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2024-05-21
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Gould Beethoven Browne 1792 1798 1964
Beethoven's Piano Sonata No. 7 in D (Op. 10, No. 3) of 1798 is the last (and the longest) of a set of three sonatas bearing a dedication to the Countess Anna Margarete von Browne. That inscription tells us something about the environment in which the young Beethoven found himself. He arrived in Vienna in 1792, not yet 22 years old. The city, already the musical capital of Europe, was founded on a system of commercial wealth and aristocratic patronage. It was an intensely competitive milieu in which pianist/composers (synonymous roles) vied with each other for the financial favors of noble benefactors. A year before the dedication of the sonatas, the Brownes gave Beethoven a horse in return for an earlier dedication - cash was not the sole artistic currency of the time. By the end of the decade, Beethoven had distinguished himself as the leading keyboard virtuoso in the city, but it was a position he was obliged to defend. By any standard, the competition was cutthroat. Pianistic feats demonstrated in improvisational performances by one instrumentalist were quickly imitated by others. Compositions were hurried into print to ensure their provenance and at the same time to declare the technical and stylistic advances of the composer to a knowledgeable audience. It does not diminish the stature of this early masterpiece to suggest that the enormous expressiveness to be found in the sonata, particularly in the second movement, is as much a result of the need to be innovative as it is a manifestation of creative inner impulses. The festive opening movement, though seemingly guileless, contains subversive elements - Beethoven insinuates music which reaches beyond the compass of the keyboards available to him at the time. Following the jaunty first phrases, a downward cascade of notes leads the left hand to one note below the lowest F then possible and the ensuing upward sweep carries us to a high F-sharp, also a note which did not exist on the restricted keyboards of the day. Our modern eight-octave keyboard makes it possible for pianists to play the two unwritten but implied notes and in fact most editions of the score include them as part of the text. The despair which pervades much of the second movement Largo e mesto was new to Beethoven's music - the sadness and resignation made all the more palpable when heard after the energetic first movement and followed by the hesitant balm of the third movement Menuetto. The full return to affirmation is confirmed by the last movement Rondo which opens with a teasing three-note question, repeated and then answered with what sounds like a Beethovenian improvisation on that motif. Beethoven was known to play most of his piano works with extreme passion; he would certainly have approved and enjoyed Gould's very fast tempo in the opening movement marked 'Presto'. Surprisingly the whole sonata lasts exactly 20 minutes, which is the normal duration by almost all pianists. I. Presto 3'52" II. Largo e mesto 10'36" III. Menuetto. Allegro 2'36" IV. Rondo. Allegro 2'48" The recording took place in New York (late November) and it was Gould's last performance in 1964.
Bach Mayone Knoll Johann Crüger Haupt Paul Gerhardt Gerhardt Weis Leib Muth Raben Frommer Beständig Fröhlich Browne Charles Sanford Terry Johanniskirche 1599 1603 1613 1929 2006 2008 2018 2021
Johanniskirche - Bad Rodach - Gottesdienst am Sonntag 7. März 2021 Okuli Siehe Andacht 20210306 Gauerstadt (http•••) 1. Orgelvorspiel: Bach Herzlich tut mich verlangen BWV727 (http•••) 2. Herzliebster Jesu (nach EG81) (http•••) 3. Christe, du Lamm Gottes (http•••) 4. Austeilung: Mayone 1603 Toccata I (http•••) Okuli: (http•••) (http•••) Mayone 20210307: (http•••) Gottesdienst 20210307: (http•••) Johanniskirche Bad Rodach: (http•••) 20210307 Bad Rodach (http•••) 20200409 Bad Rodach (http•••) Choralbearbeitung EG665: (http•••) Bach: (http•••) Bach: (http•••) Christoph_Knoll: (http•••) Während der Pest verfasste Knoll 1599 sein geistliches Sterbelied Herzlich thut mich verlangen nach einem selgen End.[2][3] Knolls Lied fand noch zu seinen Lebzeiten Verbreitung. Im Liederbuch Harmoniae sacrae (Görlitz 1613) erschien der Text erstmals der Melodie von Hans Leo Haßlers Liebeslied Mein G’müt ist mir verwirret kontrafaziert.[4] Dieselbe Melodie wurde später auch von Johann Crüger dem Text O Haupt voll Blut und Wunden von Paul Gerhardt unterlegt. 