François-Joseph Fétis Videos
belgischer Musikwissenschaftler und Komponist
Gedenken 2024 (Geburt: François-Joseph Fétis)
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2024-06-01
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Chopin Moscheles Fétis Ferrand 1839 1843
Joël Rigal joue l'Etude de CHOPIN en fa mineur N°1 extraite des "Trois nouvelles études" composées en 1839 pour la "Méthode des Méthodes de Moscheles et Fétis" sur un piano de concert ERARD construit en 1843 et entièrement restauré (cordes, marteaux,chevilles, sommier...) ,accordé presqu'un demi ton en dessous du LA 440. Cette étude a été écrite pour travailler les 3 pour 4 ainsi que l'indépendance des deux mains et les longs phrasés chopiniens. Joël Rigal performs the Etude in F minor N°1 from "Trois nouvelles études" by Chopin composed in 1839 for "La Méthode des Méthodes de Moscheles et Fétis" on a concert grand built by ERARD in 1843, entirely restored (strings, hammers, pin block...) and tuned almost a semitone lower than A 440.This Etude was meant for practising hand independence (3 against 4) as well as long Chopinian phrasings. TECH SPECS Recorded on June 29th at Clermont-Ferrand Conservatory, VIDEO : Shooting with 2 Sony HD cameras SOUND : recorded with an AKG 414 stereo couple WEBSITE : (http•••)
Adam Hunchback Coussemaker Shepherd Fétis Julien Tiersot Hale Rondeau Opéra Comique 1240 1896
Adam de la Halle, (1240–1287), also known as Adam le Bossu (Adam the Hunchback), was a French trouvère, poet and musician. Adam's literary and musical works include chansons and jeux-partis (poetic debates) in the style of the trouvères; polyphonic rondel and motets in the style of early liturgical polyphony; and a musical play, Jeu de Robin et Marion (c. 1282–83), which is considered the earliest surviving secular French play with music. He was a member of the Confrérie des jongleurs et bourgeois d'Arras. A, "le Bossu d'Arras" and "Adam d'Arras", suggest that he came from Arras, France. The sobriquet "the Hunchback" was probably a family name; Adam himself points out that he was not one. His father, Henri de la Halle, was a well-known Citizen of Arras, and Adam studied grammar, theology, and music at the Cistercian abbey of Vaucelles, near Cambrai. Father and son had their share in the civil discords in Arras, and for a short time had been destined for the church, but renounced this intention, and married a certain Marie, who features in many of his songs, rondeaux, motets and jeux-partis. Afterwards he joined the household of Robert II, Count of Artois; and then was attached to Charles of Anjou, brother of Louis IX, whose fortunes he followed in Egypt, Syria, Palestine, and Italy. At the court of Charles, after Charles became king of Naples,Adam wrote his Jeu de Robin et Marion, the most famous of his works. Adam's shorter pieces are accompanied by music, of which a transcript in modern notation, with the original score, is given in Coussemaker's edition. His Jeu de Robin et Marion is cited as the earliest French play with music on a secular subject. The pastoral, which tells how Marion resisted the knight, and remained faithful to Robert the shepherd, is based on an old chanson, Robin m'aime, Robin m'a. It consists of dialogue varied by refrains already current in popular song. The melodies to which these are set have the character of folk music, and are more spontaneous and melodious than the more elaborate music of his songs and motets. Fétis considered Le Jeu de Robin et Marion and Le Jeu de la feuillée forerunners of the comic opera. An adaptation of Le Jeu Robin et Marion, by Julien Tiersot, was played at Arras by a company from the Paris Opéra-Comique on the occasion of a festival in 1896 in honour of Adam de le Hale. His other play, Le jeu Adan or Le jeu de la Feuillee (ca. 1262), is a satirical drama in which he introduces himself, his father and the citizens of Arras with their peculiarities. His works include a congé, or satirical farewell to the city of Arras, and an unfinished chanson de geste in honour of Charles of Anjou, Le roi de Secile, begun in 1282; another short piece, Le jeu du pelerin, is sometimes attributed to him. His known works include thirty-six chansons (literally, "songs"), forty-six rondets de carole, eighteen jeux-partis, fourteen rondeaux, five motets, one rondeau-virelai, one ballette, one dit d'amour, and one congé. Please subscribe: Por favor, subscreva: (http•••)
Joaquín Gaztambide Trinidad Ramos Ramos Sanz Francisco Arderius Penella Cara Teatro Zarzuela Opéra Comique 1826 1835 1860 1886 1891 1922 1964
