Johann Strauss Strauss Neu Wien, Op. 342 Videos
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Hans Gál George Szell Rudolf Serkin Clara Haskil Guido Adler Beethoven Eusebius Mandyczewski Johannes Brahms Anton Bruckner Schick Schubert Wilhelm Furtwängler Fritz Busch Richard Strauss Reich Donald Tovey Edinburgh International Festival 1890 1909 1911 1913 1915 1919 1923 1926 1928 1933 1938 1939 1940 1942 1945 1947 1957 1960 1964 1971 1987 1990
Hans Gál - Violin Sonata in Bb Minor, Op. 17 Violin - Thomas Albertus Irnberger Piano - Evgueny Sinaiski ————————————————————————— Hans Gál OBE (5 August 1890 – 3 October 1987) was an Austrian-British composer, teacher and author. Gál was born to a Jewish family in the small village of Brunn am Gebirge, Niederösterreich, just outside Vienna, the son of a doctor, Josef Gál. In 1909, his piano teacher Richard Robert (who also taught George Szell, Rudolf Serkin and Clara Haskil) appointed Gál as a teacher when he became director of the New Vienna Conservatory. From 1909 to 1913, Gál studied music history at the University of Vienna under music historian Guido Adler, who published Gál's doctoral dissertation on the style of the young Beethoven in his own Studien zur Musikwissenschaft. From 1909 to 1911, Gál studied composition privately with Eusebius Mandyczewski, who had been a close friend of Johannes Brahms, and with whom he later edited ten volumes of the Complete Edition of Brahms's works, published by Breitkopf & Härtel in 1926. Mandyczewski became a "spiritual father" to him. In 1915, Gál was the first recipient of the new Austrian State Prize for Composition for his first symphony, though he later discarded this work and its successors, as well as a large number of works composed up to that time. During World War I he served in Serbia, the Carpathians and Italy. He returned from the war with a completed opera, Der Arzt der Sobeide, which was performed in Breslau (modern Wrocław) in 1919 under the conductor Julius Prüwer. After World War I the political situation in Austria was extremely difficult, exacerbated by runaway inflation. Gál was appointed to the (initially unpaid) post of Lector for music theory at the University of Vienna (a post once held by Anton Bruckner). Despite the financial difficulties he married Hanna Schick (a relative of the philosopher and psychologist Wilhelm Jerusalem). His second opera, Die heilige Ente (The Sacred Duck), received its première in Düsseldorf in April 1923 under Szell and was performed with continued success in 20 theatres. Together with his third opera, Das Lied der Nacht (The Song of the Night), it established his wider reputation. In 1928 he won a Columbia Schubert Centenary Prize for his Sinfonietta, later retitled his First Symphony. The next year, with the support of such important musicians as Wilhelm Furtwängler, Fritz Busch and Richard Strauss, he was appointed to the directorship of the Mainz Conservatory. The next three years were among the happiest and most productive of his life. The rise of the Nazis in Germany brought Gál's career in Mainz to an abrupt end on account of his Jewish ancestry. When the Nazis took over Mainz in March 1933, he was instantly dismissed from his post and performance and publication of his works in Germany were prohibited. His fourth opera, Die beiden Klaas (Rich Claus, Poor Claus), which was to have received a double première in Dresden and Hamburg, was cancelled and the piece was not performed until an English translation was presented by York Opera in 1990. He and his family returned to Vienna, but the shadow of the German Reich was already evident there, and he found no permanent position. Immediately after the Anschluß in 1938, Gál fled to London, with the intention of emigrating to the United States. But he remained in Britain, where he met the musician and scholar Donald Tovey, who invited him to come to Edinburgh, where Tovey taught at the University. There were no permanent openings for professors, but Tovey found him some work in late 1938, and when the war broke out in 1939 the Gáls moved to Edinburgh permanently. In 1940 he was interned as an enemy alien in Huyton Camp near Liverpool and Central Camp in Douglas, Isle of Man, from May to September. After his release he returned to Edinburgh, where he remained for the rest of his life. He had continued to compose throughout this time, publishing his Second Symphony in 1942. He became a lecturer in musical education at the University of Edinburgh in 1945, where he taught until retiring in 1960. In Edinburgh he was a respected member of the local musical scene, and one of the founders of the Edinburgh International Festival in 1947. His later honours include the Grand Austrian State Prize for Music (1957), appointment as an Officer of the Order of the British Empire (1964) and the Austrian Cross of Honour for Science and Art, 1st class (1971). He died at Edinburgh in October 1987, at the age of 97. Source: Wikipedia, Hans Gál ————————————————————————— I, in no way, mean to make any money via my videos. I make them to allow others to discover classical music, and help them by (sometimes) providing sheet music.
