni 2025 (Nascita: Felix Otto Dessoff)
- musica classica
- Reich tedesco
- compositore, direttore d'orchestra, insegnante di musica
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2024-06-25
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Boulanger Lili Boulanger Barbour Scharf Hollander Ebert Nowacki Dessoff Choirs 2017
The Dessoff Choirs joined us in our studios to perform Lili Boulanger's "Hymne au soleil." Take a 360 look and listen to this performance. Malcolm J. Merriweather, music director Steven Ryan, pianist Sopranos: Kristen Bloom Jessica Barbour Kathy Wolf Julie Siegmund Erika Rorhbach Altos: Christina Peter Cynthia Socci Barbara Scharf Schamest Martha Hollander Susan Bradley Tenors: Tarsal Arnas Christopher Ebert Bass: Steve Winn Christopher Platt Francis Menton Video: Kim Nowacki Audio Engineer: Irene Trudel WQXR 2017
00:00 Missa De Beata Virgine: Kyrie - Gloria - Credo - Sanctus - Agnus Dei 36:56 Psalm 92 'Dominus Regnavit' 42:58 Hymn 'Ave Christe Immolate' 52:51 Motet 'Tulerunt Dominum Meum' The Dessoff Choirs - Paul Boepple, conductor Of Josquin des Pres, Luther, his contemporary, wrote that "He is the supreme master of the notes, which must express whatever he wants them to. Other composers can only do what the notes want." Luther, a born musician and an untrammelled thinker in musical matters, may have missed the final point here, for Josquin's supreme mastery of the "notes" is in appearance so effortless that they actually seem to do what they want to! In many ways he was a Renaissance Mozart and Beethoven rolled into one. Few musicians familiar with his music will contest this. Josquin, much like Beethoven, was modern to his time, anticipating things that were to be anticipated only a generation or two later. Many features of imitative counterpoint and of fugal staggering of voices were largely due to him. His quasi-orchestral treatment of the chorus and his ability to achieve stunning dynamic climates remained unsurpassed for a century. Such a man could also have easily thought of surpassing forays into distant keys and of audacious chromaticism and chordal effects to enhance such passages. It seems clear that there can be no question today of an "authentic" performance of old music such as Josquin's, when we cannot even be sure of all the notes, let alone the manner of singing, the placement of the words under the music, the articulation of the melisma, and most important the tuning of the old scales in actual practice. It seems miraculous that, in spite of such uncertainties, Josquin's music still shines as brightly as it does. MISSA DE BEATA VIRGINE This mass is based on themes and chants from Plainsong Masses (Kyrie and Gloria: Mass IX “Cum jubilo"; Credo: Credo I; Sanctus and Agnus Dei: Mass IV “Cunctipotens Genitor Deus.") While in the Kyrie and Gloria the Gregorian melodies appear as the main themes of a free, imitative polyphony, in the Credo, Sanctus, and the first and third Agnus Dei the plainsong, as a two-fold cantus firmus, forms a continuous canon between the second and fourth voice. PAUL BOEPPLE
Johann Strauss Johannes Wildner Frühling Prinz Gunst Otto Dessoff Spina Adolf Müller Wiener Johann Strauss Orchester Johann Strauss Orchestra Hofoper Musikverein 1165 1873 2015 2021
Johann Strauss (Sohn): Wiener Blut / Walzer op. 354 Johannes Wildner, Dirigent | Conductor Wiener Johann Strauss Orchester | Vienna Johann Strauss Orchestra ► Konzert-Infos: (http•••) ► Webseite: (http•••) Live aufgenommen am 3. Juli 2015 im Lustgarten in Potsdam / Deutschland. Werkbeschreibung: Im Frühling 1873 rüstete sich Wien für die bevorstehende Eröffnung der Weltausstellung. Die Feststimmung steigerte sich noch, als am 20. April Erzherzogin Gisela Prinz Leopold von Bayern ehelichte. Auch die k. k. Hofoper nützte die Gunst der Stunde, um mit einem Ball am 22. April in den Räumen der Gesellschaft der Musikfreunde die Mittel ihrer Pensionskasse aufzustocken. In der Ruhestunde dirigierte Otto Dessoff ein «ernstes» Programm, dann präsentierte Johann Strauss (Sohn) an der Spitze des 80 Mann starken Opernorchesters seine eigens für den Ball komponierte Walzerpartie «Wiener Blut», op. 354. Der Titel