Con libreto de Francisco Camprodón y música de Joaquín Gaztambide, la zarzuela en un acto “Una vieja” se estrenó el 11 de diciembre de 1860 en el Teatro de la Zarzuela de Madrid. El elenco de su presentación estuvo encabezado por Trinidad Ramos, Manuel Sanz como Conrado, Ramón Cuberos como León y Francisco Arderius en el papel de Pancho. El texto se basó en la ópera cómica francesa "La vieille", del dramaturgo Eugène Scribe y el compositor belga François-Joseph Fetis, estrenada el 14 de marzo de 1826 en el Théâtre Royal de l'Opéra-Comique de París. La zarzuela obtuvo una calurosa acogida en la capital, representándose con regularidad hasta la década de los cuarenta. Su éxito contribuyó decisivamente además a la consagración del gran actor-cantante Francisco Arderius +••.••(...)). Entre sus números más aplaudidos destacaron la cavatina de Conrado "Un español que viene”, el rondó de Adela “De un nuevo sol” (http•••) y muy especialmente la romanza de Conrado “Malhayan, ¡ay!, las brisas que van a España” (http•••) cuyo estribillo permaneció durante décadas en la memoria popular. Éste fue recreado incluso en un cuplé compuesto por el maestro Penella en 1922 para Conchita Piquer titulado precisamente “¡Ay, mamá, qué noche aquella!” (http•••) En 1922 el tenor Ignacio Genovés +••.••(...)) registró para el sello Odeón la mencionada cavatina en un disco que incluyó en su otra cara la el raconto del tenis de “La Generala”. «Un español que viene a verme aquí; el alma se transporta a mi país. Yo siento aquí un ambiente de inmensa languidez: en este paraíso me falta una mujer; la busco en vano en derredor; la llama a voces mi corazón. Está sin alma todo este edén; la maga de mis sueños no vaga ¡ay, Dios!, en él. Auras de España, venid a dar a un alma inquieta la dulce paz; ponedme cerca de esa ilusión, que vaga siempre en derredor; de mi querella llevadle el son, llevad hasta ella la voz de mi amor.»
Henri Brod Gustave Vogt Vogt Fétis Boehm Quinault Habeneck Schweitzer 1781 1789 1799 1801 1812 1818 1825 1826 1828 1837 1839
Henri Brod (Paris, 13 June 1799 - Paris, 6 April 1839) French oboist, wind instrument maker and composer. He studied at the Paris Conservatoire from 1812 under Gustave Vogt, who shared Brod’s Protestant Alsatian background. Having received the premier prix in 1818, the following year Brod was appointed second oboist in the Opéra orchestra alongside his teacher. During Vogt’s absences in 1826 and 1828 Brod filled Vogt’s place as first oboist. The abilities of the two players were often compared; Fétis found Brod’s tone sweeter than that of his teacher. A statuette by Dantan jeune (Paris, Musée Carnavalet) caricatures Brod playing a musette. He died just 3 months before he would have been eligible for a pension to support his wife and young son. His widow petitioned repeatedly for support from the administration of both the Conservatoire and Opéra. Oboes by Brod, some made in collaboration with his brother Jean-Godefroy (b ?1801) were held in high regard. Brod had acquired tools and plans from Christophe Delusse (fl.1781-1789), and his earliest oboes were modelled on those of Delusse. Brod quickly gained a reputation for innovation and did much to influence the oboe’s development. He was probably the first oboe maker in France to add octave keys, to extend the range to b (and on some instruments to a) and to design a pierced plate to half close the first hole. Brod promoted a straight english horn (cor anglais moderne), conceived an hautbois baritone, pitched an octave below the treble oboe, and made a petit hautbois, pitched above the treble oboe. It was reported that he was developing an oboe with Boehm keywork. Other inventions include a gouging machine used in oboe and bassoon reed making. His two-part Méthode pour le hautbois (Paris, 1825–35), includes important technical information and explains the rationale for these innovations. In addition to pièces de salon, romances and operatic fantasies for oboe, including Variations on Lucia di Lammermoor and Siège de Corinthe, Brod composed an opera on Quinault’s libretto Thesée which was rejected by the audition panel of the Opéra in 1826. The only known performance of excerpts of this score (now lost) took place in 1837 under the direction of F.-A. Habeneck. A definitive list of Brod’s compositions has yet to be established. Albert Schweitzer Quintet. Camille Corot - Flesselles, a Street with a Peasant and Her Cow.
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