Ignaz Schuppanzigh Video
violinista, violista e direttore d'orchestra austriaco
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- musica classica
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- direttore d'orchestra, violinista, compositore
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2024-05-10
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Beethoven Igor Stravinsky Schuppanzigh Matthews Haydn Archduke Rudolf Austria Louis Spohr 1793 1825 1826 1827 1835
Overview The Große Fuge (or Grosse Fuge, also known in English as Great Fugue or Grand Fugue), Op. 133, is a single-movement composition for string quartet by Ludwig van Beethoven. Introduction The Große Fuge (or Grosse Fuge, also known in English as Great Fugue or Grand Fugue), Op. 133, is a single-movement composition for string quartet by Ludwig van Beethoven. An immense double fugue, it was universally condemned by contemporary critics. A reviewer writing for Allgemeine musikalische Zeitung in 1826 described the fugue as "incomprehensible, like Chinese" and "a confusion of Babel". However, critical opinion of the work has risen steadily since the beginning of the 20th century. The work is now considered among Beethoven's greatest achievements. Igor Stravinsky said of it, "[it is] an absolutely contemporary piece of music that will be contemporary forever." The Große Fuge originally served as the final movement of his Quartet No. 13 in B♭ major (Op. 130), written in 1825. But Beethoven's publisher, who was concerned about the dismal commercial prospects of the piece, urged Beethoven to replace the fugue with a new finale. Beethoven complied, and the Große Fuge was published separately in 1827 as Op. 133. It was composed when Beethoven was almost completely deaf, and is considered to be part of his set of late quartets. It was first performed in 1826, as the finale of the B♭ quartet, by the Schuppanzigh Quartet. Analysts describe the Große Fuge as "inaccessible", "eccentric", "filled with paradoxes", and "Armaggedon". " stands out as the most problematic single work in Beethoven's output and … doubtless in the entire literature of music," writes critic and musicologist Joseph Kerman of the fugue. Also, writes violinist and composer David Matthews, "it is fiendishly difficult to play." History of composition Beethoven originally composed the Große Fuge as the final movement of his String Quartet No. 13 (Op. 130). His choice of a fugal form for the last movement was well grounded in tradition: Haydn, Mozart, and Beethoven himself had used fugues as final movements of quartets. But in recent years, Beethoven had become increasingly concerned with the challenge of integrating this Baroque form into the Classical structure. "In my student days I made dozens of [fugues]... but [imagination] also wishes to exert its privileges... and a new and really poetic element must be introduced into the traditional form," Beethoven wrote. The resulting movement was a mammoth work, longer than all the other movements of the quartet together. Beethoven wrote at the top of the score, "Grande fugue tantôt libre, tantôt recherchée" (a grand fugue, somewhat free, somewhat researched), an indication of his ambition to reconcile the academic and the romantic. The fugue is dedicated to the Archduke Rudolf of Austria, his student and patron. At the first performance of the quartet, other movements were received enthusiastically, but the fugue was not a success. A review of the performance in the Allgemeine musikalische Zeitung, one of Vienna's leading music periodicals, called the fugue "incomprehensible, like Chinese" and "a confusion of Babel". Composer and violinist Louis Spohr called the fugue, and the other late quartets, "an indecipherable, uncorrected horror." Despite the contemporary criticism, Beethoven himself never doubted the value of the fugue. Karl Holz, Beethoven's confidant and second violinist of the Schuppanzigh quartet that performed the work, brought Beethoven the news that the audience had demanded encores of two middle movements. Beethoven, enraged, was reported to have growled, "And why didn't they encore the Fugue? That alone should have been repeated! Cattle! Asses!" However, the fugue was so roundly condemned by critics and audience alike that Beethoven's publisher, Matthias Artaria (1793–1835), decided to try to convince Beethoven to publish it separately. Holz was given the task of convincing Beethoven to separate the fugue from the rest of the quartet. Holz wrote: Why the notoriously stubborn Beethoven agreed so readily to replace the fugue is an enigma in the history of this quintessentially enigmatic piece. Historians have speculated that he did it for the money (he was notoriously bad at managing money), or to satisfy his critics, or because he simply believed the fugue stood best on its own. The fugue is connected to the other movements of opus 130 by various hints of motifs, and by a tonal link to the preceding Cavatina movement (the Cavatina ends on a G, and the fugue begins with the same G). The replacement last movement, on the other hand (which also begins on a G) is light in character and completely uncontroversial. Beethoven composed the replacement finale in late 1826. In May 1827, about two months after Beethoven's death, Matthias Artaria published the first edition of Op. 130 with the new finale, and the Große Fuge as Op. 133, as well as a four-hand piano arrangement, Op. 134.