1. Herzlich thut mich verlangen nach einem selgen End; weil ich hie bin umfangen mit Trübsal und Elend. Ich hab Lust abzuscheiden von dieser argen Welt; sehn mich noch ewgen Freuden: o Jesu, komm nur bald. 2. Du hast mich ja erlöset von Sünd, Tod, Teufel Höll; es hat dein Blut gekostet, drauf ich mein Hoffnung stell. Warum solt mir denn grauen vorm Tod und Höllgesind? Weil ich auf dich thu bauen, bin ich ein seligs Kind. 3. Wenn gleich süß ist das Leben, der Tod sehr bitter mir: will ich mich doch ergeben zu sterben willig dir. Ich weis ein besser Leben, da meine Seel fährt hin: deß freu ich mich gar eben; Sterben ist mein Gewinn. 4. Der Leib wird in der Erden von Würmern zwar verzehrt: doch auferwecket werden durch Christum schön verklärt; wird leuchten als die Sonne |und leben ohne Noth in himmlisch Freud und Wonne; was schadt mir denn der Tod? 5. Ob mich die Welt auch reizet, länger zu bleiben hier, und mir auch immer zeiget Ehr, Geld, Gut, all ihr Zier: doch ich das gar nicht achte; es währt ein klein Zeit: das Himmel ich betrachte, das bleibt in Ewigkeit. 6. Wenn ich auch gleich nun scheide von meinen Freunden gut, das mir und ihn bringt Leide: doch tröst mir meinen Muth, das wir in großen Freuden zusammen werden kommn'n, und bleiben ungescheiden im himmelischen Thron. 7. Ob ich auch hinterlasse betrübte Waiselein, der'n Noth mich übermaße jammert im Herzen mein: will ich doch gerne sterben und trauen meinem Gott. Er wird sie wohl versorgen, retten aus aller Noth. 8. Was thut ihr so sehr zagen, ihr armen Waselein? Sollt euch Gott Hülf versagen, der speist die Raben kelin? Frommer Wittwen und Waisen ist er der Vater treu: trotz dem, der sie beleidet, das glaubt ohn alle Scheu. 9. Geseg'n euch Gott der Herre, ihr Vielgeliebten mein! Trauret nicht allzusehre über den Abschied mein. Beständig bleibt im Glauben! Wir werden in kurzer Zeit einander wieder schauen dort in der Ewigkeit. 10. Nun will ich mich ganz wenden zu dir, Herr Christ, allein: gieb mir ein seligs Ende, send mir dein Engelein; führ mich ins ewge leben, das du erworben hast durch dein Leiden und Sterben und blutiges Verdienst. 11. Hilf, daß ich ja nicht wanke von dir, Herr Jesu Christ; den schwachen Glauben stärke in mir zu aller Frist. Hilf ritterlich mir ringen, dein Hand mich halt in Acht, daß ich mag fröhlich singen: Gott Lob, es ist vollbracht! 1. My heart is filled with longing To pass away in peace; For woes are round me thronging, And trials will not cease. O fain would I be hasting From thee, dark world of gloom, To gladness everlasting; O Jesus, quickly come! Source of German Text: Wikipedia (7 verses) | Monarchieliga(8 verses) | Hymnary.org (11 verses) English Translation: Catherine Winkworth (verse 1), Francis Browne (verse 4: October 2008); Charles Sanford Terry (verse 11: 1929) | Source of English Translation: BCW (verse 4); Charles Sanford Terry's Bach Chorals books (verses 1, 11) Contributed by Francis Browne (January 2006), Aryeh Oron (October 2018) Aus: (http•••) Choralbearbeitung: (http•••) Chorale Prelude (http•••)
www.alarmwillsound.com www.facebook.com/AlarmWillSound www.twitter.com/AlarmwillSound Music by Matthew Browne Performed by Alarm Will Sound Live at the Mizzou International Composers Festival, July 30, 2016 "Writer's Room" aims to evoke the atmosphere of a room full of talented, driven, and sometimes stubborn television writers who are trying to come up with some good material for their next show, which has a very quickly approaching deadline. The piece, depicting this chaos, is constantly brainstorming, workshopping, revising, squabbling, and panicking. Much like some the more dysfunctional, wild, and entertaining writers' rooms on television from the past, the music is constantly introducing new ideas, exhausting them to their logical breaking points, and finally tossing them aside in favor of newer, sexier ideas - sometimes shockingly and abruptly. Throughout the piece, there are moments of exciting momentum (as if one particular idea works well enough to run with), moments of absurdity (as if one of the crazier writers decided to shout out the first idea that came to their head / known as a "wildie"), and also, as expected, many moments of bitter argument and chaos (where nobody can agree on what the piece is actually about). Somehow though, out of all this mess of ideas, the writers paste together something resembling a script, ready for air.
Frederick Thurston Myers Browne 1901 1940 1994
Provided to YouTube by NAXOS of America A Truro Maggot · Frederick Thurston · Myers Foggin The Clarinet: Historical Recordings, Vol. 2 (Recorded 1901-1940) ℗ 1994 Clarinet and Saxophone Classics Released on: 1994-01-01 Artist: Frederick Thurston Artist: Myers Foggin Composer: Phillip Browne Auto-generated by YouTube.
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