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Brahms Engelmann César Thomson Thomson Betti Alfred Pochon Bailly 1876 1902 1904 1905 1917 1924 1928 1929
4. Poco allegretto con variazioni (2nd part only) By the late 1870s, Brahms had grown very confident of his ability to manage the major genres of instrumental music, and whereas works like his First Symphony and the first two string quartets are the products of many years of drafting and revising, he tackled his String Quartet No. 3 in B flat major, Op. 67—his last string quartet—in just a single year: 1876. To round the threesome out, Brahms composed a bright and sunny work in B flat major that happens also to be one of the most flawlessly-crafted items in the repertoire. Brahms dedicated the String Quartet No. 3 to his friend Professor Th. W. Engelmann, and it was premiered in Berlin in October of the same year he composed it. The Quartet was the deliberate creation of Éduard J. de Coppet of New York, who in 1902 engaged the original members to devote themselves entirely to quartet-playing, and not with any view to giving regular concerts in public. The group took its name from de Coppet's summer villa near Lausanne, in Switzerland, where the four musicians first rehearsed. After a long period of practice, the Quartet made a European tour and won high praise for the perfection of its ensemble and its artistic finish. Both violinists and the violist had been students of the Belgian maestro César Thomson. The group was first heard in New York, in private and at charity concerts, in autumn 1904, but it did not give a public concert in the USA until 5 December 1905. After that it appeared regularly in Europe and America. The members stuck to the original principle of not accepting any outside engagement, and having no pupils, and by devoting themselves entirely to the quartet maintained a position of acknowledged superiority in their field. They disbanded in 1928. (from Wikipedia) From a Time article dated Mar. 11, 1929 The Players. The original Flonzaley players were Adolfo Betti and Alfred Pochon, violin player; Iwan d'Archambeau, 'cellist; Ugo Ara, violinist. The first three are in the Quartet today but Ara left to join the Italian army in 1917. Ill health prevented his return and Louis Bailly, now of the Curtis Institute, succeeded him until 1924. Then Felicien d'Archambeau, brother of Cellist Iwan, played for a season and since then Nicholas Moldavan. The Quartet now stands with Betti, an Italian; Pochon, a Swiss; d'Archambeau, a Belgian; Moldavan, a Russian. Yet so dominated are they all by the name Flonzaley, so bound by their playing and rehearsing together, that they have rarely been considered individually. "The Flonzaleys," a critic once wrote, "must certainly eat of the same loaf, drink of the same cup." This critic, too, guessed wrong. Away from their music they have led friendly but separate lives. They traveled together, by necessity, but each one sat by himself, usually reading. In Manhattan, where they were most often, they stayed at separate hotels. For a month in the summer they took vacations apart. Two other months a year they spent in making programs and practicing in a chalet high in the Swiss Alps near the Villa Flonzaley. Violinist Pochon is the wittiest and most talkative of the four. He had studied medicine, composed chamber music. His wife is a Virginian; he has a stepson of 14 and one child of his own. Cellist D'Archambeau is also married. Violinist Betti and Viola-player Moldavan are both bachelors, the one confirmed, the other eligible. The quartet has been bound by a rule which prohibited the four men from giving private or solo performances, and from teaching. Of all audiences they have preferred those in the U. S. The reason for their farewell was not announced. Some say that they agreed to separate after 25 years. Others say that it is because venerable Violinist Betti is threatened with that next-to-the-worst affliction a musician can suffer—blindness.
