James Kwast Videos
niederländisch-deutscher Pianist und Musikpädagoge
- Klavier
- klassische Musik
- Deutschland, Königreich der Niederlande
- Pianist, Komponist, Musikwissenschaftler, Musikpädagoge
Letzte Aktualisierung
2024-05-21
Aktualisieren
Johann Baptist Joseph Maximilian Reger Georg Philipp Telemann Jorge Bolet Hiller Mozart Bach Brahms Beethoven James Kwast Tafelmusik 1733 1873 1914 1916 1980
- Composer: Johann Baptist Joseph Maximilian Reger (19 March 1873 / 11 May 1916) - Performer: Jorge Bolet (piano) - Year of recording: 1980 Variations and Fugue on a theme of Georg Philipp Telemann, Op. 134, written in 1914. 00:00 - Theme, Tempo di Minuetto 01:48 - Variation 1, L'istesso Tempo 02:36 - Variation 2, L'istesso Tempo 03:30 - Variation 3, L'istesso Tempo 04:16 - Variation 4, L'istesso Tempo 04:59 - Variation 5, Non troppo vivace 05:48 - Variation 6, Non troppo vivace 06:38 - Variation 7, quasi Tempo primo 07:30 - Variation 8, Tempo primo 08:07 - Variation 9, Non troppo vivace 09:08 - Variation 10, Quasi Adagio 10:36 - Variation 11, Quasi Adagio 12:14 - Variation 12, Poco vivace 13:00 - Variation 13, Tempo primo 13:37 - Variation 14, Meno vivace 14:38 - Variation 15, Andante 16:10 - Variation 16, Adagio 17:49 - Variation 17, Poco andante 19:18 - Variation 18, Tempo primo 20:03 - Variation 19, Poco vivace 20:55 - Variation 20, Poco vivace 21:55 - Variation 21, Vivace 22:42 - Variation 22, Vivace 23:43 - Variation 23, Poco Andante 26:07 - Fugue, Vivace con spirito By the time Reger came to write his Variations and Fugue on a theme of Georg Philipp Telemann in 1914, he had mastered the orchestra and gained more experience in variation form, principally with his orchestral ‘Hiller’ and ‘Mozart’ Variations. In fact, it might be said with some justification that the ‘Telemann’ Variations stand in relation to the ‘Bach’ Variations in the same way that the orchestral ‘Hillers’ relate to the ‘Mozarts’—the latter being generally more playful than the former. They are also considerably less chromatic than the ‘Bach’ Variations—lighter, purer, more transparent. There are also many more individual variations and a whole host of repeats, Bolet chose to skip most of the repeats in this recording. The theme itself is taken from a Suite for two oboes and strings that Telemann composed around 1733 as part of his Tafelmusik. Reger’s first statement of the theme immediately suggests parallels with Brahms, whereas the first four variations provide straightforward embellishments in a similar vein, whether regal (No 1), swirling (No 2), slipping (No 3, with staccato triplets) or dancing (No 4). The gigue-like fifth variation leads to octave triplets in No 6, Chopinesque cascades in No 7 and octave leaps in No 9. Variation 10 (Quasi adagio) marks a dramatic easing of pulse; No 11 picks up the tempo a little, and No 12 fires gunshot chords that scatter flurries of repeated notes. The thirteenth variation is elegant and lightly brushed; No 14 tucks sustained trills in among its already dense textures, and with No 17 we move to the shaded glades of B flat minor before madcap arpeggios (No 18) signal a return to the home key (in No 19) and a warming Poco vivace (No 21). The next two variations mark a return to pianistic athletics, but with No 23 we reach a majestic, richly harmonized chorale-style melody and a desolate bridge to the closing Fugue—more playful than Reger’s ‘Bach’ Fugue, and rather less complex, save for the expected broadening around the peroration. Beethoven comes to mind here, especially in the central section, which slows perceptibly only to build again—a ploy that Beethoven used at the centre of his Hammerklavier Sonata’s fugal finale. The variations are dedicated: "Meinem lieben Freunde James Kwast zugeeignet".