war einer Sammlung «kleiner Culturbilder aus dem Volksleben der alten Kaiserstadt an der Donau» von Friedrich Schlögl, einem veritablen Bestseller, entlehnt. Die «Blätter für Musik, Theater und Kunst» attestierten der Novität «Frische der originellen Melodie und echte[s] Tanzanimo»; das «Wiener Tagblatt» resümierte: «In diesen bald kecken, bald sentimentalen Dreivierteltakten rollt wirklich frisches, freies, echtes und rothes Wiener Blut.» Die Erstausgaben für Klavier zwei- und vierhändig, Violine und Klavier, Zither sowie die Orchesterstimmen erschienen am 10. Juni 1873. Es war dies die erste Komposition von Strauss, die nach der Übernahme des Verlags Carl Anton Spina durch Friedrich Schreiber unter dem neuen Eigentümer publiziert wurde. Der verhältnismäßig kurze Zeitraum der Herstellung erklärt sich durch den Umstand, dass der Verlag den durch die Weltausstellung vergrößerten Absatzmarkt nützen wollte, der noch dazu internationale Kontakte versprach. Eine wenige Jahre später erschienene Titelauflage nennt den dänischen König Christian IX. als Widmungsträger. In der von Adolf Müller jun. aus Melodien von Johann Strauss (Sohn) zusammengestellten Operette «Wiener Blut» figuriert das erste Thema des gleichnamigen Walzers als Schlussgesang; das zum geflügelten Wort gewordene Textincipit lautet: «Wiener Blut, eigner Saft, voller Kraft, voller Glut». Synopsis: Dr. Thomas Aigner „Wiener Johann Strauss Orchester “ is a registered word mark in the European Union. EUIPO trade mark no. 011643186 „Vienna Johann Strauss Orchestra “ is a registered word mark in the European Union. EUIPO trade mark no. 012074043 Ⓟ & 2021 by Wiener Johann Strauss Orchester #WJSO, #music, #musica, #musical, #heritage, #音楽, #classicalmusic, #クラシック音楽, #johannstrauss, #tradition, #orchester, #orchestra, #orquesta, #wien, #vienna, #ウィーン, #visitvienna, #vienna_austria, #viennalove, #austria, #österreich, #livemusic, #concert, #onstage, #コンサート, #concerthall, #musikverein, #musicians, #ミュージシャン, #instrumental
Johannes Brahms Felix Otto Dessoff Beethoven Johann Sebastian Bach Bülow Clara Schumann Schumann Staples Arnold Schoenberg Edward Elgar Brasch Czech National Symphony Orchestra National Symphony Orchestra 1833 1862 1876 1897 2012
Brahms Symphony No. 1 in C minor, Op. 68 Symphony No. 1 in C minor, Op. 68, by Johannes Brahms was first performed in 1876, conducted by Felix Otto Dessoff, a friend of the composer. It took Brahms at least 14 years to complete, the first sketches dating from 1862. The long gestation of the symphony may be put down to two factors: on the one hand, Brahms' self-critical fastidiousness which led him to destroy many of his early works, and, on the other hand, the expectation of Brahms' friends and the public that Brahms would continue "Beethoven's inheritance" and produce a symphony of commensurate dignity and intellectual scope—an expectation which Brahms felt he could not fulfill easily in view of the monumental reputation of Beethoven. The work is in the typical four movements, scored for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani and strings. Johannes Brahms, (7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the Romantic period. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna. His reputation and status as a composer are such that he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow. Brahms composed for symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. A virtuoso pianist, he premiered many of his own works. He worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire. An uncompromising perfectionist, Brahms destroyed some of his works and left others unpublished. Brahms has been considered, by his contemporaries and by later writers, as both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Classical masters. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers. Embedded within his meticulous structures, however, are deeply romantic motifs. (From Wikipedia, the free encyclopedia) Photo: By C. Brasch, Berlin (biography) - (http•••) Public Domain, (http•••) Music: Czech National Symphony Orchestra - 2012 (http•••) (http•••)
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