Brahms Engelmann César Thomson Thomson Betti Alfred Pochon Bailly 1876 1902 1904 1905 1917 1924 1928 1929
2. Andante By the late 1870s, Brahms had grown very confident of his ability to manage the major genres of instrumental music, and whereas works like his First Symphony and the first two string quartets are the products of many years of drafting and revising, he tackled his String Quartet No. 3 in B flat major, Op. 67—his last string quartet—in just a single year: 1876. To round the threesome out, Brahms composed a bright and sunny work in B flat major that happens also to be one of the most flawlessly-crafted items in the repertoire. Brahms dedicated the String Quartet No. 3 to his friend Professor Th. W. Engelmann, and it was premiered in Berlin in October of the same year he composed it. The Quartet was the deliberate creation of Éduard J. de Coppet of New York, who in 1902 engaged the original members to devote themselves entirely to quartet-playing, and not with any view to giving regular concerts in public. The group took its name from de Coppet's summer villa near Lausanne, in Switzerland, where the four musicians first rehearsed. After a long period of practice, the Quartet made a European tour and won high praise for the perfection of its ensemble and its artistic finish. Both violinists and the violist had been students of the Belgian maestro César Thomson. The group was first heard in New York, in private and at charity concerts, in autumn 1904, but it did not give a public concert in the USA until 5 December 1905. After that it appeared regularly in Europe and America. The members stuck to the original principle of not accepting any outside engagement, and having no pupils, and by devoting themselves entirely to the quartet maintained a position of acknowledged superiority in their field. They disbanded in 1928. (from Wikipedia) From a Time article dated Mar. 11, 1929 The Players. The original Flonzaley players were Adolfo Betti and Alfred Pochon, violin player; Iwan d'Archambeau, 'cellist; Ugo Ara, violinist. The first three are in the Quartet today but Ara left to join the Italian army in 1917. Ill health prevented his return and Louis Bailly, now of the Curtis Institute, succeeded him until 1924. Then Felicien d'Archambeau, brother of Cellist Iwan, played for a season and since then Nicholas Moldavan. The Quartet now stands with Betti, an Italian; Pochon, a Swiss; d'Archambeau, a Belgian; Moldavan, a Russian. Yet so dominated are they all by the name Flonzaley, so bound by their playing and rehearsing together, that they have rarely been considered individually. "The Flonzaleys," a critic once wrote, "must certainly eat of the same loaf, drink of the same cup." This critic, too, guessed wrong. Away from their music they have led friendly but separate lives. They traveled together, by necessity, but each one sat by himself, usually reading. In Manhattan, where they were most often, they stayed at separate hotels. For a month in the summer they took vacations apart. Two other months a year they spent in making programs and practicing in a chalet high in the Swiss Alps near the Villa Flonzaley. Violinist Pochon is the wittiest and most talkative of the four. He had studied medicine, composed chamber music. His wife is a Virginian; he has a stepson of 14 and one child of his own. Cellist D'Archambeau is also married. Violinist Betti and Viola-player Moldavan are both bachelors, the one confirmed, the other eligible. The quartet has been bound by a rule which prohibited the four men from giving private or solo performances, and from teaching. Of all audiences they have preferred those in the U. S. The reason for their farewell was not announced. Some say that they agreed to separate after 25 years. Others say that it is because venerable Violinist Betti is threatened with that next-to-the-worst affliction a musician can suffer—blindness.
Richard Wagner Chmura Engelmann Svensson 2018
Premiera w Teatrze Wielkim w Poznaniu. 4.03.2018 kierownictwo muzyczne: Gabiel Chmura reżyseria: Michael Sturm współpraca reżyserska, scenografia i kostiumy: Matthias Engelmann reżyseria świateł: Marek Rydian choreografia: John Svensson kierownictwo chóru: Mariusz Otto współpraca muzyczna: Adi Bar asystent reżysera: Andrzej Ogórkiewicz, Bartłomiej Szczeszek Fragment spektaklu publikujemy dzięki uprzejmości Teatru Wielkiego w Poznaniu
Kantorei Barmen Gemarke Siegfried Landau Gerlach Reuter Engelmann Friese Pech Duisburg 2021
Aufnahme vom 07.06.21 im Auftrag der Kantorei Barmen-Gemarke e.V. MITWIRKENDE: Pfarrer Siegfried Landau (Predigt & Liturgie) im Gespräch mit Ruweyda Hassan-Ali Lektor*Innen: Jutta Brückelmann, Arno Gerlach, Alexander Lüken Fürbitten: Ulrike Reuter, Annette Engelmann, Matthias Brust, Reinhard Friese MUSIK: Sängerinnen und Sänger der Kantorei Barmen-Gemarke Leitung: Alexander Lüken An der Orgel: Thorsten Pech Herzlichen Dank für Ihre Spende! Psychosoziales Zentrum für Flüchtlinge Düsseldorf e.V. Infos unter: www.psz-duesseldorf.de Spendenkonto: KD-Bank Duisburg IBAN: DE54 3506 0190 1011 7420 13 BIC: GENODEDIDKO Kantorei Barmen-Gemarke e.V. Stadtsparkasse Wuppertal IBAN: DE42 3305 0000 0000 2494 90 BIC: WUPSDE33XXX AUFNAHME & PRODUKTION: Timo Platte | www.photoplatte.de
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