Klemperer Beethoven Stern James Kwast Hans Pfitzner Arnold Schoenberg Stravinsky Hindemith Brahms Mahler Severe Cologne Opera Concertgebouw Orchestra Royal Danish Orchestra Montreal Symphony Orchestra 1885 1910 1912 1913 1914 1917 1924 1927 1931 1933 1937 1947 1950 1951 1952 1954 1973
Otto Klemperer (14 May 1885 – 6 July 1973) was a German-born American conductor and composer. He is widely regarded as one of the leading conductors of the 20th century. Otto Klemperer was born in Breslau, Silesia Province, then in Germany (now Wrocław, Poland), as a son of Nathan Klemperer, a native of Prague, Bohemia (today's Czech Republic). His parents were Jewish. Klemperer studied music first at the Hoch Conservatory in Frankfurt, and later at the Stern Conservatory in Berlin under James Kwast and Hans Pfitzner. He followed Kwast to three institutions and credited him with the whole basis of his musical development. Klemperer went on to hold a number of positions, in Hamburg (1910–1912); in Barmen (1912–1913); the Strasbourg Opera (1914–1917); the Cologne Opera (1917–1924); and the Wiesbaden Opera House (1924–1927). From 1927 to 1931, he was conductor at the Kroll Opera in Berlin. In this post he enhanced his reputation as a champion of new music, playing a number of new works, including Janáček's From the House of the Dead,Schoenberg's Erwartung, Stravinsky's Oedipus rex, and Hindemith's Cardillac. In 1933, once the Nazi Party had reached power, Klemperer, who was of Jewish descent, left Germany and moved to the United States. Klemperer had previously converted to Catholicism,[5] but returned to Judaism at the end of his life. In the U.S. he was appointed Music Director of the Los Angeles Philharmonic. He took United States citizenship in 1937. In Los Angeles, he began to concentrate more on the standard works of the Germanic repertoire that would later bring him greatest acclaim, particularly the works ofBeethoven, Brahms and Mahler, though he gave the Los Angeles premieres of some of fellow Los Angeles resident Arnold Schoenberg's works with the Philharmonic. He also visited other countries, including England and Australia. While the orchestra responded well to his leadership, Klemperer had a difficult time adjusting to Southern California, a situation exacerbated by repeated manic-depressive episodes, reportedly as a result of severe cyclothymic bipolar disorder. He also found that the dominant musical culture and leading music critics in the United States were largely out of sympathy with his taste for modern music from Weimar's Golden Age, and he felt he was not properly valued. After World War II, Klemperer returned to Europe to work at the Budapest Opera (1947–1950). Finding Communist rule in Hungary increasingly irksome, he became an itinerant conductor, guest conducting the Royal Danish Orchestra, Montreal Symphony Orchestra,Cologne Radio Symphony Orchestra, Concertgebouw Orchestra, and the Philharmonia of London. In the early 1950s Klemperer experienced difficulties arising from his U.S. citizenship. American union policies made it difficult for him to record in Europe, while his left-wing views made him increasingly unpopular with the State Department and FBI: in 1952 the United States refused to renew his passport. In 1954 Klemperer again returned to Europe, and acquired a German passport. A severe fall during a visit to Montreal in 1951 forced Klemperer subsequently to conduct seated in a chair. A severe burning accident further paralyzed him, which resulted from his smoking in bed and trying to douse the flames with the contents of a bottle of spirits of camphor nearby. Through Klemperer's problems with his health, the tireless and unwavering support and assistance of Klemperer's daughter Lotte was crucial to his success. One of his last concert tours was to Jerusalem, a couple of years after the Six-Day War, at which time he was awarded an Israeli honorary passport. Klemperer died in Zürich, Switzerland, in 1973, aged 88, and was buried at Zürich's Israelitische Cultusgemeinde Zürich... (http•••) A link to this wonderful artists personal website: (http•••) Please Enjoy! I send my kind and every warm regards,
James Kwast Scarlatti Bach Busoni Max Reger 1880 1910 1933 1949
1. Sonata in G, L388 (K.2) 2. Sonata in G minor L338 (K.450) 3. Sonata in G L487 (K.125) recorded in 1933 Frida Kwast +••.••(...)) left just one commercial recording (Bach and Scarlatti). A native of Germany, she was a pupil of Busoni and also the dedicatee of Max Reger's f minor Concerto, whic she premiered in 1910. She was also soloist in the first performance of Busoni's Concertino, with the composer conducting. She married the dutch pianist James Kwast. Kwast - Hodapp later retired from active concertizing. She became a painter of some note. (source: IPAM)
oder
- Zeitleiste: Komponisten (Europa). Interpreten (Europa).
- Indizes (in alphabetischer Reihenfolge): K...