Franz Peter Schubert Ignaz Schuppanzigh Hugo Wolf Berner Beethoven Schwind John Reed Metternich Hugo Wolf Quartett 1776 1797 1823 1824 1826 1828 1830
Franz Peter Schubert (31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast oeuvre, including 600 secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of piano and chamber music. The Piano Quintet in A major, D. 667 (Trout Quintet), the Symphony No. 8, D. 759 (Unfinished Symphony), the three last piano sonatas, D. 958-960, and his song cycles Die schöne Müllerin and Winterreise are some of his most important works. Please support my channel: (http•••) Uploaded with special permission by Producer/Editor Peter Watchorn (http•••) String Quartet in A minor, D.804 "Rosamunde" (Spring 1824) Dedication: Ignaz Schuppanzigh (1776–1830), member of the imperial court orchestra 1. Allegro ma non troppo (0:00) 2. Andante (14:42) 3. Menuetto. Allegretto — Trio (22:06) 4. Allegro moderato (29:56) HUGO WOLF QUARTETT Sebastian Gürtler, violin I Régis Bringolf, violin II Subin Lee, viola Florian Berner, cello On March 31, 1824 Schubert wrote to his friend, Leopold Kupelwieser: “Of songs I have not written many new ones, but I have tried my hand at several instrumental works, for I wrote two Quartets for violins, viola and violoncello and an Octet, and I want to write another quartet, in fact I intend to pave my way towards grand symphony in that manner…” The three quartets to which Schubert referred were the A minor, D. 804 (Rosamunde), performed here, the D minor, D. 810 (Death & the Maiden), and the yet-to-be-composed G major, D. 887, written down in just 10 days in June, 1826. The A minor Quartet was, alone of all three published, in September, 1824 as Op. 29, no. 1, dedicated to Schuppanzigh, its first performance having taken place just two weeks prior (March 14) as part of a program that also included Beethoven’s popular Septet, Op. 20. As Moritz von Schwind wrote concerning this première: “Schubert’s Quartet was performed, rather slowly in his opinion, but clearly and affectionately. Overall it is very smooth, but so in such a way that the tune stays in one’s head, as with songs, full of feeling and expression.” The opening movement of the A minor Quartet is imbued with the same brooding intensity that defines the Quartettsatz – albeit at a slower tempo, and no doubt for very different reasons. The first theme consists of the simplest possible means; a sad tune beginning with a descending A minor arpeggio over a “spinning wheel’ accompaniment, of the kind that Schubert wrote in his early Goethe song Gretchen am Spinnrade. All this occurs above a disturbing tremolando bass. The despairing reference by Schubert to his own popular early song is probably no coincidence, for it was at exactly this time that he discovered that his health, undermined since 1823 by his contraction of syphilis, would probably never be fully restored. In the same March 31 letter to Kupelwieser, quoting Goethe’s text for Gretchen he wrote: “I feel myself to be the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair makes things worse and worse, instead of better, imagine a man, I say, whose most brilliant hopes have perished, to whom the felicity of love and friendship have nothing to offer but pain, at best, whom enthusiasm (at least of the stimulating kind) for all things beautiful threatens to forsake, and, I ask you, is he not a miserable, unhappy being? ‘My peace is gone, my heart is sore, I shall find it never and nevermore,’ I may well sing every day now, for each night, on retiring to bed, I hope I may not wake again, and each day but recalls yesterday’s grief.” In addition to his broken health, Schubert’s biographer, John Reed refers to the composer’s disenchantment with Viennese taste and its embrace of triviality in the wake of Metternich’s absolutist re-ordering of Europe and the emergent “Biedermeier” culture. Reed characterizes the A minor Quartet as “a Romantic excursion to the land of lost content”. Peter Watchorn
Beethoven Halm Schwer Schlesinger Schuppanzigh Caballero Cuarteto Beethoven Berliner Singakademie 1770 1826 1827 1844 1850
Enlace a Lista de Reproducción "Obras del catálogo Kinsky-Halm ("WoO") de Beethoven": (http•••) Enlace a Lista de Reproducción "Lieder, canciones y obras corales de Ludwig van Beethoven": (http•••) Enlace a la Lista de Reproducción "Música de cámara de Beethoven": (http•••) Enlace a Cuarteto de Cuerda Op. 135: (http•••) Bueno saber ¡Debe ser! Beethoven hizo la copia para su último cuarteto de cuerda Op. 135 él mismo, en octubre de 1826. Inusualmente, copió la obra en partes separadas. En este momento de su vida raramente hacía eso y generalmente era inusual en Beethoven. Las cuatro partes tienen el título "Der schwer gefaßte Entschluß" ("La difícil decisión") escrito sobre el último movimiento, con las famosas palabras y el motivo musical "Muß es sein? - Es muss sein!" ("¿Debe ser? ¡Debe ser!"). A finales de la década de 1850, el editor original de este cuarteto de cuerda, Maurice Schlesinger, cuenta en París la carta adjunta de Beethoven, que había enviado por correo con la copia. En ella Beethoven da la razón del motivo y también explica