Hans Redlich Video
compositore austriaco
- Austria, Regno Unito
- compositore, scrittore, professore universitario
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2024-04-28
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Anton Bruckner Valery Gergiev Johann Sebastian Bach Hans Redlich Vernet Münchner Philharmoniker 1632 1750 1865 1881
I. Majestoso (00:00) II. Adagio (16:32) III. Scherzo and Trio (34:20) IV. Finale (42:57) Conductor: Valery Gergiev Orchestra: Münchner Philharmoniker Composer: Anton Bruckner The rights of this recording go to their respective owners. Anton Bruckner was an Austrian composer of the Romantic era who used his religious background to give the world many works which expanded symphonic music into compositional forms of great sizes and scales. This composer is most significant as the transformative link between classical symphonic styles of the early nineteenth century and the expansive expressionistic symphonic styles of the early twentieth century. During his lifetime, many of his works received scathing criticism, yet they stand alone in the symphonic repertoire because they exist in several versions, giving musicologists a unique window into the composer's mind. The study of Bruckner remains prominent among orchestrators and composers today. It provides a glimpse at the problems Bruckner encountered in an age when the symphony orchestra was expanding in size. Bruckner's works are known for the overpowering use of augmented brass as well as his strong use of strings for instrumental depth. Perhaps no other composer since Johann Sebastian Bach +••.••(...)) was as motivated by his religious convictions as was Anton Bruckner. One of his biographers, Hans Redlich, stated that Bruckner may have been "the only great composer of his century whose entire musical output is determined by his religious faith." For Bruckner, like Bach, music served the purpose of praising and glorifying God. He attributed his creativity to divine inspiration and often spoke of God as being the source of his creative impulses, even dedicating his ninth (and final) symphony to the Almighty with the declaration, “to the King of kings, or Lord—and I hope that He will grant me enough time to complete it.” Known as a person of constant prayer and fasting, Bruckner's religious devotion was not symbolic, but a very sincere expression of deep-seated beliefs. As Redlich observed, Bruckner's prayers "were no mere word-saying, but a complete immersion in a meditative process which shook him beyond the confines of the physical world." Anton Bruckner can be said to have been an exponent of the Romantic ethos in relation to the concept of creating music based on extra-musical connotations, in his particular case, religious motives. An overriding narrative that motivated Bruckner’s music is the idea that the contradictions between the ideal and reality of life, and the difficulties that ensue as a result of those contradictions, though a significant aspect of the human experience, will only find ultimate redemption in a final allegiance to God. (Biography courtesy of the New World Encyclopedia) Art: Claude Joseph Vernet’s ‘Seaport’
Jani Christou Wittgenstein Hans Redlich Angelo Francesco Lavagnino Rhea 1900 1926 1948 1949 1951 1961 1966 1967 1970 2000
Score Maker/Music Chat Discord Server: (http•••) Composer: Jani Christou +••.••(...) ) Jani Christou (Greek: Γιάννης Χρήστου, Giánnīs Chrī́stou; 8 or 9 January 1926 – 8 January 1970) was a Greek composer. There is some disagreement about Christou's birth, the date of which is given by some authorities as 8 January; while others state 9 January. Most sources agree that he was born in Heliopolis, Egypt, though one states he was born in Alexandria, and it has recently been reported that a birth certificate has been found stating that the composer was born in Nicosia, Cyprus, though this certificate is suspected of being a forgery. His parents were Eleutherios Christou, a Greek industrialist and chocolate manufacturer, and Lilika Tavernari, of Cypriot origin. He was educated at the English School in Alexandria and he took his first piano lessons from various teachers and from the important Greek pianist Gina Bachauer. In 1948 he gained an MA in philosophy after having studied with Ludwig Wittgenstein and Bertrand Russell in King's College, Cambridge. During that time he also studied music with Hans Redlich (then living at Letchworth) and in 1949 travelled to Rome to study orchestration with Angelo Francesco Lavagnino. He briefly attended lectures by Carl Jung in Zurich. In 1951 he returned to Alexandria where he married Theresia Horemi in 1961. He died on or the day before his 44th birthday in a car accident in Athens, Greece. The Strychnine Lady +••.••(...) ) Instrumentation solo viola (female), five actors, instrumental ensemble, tapes, various sound object and a red cloth Performer: Rhoda Lee Rhea, viola N. Vouteris, N. Charalambous, S. Michopoulou, D. Asteriadis, A. Katsaridis, attori Second Hellenic Week of Contemporary Music Ensemble diretto da Dimitris Agrafiotis. The music published in my channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900 & 2000's (& some Baroque/Before) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform me immediately before you submit a claim to Youtube, and it will be my care to remove immediately the video accordingly. Your collaboration will be appreciated. Score Cropping By: (http•••)
Claudio Monteverdi Bremner Hans Ferdinand Redlich 1966
Provided to YouTube by Universal Music Group Monteverdi: Mass in Four Parts, SV 190 - 3. Credo · Choir Of St. John's College, Cambridge · Jonathan Bielby · George Guest Monteverdi: Masses in Four Parts; Laudate Pueri; Ut Queant Laxis ℗ 1966 Decca Music Group Limited Released on: 1966-08-05 Producer: Michael Bremner Studio Personnel, Balance Engineer: Kenneth Wilkinson Composer: Claudio Monteverdi Author: Anonymous Contributor, Work Editor: Hans Ferdinand Redlich Auto-generated by YouTube.