Carl Michael Ziehrer Halm Münch Michi Beethoven Johann Nepomuk Hummel Blatt Spina Hopp Adolf Müller Wünsch 1783 1806 1839 1841 1843 1865 1866 1867 1868 1870 1899 1901 1922 1931
The extent to which Vienna's nineteenth-century dance music composers observed - and astutely capitalised upon - novelties mounted at the city's theatres, is ably demonstrated by the fact that, in the late autumn of 1866, both Johann Strauss and his rival, Carl Michael Ziehrer +••.••(...)), composed dances to which they gave the same name: Wildfeuer. The impetus for their like-minded choice of title was a drama, Wildfeuer, which had opened at the Imperial-Royal Hof-Burgtheater on 18 October 1866. The five-act theatre piece, essentially about a girl in man's clothing, was written by Friedrich Halm (the nom de plume of Baron Eligius von Münch-Bellinghausen, 1806-71), the governor of the Court Library and, from 11 July 1867, director of both Court Theatres, namely the Hof-Burgtheater and the Hof-Operntheater. Wildfeuer became the subject of discussion throughout Austria and spawned numerous parodies on the stages of Vienna's suburban theatres. The 23-year-old 'Michi' Ziehrer had been the first off the blocks with his quick polka Wildfeuer, given its première on 11 November 1866 in the Blumen-Säle der Gartenbaugesellschaft (Floral Halls of the Horticultural Society) on Vienna's Ringstrasse. Ziehrer dedicated his polka to Louisabeth Roeckel +••.••(...)), whose performance in the leading rôle of René many considered a principal factor in the success of Wildfeuer. The Weimar-born actress was a granddaughter of the skilful musician Josef August Roeckel +••.••(...)), a friend of Beethoven and the brother-in-law of Johann Nepomuk Hummel. On Sunday 18 November 1866, just a week after Ziehrer had unveiled his new dance piece, Johann strauss conducted the Strauss Orchestra in the first performance of his own Wildfeuer , a French polka, at a "Novelty Concert for the benefit of Josef and Eduard Strauss", during the course of which the three brothers introduced the public to no less than six new dance pieces. The Fremden-Blatt +••.••(...)) wrote of this concert, which had taken place on another part of Vienna's Ringstrasse, in the Imperial-Royal Volksgarten, that the Strausses' new compositions "received tumultuous applause on the part of a numerous audience". Johann's publisher, C.A. Spina, just managed to issue the first piano edition of the polka Wildfeuer before the end of the year, on 31 December 1866. Almost two years after its first performance, Johann's polka was announced to appear in a vocal arrangement on the programme of a charity evenil1g in the Sofienbad-Saal on 12 October 1868 celebrating the 25th anniversary of the Wiener Männergesang-Verein (Vienna Men's Choral Association). Entitled "Jubel-Wildfeuer" (Jubilee Wildfire), the piece was to be sung by three members of the Association, Messrs Henriquez, Hopp and Josef Weyl - Weyl being the lyricist of Strauss's waltzes An der schönen blauen Donau op. 314, Wein, Weib und Gesang! op. 333 and Neu-Wien op. 342, as well as the French polka Sängerslust op. 328. Wildfeuer, which immediately precedes the waltz An der schönen blauen Donau (By the beautiful blue Danube) op. 314 in the opus listings, belongs to a period in Strauss's career which saw some of the composer's most enduring creations for the ballroom and concert hall, perhaps beginning in 1865 with the waltz Feuilleton op. 293 and ending in 1870 with another waltz, Neu-Wien op. 342. Whilst Wildfeuer itself has long since faded from concert repertoire, its opening melody (theme 1A) was given a new lease of life by Adolf Müller junior +••.••(...)) when he included it alongside other published Strauss melodies in his pastiche operetta Wiener Blut (1899). After eight bars of introduction, the first melody of Wildfeuer provides the opening melody for the Act 1 duet (No. 4) for the mannequin Pepi Pleininger and her valet boyfriend Josef: "Wünsch' gut'n Morgen, Herr van Pepi!".
Hans Gál Altenburg Wagner Brunn Schubert Wilhelm Furtwängler Richard Strauss Brahms 1890 1928 1933 1987
It is my sincere and express wish that any and all remuneration, actual or potential, that may be my due, be instead directed to all holders of copyright. Hans Gál +••.••(...)) Piano Concerto in C Major, Op. 57 I. Allegro energico ma non troppo 0:00 II. Adagio 11:15 III. Allegretto vivace 21:10 Hartmut Hudezeck, piano Philharmonisches Orchester Altenburg - Gera Laurent Wagner, conductor Hans Gál was born to a Jewish family in the small village of Brunn am Gebirge, Niederösterreich, just outside Vienna. He was trained in that city at the New Vienna Conservatory where later he taught for some time. While a student he won the K. und K. (Royal and Imperial) State Prize for composition. In 1928, he won a Columbia Schubert Centenary Prize for his Sinfonietta. The next year, with the support of such important musicians as Wilhelm Furtwängler, Richard Strauss and others, he obtained the directorship of the Mainz Conservatory. Gál composed in nearly every genre and his operas, which include Der Artz der Sobeide, Die Heilige Ente and Das Lied der Nacht, were particularly popular during the 1920s. When the Nazis occupied Mainz in 1933, Gál was dismissed as director of the conservatory and his music was banned. He was forced to leave Germany and eventually emigrated to Britain, where he taught at the University of Edinburgh for many years. However, at the start of World War II the British government interned all enemy aliens, including Gál. He continued to compose whilst interned in Huyton Camp near Liverpool and Central Camp in Douglas, Isle of Man. He was not interned for long as the government soon began to release those who did not pose a threat to the allies. His style was rooted in the Austro-German musical tradition of the late 19th century, and in his early years he was influenced by Brahms. However, by the end of the First World War, he developed his own musical language. He did not embrace the Second Vienna School or twelve tone music. His later music generally is polyphonic in structure but does not eschew traditional melody.
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