por qué había copiado el cuarteto él mismo en lugar de entregárselo a un copista. Aunque la carta original fue destruida en un incendio, Schlesinger recordó las palabras de Beethoven: "Ves qué infeliz soy. No sólo fue difícil de escribir porque tenía algo mucho más grande en mente y sólo lo escribí porque había prometido hacerlo y necesitaba el dinero. Puedes ver que fue muy difícil para mí desde el "Es muss sein". Pero un problema adicional era que yo quería enviártelo en partes para facilitar el grabado. Sin embargo, no pude encontrar un copista en todo Mödling, así que tuve que copiarlo yo mismo. ¡Eso fue una parte de la obra! Uff, ya está hecho. Amén.". En la época en que terminó el cuarteto, Beethoven estaba aún en su alojamiento de verano, pero en Gneixendorf (esto también se observa en la primera página de la parte del violín) y no en Mödling (Schlesinger probablemente se equivocó, Beethoven había ido frecuentemente a Mödling en años anteriores). El amigo de Beethoven, Karl Holz, escribe de una manera menos seria sobre cómo surgió el lema "Muß es sein". Su anécdota está respaldada por las entradas correspondientes en los cuadernos de conversación, "Beethoven había completado el cuarteto en Si mayor [op. 130] y le había dado el manuscrito a su amigo Schuppanzigh [primer violinista en un cuarteto de cuerda] para la actuación. Este último confiaba en hacer un buen dinero con esto. Por lo tanto, Beethoven se molestó aún más cuando, después de la actuación, un adinerado amante de la música D..., que era bien conocido en Viena, no había asistido, alegando que podría hacer que el cuarteto fuera interpretado por artistas competentes para su propio círculo; poner sus manos en el manuscrito de Beethoven no sería difícil. Poco después, este caballero recurrió a Beethoven con la recomendación de un amigo, solicitando las partes de su último cuarteto. Beethoven le explicó en una carta que le enviaría las partes que solicitaba cuando Schuppanzigh hubiera recibido 50 fl. como compensación por la primera actuación. Muy desagradablemente sorprendido cuando recibió el mensaje, D le dijo al mensajero: "¡Si debe ser así!". Esta respuesta fue transmitida a Beethoven, quien se rió a carcajadas e inmediatamente escribió el canon "Es muß seyn! Es muß seyn!" [WoO 196]. El final del último cuarteto en Fa mayor se desarrolló a partir de este canon a finales del otoño de 1826, para lo cual escribió el título "Der schwer gefaßte Entschluß" ("La difícil decisión"). (J.R.) Source: (http•••) Título: “Es muß sein!” (“¡Debe ser!”), canon (broma musical) para 4 voces, WoO 196. Compositor: Ludwig van Beethoven +••.••(...)). Tonalidad: Fa mayor. Compuesto en abril de 1826. Publicado por 1ª vez en facsímil en la “Zeitschrift für Deutschlands Musikvereine und Dilettanten” (“Revista para asociaciones musicales y aficionados de Alemania”), Karlsruhe, 1844. Intérpretes: Kammerchor der Berliner Singakademie (Coro de cámara de la Academia de Canto de Berlín)
Beethoven Fries Ignaz Schuppanzigh Louis Spohr Johann Nepomuk Hummel Giacomo Meyerbeer Antonio Salieri Romberg Domenico Dragonetti Mauro Giuliani 1811 1812 1813
Classical music at its best: Symphony No. 7 in A Major by Beethoven. (http•••) The Symphony No. 7 in A major, Op. 92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa town of Teplice. The work is dedicated to Count Moritz von Fries. At its première, Beethoven was noted as remarking that it was one of his best works. The second movement, Allegretto, was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony. The work was premiered with Beethoven himself conducting in Vienna on 8 December 1813 at a charity concert for soldiers wounded in the Battle of Hanau. In Beethoven's address to the participants, the motives are openly named: "We are moved by nothing but pure patriotism and the joyful sacrifice of our powers for those who have sacrificed so much for us."[2] The program also included the patriotic work Wellington's Victory, exalting the victory of the British over Napoleon's France. The orchestra was led by Beethoven's friend Ignaz Schuppanzigh and included some of the finest musicians of the day: violinist Louis Spohr,[3] composers Johann Nepomuk Hummel, Giacomo Meyerbeer and Antonio Salieri,[4] bassoonist Anton Romberg, and the Italian double bass virtuoso Domenico Dragonetti, whom Beethoven described as playing "with great fire and expressive power".[citation needed] The Italian guitar virtuoso Mauro Giuliani played cello at the premiere.[5] The piece was very well received, such that the audience demanded the Allegretto movement be encored immediately.[3] Spohr made particular mention of Beethoven's antics on the rostrum ("as a sforzando occurred, he tore his arms with a great vehemence asunder ... at the entrance of a forte he jumped in the air"), and "the friends of Beethoven made arrangements for a repetition of the concert" by which "Beethoven was extricated from his pecuniary difficulties". (http•••) I hope you enjoy my channel and my classical music videos. Please subscribe and show your love by hitting the like button and sharing. ComplexMosquito Channel: (http•••)
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