Mania Peter Abaelard Cico Juan Encina Cara Dux Pierre Rue Een Jakob Obrecht Wolkenstein Redlich Hans Sachs Fresco 1541 1584 1842 1967
Ésta es la música que se oía en Europa hace 600 ò 700 años. Los cuatro grupos de obras contenidos en este disco no son uniformes en criterio cronológico, al contrario, incluyen obras de la Inglaterra del Siglo XIII, canciones de amor en lengua flamenca, música germana del final de la época juglaresca y canciones rurales y humanísticas del siglo XVI español. Cada grupo tiene algo nuevo y tiende a darnos una imagen de la época, la Inglaterra de Eduardo I, los Países Bajos de Breughel, la baja Alemania de Durero y la España de los Reyes Católicos. El "Renacimiento del siglo XII", en compañía de los Gollards, las universidades y la nueva filosofía de Peter Abaelard fueron un obstáculo para la dominación de la literatura de trovadores y troveros y contribuyó al florecimiento de la esplendorosa lírica medieval. El planctus latino(1) fue influenciado por ambas literaturas; aquellos lamentos, derivados de los textos del Antiguo Testamento, constituyeron un tributo importante a la corriente principal de esta literatura y es interesante notar que estos textos, complementados por la música, poseen una longitud extraordinaria ("Sansón" tiene 181 líneas). Además estas piezas poseen unos atributos dramáticos perfectamente definidos, lo que dio lugar a que se hablara de ellas como de dramas musicales. La antigua música en lengua flamenca es rara, y además la atención popular se ha desviado de ella, al llamársela inadecuadamente "Escuela Holandesa", lo cual se aplica predominantemente a la música francesa del antiguo reino borgoñés. Anteriormente a Guillermo de Orange (muerto en 1584), parte de los Países Bajos, debido a su lengua flamenca, participó muy superficialmente en la cultura europea. Permanecieron indiferentes al resurgir del Imperio Germano, y permanecieron igualmente indiferentes a sus vecinos franceses. Cuando en la primera mitad del siglo XV, los Duques de Borgoña incluyeron este territorio entre sus dominios, la aristocracia flamenca permaneció inconmovible ante las costumbres caballerescas y el esplendor de los franco-borgoñones. Después de todo, eran esencialmente comerciantes, no tenían universidades ni grandes ciudades que pudieran competir con las de la zona francesa (Gent, Lille), ni había centros artísticos o científicos que hubieran podido conservar su música para nosotros. La evolución de la música alemana en la Edad Media no coincidió con la de otros países, por lo que mientras Inglaterra y Francia poseían una sofisticada polifonía, en el siglo XIV, la música germana permanecía esencialmente monofónica en este período. Del llamado "Siglo de Oro español", nos quedan afortunadamente muchas obras. El repertorio que se incluye en este disco es característicamente español, conservador en su estilo, con más énfasis sobre la homofonía que sobre el contrapunto; los textos tienden a ser tratados silábicamente con la melodía en la voz más alta, y comprende canciones que van desde el villancico anónimo "Rodrigo Martínez" (el tipo de canción más común en España por aquel tiempo), hasta obras como "Fata la parte", de Juan de la Encina, destinado a ser uno de los poetas más eminentes de la época. LP de 12 pulgadas, 33 rpm, monoaural, producido en Alemania por Telefunken y editado y distribuido en España por RCA, en 1967. Contenido: Cara 1 GÓTICO - Música inglesa antigua 0:04 Estampie (anónimo) 2:06 Samson Dux Fortissimae 12:15 Te Deum (In Te Dominum) RENACIMIENTO - Música flamenca antigua (Flandes) 13:49 Mij Quam Eyn Hope 15:41 Mijn Hert (de Pierre de la Rue) 18:42 Mij Heeft Een Piperken (de Laurentius de Ä) 20:25 Ic Draghe De Mutze Clutze (de Jakob Obrecht) 23:24 Als Ic U Vinde (de Emmanuel Andriaensen y Hubert Waeltrant) Cara 2 GÓTICO - Música alemana antigua 24:54 Ich Spring An Disem Ringe (anónimo) 26:45 In Suria Ain Praiten Hal (de Oswald von Wolkenstein) 30:03 Gar Wunniklaich (de Oswald von Wolkenstein) 34:07 Nachdem David War Redlich (de Hans Sachs) RENACIMIENTO - Música española antigua 36:23 Rodrigo Martínez (anónimo) 37:06 Venid a sospirar (anónimo) 39:22 El fresco ayre 42:47 Fata la parte (de Juan del Encina) (1) Un planctus es un poema elegíaco medieval que se relaciona con el llanto trovadoresco. A diferencia de éste, la mayoría de planctus estaban escritos en latín y versaban sobre la muerte de personajes bíblicos o algún rey.
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- cronologia: Compositori (Europa).
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