Günter Kochan Videos
deutscher Komponist
- Oper
- Deutsches Reich, Deutsche Demokratische Republik, Deutschland
- Komponist klassischer Musik, Hochschullehrer, Filmkomponist, Arrangeur, Komponist
Letzte Aktualisierung
2024-06-10
Aktualisieren
Abbie Mitchell Murphy Picard George Gershwin Stephen Sondheim Kochan Koshetz Janis Joplin Ukrainian National Chorus 1929 1933 1934 1935 1936 1957 1958 1961 1966 1967 1968 1982 1988 1996 1998
From '' No Waltz In The Meadow '' Label: Top Records – TR-007 Format: Vinyl, LP Country: US Released: 1988 Tracklist A1 Don`t Walk Away A2 One More Season A3 The One That Got Away A4 We`re So Cool B1 Whirlybird B2 Summertime B3 Madeline B4 Call Vocals – Michael Kelley Guitar, Vocals – Tim Kelley Drums, Vocals – Robert Kelley Bass Guitar, Vocals – Kevin Kelley Engineer – Charley Hardman (tracks: B3), Steve Murphy (tracks: Except B3) Producer – Steve Murphy Co-producer – Gregg Picard, Robert Kelley Recorded at Takoma Recording. Mastered at Europadisk, Ltd,. New York. All Songs written and arranged by Frontier Theory except B2 by Gershwin/Heyward. / "Summertime" is an aria composed by George Gershwin for the 1935 opera Porgy and Bess. The lyrics are by DuBose Heyward, the author of the novel Porgy on which the opera was based, although the song is also co-credited to Ira Gershwin by ASCAP. The song soon became a popular and much recorded jazz standard, described as "without doubt... one of the finest songs the composer ever wrote....Gershwin's highly evocative writing brilliantly mixes elements of jazz and the song styles of African-Americans in the southeast United States from the early twentieth century." Composer and lyricist Stephen Sondheim has characterised Heyward's lyrics for "Summertime" and "My Man's Gone Now" as "the best lyrics in the musical theater". Porgy and Bess Gershwin began composing the song in December 1933, attempting to create his own spiritual in the style of the African American folk music of the period. The Ukrainian-Canadian composer and singer Alexis Kochan has suggested that he based the tune on a Ukrainian lullaby, Oi Khodyt Son Kolo Vikon (A Dream Passes By The Windows), which he heard in a New York City performance by Oleksander Koshetz's Ukrainian National Chorus in 1929. Gershwin had completed setting DuBose Heyward's poem to music by February 1934, and spent the next 20 months completing and orchestrating the score of the opera. The song is sung multiple times throughout Porgy and Bess, first by Clara in Act I as a lullaby and soon after as counterpoint to the craps game scene, in Act II in a reprise by Clara, and in Act III by Bess, singing to Clara's baby. It was recorded for the first time by Abbie Mitchell on 19 July 1935, with George Gershwin playing the piano and conducting the orchestra (on: George Gershwin Conducts Excerpts form Porgy & Bess, Mark 56 667). Musical analysis Musicologist K. J. McElrath wrote of the song: "Gershwin was remarkably successful in his intent to have this sound like a folk song. This is reinforced by his extensive use of the pentatonic scale (C-D-E-G-A) in the context of the A minor tonality and a slow-moving harmonic progression that suggests a "blues." Because of these factors, this tune has been a favorite of jazz performers for decades and can be done in a variety of tempos and styles." Recorded versions There are some 2600 different recorded versions of "Summertime". In September 1936, a recording by Billie Holiday was the first to hit the US pop charts, reaching # 12. Other notable recordings include those by Louis Armstrong and Ella Fitzgerald in 1957, Gene Vincent and Miles Davis in 1958, Sam Cooke and The Marcels in 1961, Janis Joplin with Big Brother and the Holding Company on the 1968 album Cheap Thrills as well as The Zombies or Jill Scott & George Benson. The most commercially successful version was by Billy Stewart, who reached # 10 on the Billboard Hot 100 in 1966. The Doors recorded the song live on such albums as Live at the Matrix 1967, and Live in Boston. The Fun Boy Three released their fifth single, "Summertime" in July of 1982. The band Sublime based their 1996 song Doin' Time on Gershwin's song. In 1998, Morcheeba and Hubert Laws recorded the song for the Red Hot Organization's compilation album Red Hot + Rhapsody, a tribute to George Gershwin, which raised money for various charities devoted to increasing AIDS awareness and fighting the disease.
