Simon Sechter Video
organista, compositore e direttore d'orchestra austriaco
- pianoforte, organo
- opera
- Impero austriaco
- compositore, direttore d'orchestra, musicologo, pedagogista, insegnante di musica, teorico della musica, professore universitario, pianista, docente
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2024-05-21
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Rudolf Bibl Simon Sechter Peterskirche Stephansdom Hofburg Wiener Volksoper 1832 1850 1859 1863 1875 1900 1902 1929 2017
Rudolf Bibl +••.••(...)): Präludium F-Dur Rudolf Bibl wurde 1832 in Wien in eine Musiker-Dynastie hineingeboren. Er erhielt seine Ausbildung zunächst bei seinem Vater Andreas Bibl sowie Kontrapunkt bei Simon Sechter. Rudolf Bibl war ab 1850 Organist in der Wiener Peterskirche. 1859 trat er die Nachfolge seines Vaters am Wiener Stephansdom an. 1863 wurde er nach Sechters Rückzug zum designierten und 1875 zu dessen Nachfolger als Organist und Hofkapellmeister an der Hofburg ernannt. Im Jahre 1900 reichte er seine Pensionierung ein. Sein gleichnamiger Enkel Rudolf Bibl +••.••(...)) war u.a. viele Jahre Dirigent der Wiener Volksoper. Rudolf Bibl sen. schrieb verschiedene Kompositionen, unter anderem auch nicht wenige Orgelwerke. Organist: Thorsten Pirkl Rudolf Bibl was born in Vienna in 1832 into a dynasty of musicians. He received his education first from his father Andreas Bibl and counterpoint from Simon Sechter. Rudolf Bibl was organist at St. Peter's Church in Vienna from 1850. In 1859 he succeeded his father at St. Stephen's Cathedral in Vienna. In 1863, after Sechter's retirement, he was appointed Sechter's designated successor and in 1875 his successor as organist and Hofkapellmeister at the Hofburg. In 1900 he submitted his retirement. His grandson of the same name, Rudolf Bibl +••.••(...)), was, among other things, conductor of the Vienna Volksoper for many years. Rudolf Bibl senior wrote various compositions, including not a few organ works.
Franz Lachner Choo Beethoven Spohr Schubert Sechter Rossini Singapore Symphony Orchestra 1740 1826 1827 1828
Singapore Symphony Orchestra conducted by Hoey Choo. I - Allegro con brio: 0:00 II - Andante: 11:08 III - Scherzo. Allegro assai - Trio. Poco più lento: 18:29 IV - Finale. Allegro con brio: 25:42 Lachner's Symphony No.1 was composed in 1828, showing the influence not only of Beethoven (who died in 1827), but also Spohr and Schubert, who would die the same year the work was composed. The first movement was premiered at the Muikalisches Konzerts in Vienna in 1826, but we don't have a date of a full premiere. At the same time the instruction of Sechter in counterpoint bears obvious fruit, while one may suspect a touch of the popular Rossini in the finale movement. The first movement is structured in sonata form. Begins with a triumphal theme of great elegance, full of dotted rhythms. The second theme, presented in a solo of the bassoon, is more lyrical and contained, taken by the strings. As we can appreciate, the influence of Schuber is great in these themes. The development sees the dotted rhythms combined with sequential passages derived from the themes. The music wanders towards other tonalities while the main theme keeps the momentum, leading us to a massive climax on the main theme. The recapitulation consist of a complete reexposure of the themes with slight harmonic and orchestration changes. Lyrical solos of the woods take us to an extensive coda, ending the movement triumphally. The second movement is structured in an expanded binary form (A-B-B'). It opens with the strings in pizzicato, presenting a lyrical main theme, repeted by violas and cellos in arco in a more expressive way. The timpani opens the second section, with a more resolute and firm theme presented by the whole orchestra, offering the proper contrast. Flute and clarinet solos recapitulate the opening theme. The third section brings back the second theme in C major instead of the original tonality of A flat major. Sweet phrases of the wood leads us to a calm and sweet coda. The third movement is a scherzo in ternary form. Begins with a rhythmically elegant main theme presented by the strings in a five part canon, which is repeated several times with constant changes and transformations with counterpoint. Fragments from the theme are then tossed around the orchestra, sometimes in contrary motion between instruments, as a form of brief development. The trio section opens with a lyrical second theme, presented by the clarinet and derived from the main one. The scherzo's main theme is then fully recapitulated with few changes. The fourth movement is written in sonata form. Begins with a brief, fast-paced introduction like a strong stream. The main theme is energic and brilliant, almost operatic in nature. In contrast, the second theme is more warm and melodic, presented by cellos and violas and taken by the clarinet. Again we can perceive the influence of Schuber, specially his Great C major symphony. The development is more chromatic and expressive, concluding with a great climax. The main themes are then recapitulated, the second theme initially with pizzicato accompaniment before reappearing in the clarinets and bassoons. As with the first movement, the coda is extensive, opening mysteriously, but quickly leading us to a triumphal conclusion. Picture: "The Triumph of Venus" (1740) by the French painter François Boucher. Musical analysis partially written by myself. Source: (http•••)
Theodor Döhler Julius Benedict Czerny Sechter Thalberg Schumann 1814 1829 1831 1846 1856
Theodor Döhler: Nocturne Op.24 Theodor Döhler +••.••(...)) was a pianist and composer born in Naples, where he studied under Julius Benedict. In 1829, he went to Vienna and became a pupil of Czerny (piano) and Sechter (composition). He was appointed to the "Court Pianist" to the Duke of Lucca in 1831. As a concert pianist, he visited Germany, Italy, Paris, London, Netherlands, Denmark, Russia and so on, obtaining a lot of success. In 1846, he was ennobled by his patron Duke of Lucca and married a Russian princess. He died of spinal disease in Florence. This nocturne containing sentimental melodies and Thalberg-like brillant passages, used to be very popular. Schumann commented that this nocturne is cold and sweet declaration of love like icecream. (http•••) Source of the portrait: Universität Frankfurt am Main Digitale Sammlungen ((http•••)
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- cronologia: Compositori (Europa). Direttori d'orchestra (Europa). Interpreti (Europa).
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