Abbie Mitchell Mitchell Chapman George Gershwin Stephen Sondheim Kochan Koshetz Janis Joplin Ukrainian National Chorus 1929 1933 1934 1935 1936 1957 1958 1961 1966 1967 1968 1973 1982 1996 1998
From '' Ms. Bu '' Label: Muse / MR 5033 Format: Vinyl, LP Country: US Released: 1973 Tracklist A1 Opus For O.P. A2 Everything's Different A3 Bells For Bu B1 Summertime B2 Melody For Bu B3 Sho Nuff Da Blues Recorded: May 14, 1973 Organ, Vocals: Bu Pleasant Tenor Sax: Harold Vick Trombone: Atlee Chapman Guitar: Ted Dunbar Bass: Mickey Bass Drums: Freddie Waits / "Summertime" is an aria composed by George Gershwin for the 1935 opera Porgy and Bess. The lyrics are by DuBose Heyward, the author of the novel Porgy on which the opera was based, although the song is also co-credited to Ira Gershwin by ASCAP. The song soon became a popular and much recorded jazz standard, described as "without doubt... one of the finest songs the composer ever wrote....Gershwin's highly evocative writing brilliantly mixes elements of jazz and the song styles of African-Americans in the southeast United States from the early twentieth century." Composer and lyricist Stephen Sondheim has characterised Heyward's lyrics for "Summertime" and "My Man's Gone Now" as "the best lyrics in the musical theater". Porgy and Bess Gershwin began composing the song in December 1933, attempting to create his own spiritual in the style of the African American folk music of the period. The Ukrainian-Canadian composer and singer Alexis Kochan has suggested that he based the tune on a Ukrainian lullaby, Oi Khodyt Son Kolo Vikon (A Dream Passes By The Windows), which he heard in a New York City performance by Oleksander Koshetz's Ukrainian National Chorus in 1929. Gershwin had completed setting DuBose Heyward's poem to music by February 1934, and spent the next 20 months completing and orchestrating the score of the opera. The song is sung multiple times throughout Porgy and Bess, first by Clara in Act I as a lullaby and soon after as counterpoint to the craps game scene, in Act II in a reprise by Clara, and in Act III by Bess, singing to Clara's baby. It was recorded for the first time by Abbie Mitchell on 19 July 1935, with George Gershwin playing the piano and conducting the orchestra (on: George Gershwin Conducts Excerpts form Porgy & Bess, Mark 56 667). Musical analysis Musicologist K. J. McElrath wrote of the song: "Gershwin was remarkably successful in his intent to have this sound like a folk song. This is reinforced by his extensive use of the pentatonic scale (C-D-E-G-A) in the context of the A minor tonality and a slow-moving harmonic progression that suggests a "blues." Because of these factors, this tune has been a favorite of jazz performers for decades and can be done in a variety of tempos and styles." Recorded versions There are some 2600 different recorded versions of "Summertime". In September 1936, a recording by Billie Holiday was the first to hit the US pop charts, reaching # 12. Other notable recordings include those by Louis Armstrong and Ella Fitzgerald in 1957, Gene Vincent and Miles Davis in 1958, Sam Cooke and The Marcels in 1961, Janis Joplin with Big Brother and the Holding Company on the 1968 album Cheap Thrills as well as The Zombies or Jill Scott & George Benson. The most commercially successful version was by Billy Stewart, who reached # 10 on the Billboard Hot 100 in 1966. The Doors recorded the song live on such albums as Live at the Matrix 1967, and Live in Boston. The Fun Boy Three released their fifth single, "Summertime" in July of 1982. The band Sublime based their 1996 song Doin' Time on Gershwin's song. In 1998, Morcheeba and Hubert Laws recorded the song for the Red Hot Organization's compilation album Red Hot + Rhapsody, a tribute to George Gershwin, which raised money for various charities devoted to increasing AIDS awareness and fighting the disease.
Opera Krakowska Imre Kálmán 2017
Reportaż z przygotowań do premiery operetki „Hrabina Marica” Imre Kálmána w Operze Krakowskiej (premiera: 24 lutego 2017). Realizatorzy: Kierownictwo muzyczne: Tomasz Tokarczyk Reżyseria: Paweł Aigner Scenografia: Ryszard Melliwa Kostiumy: Zofia de Ines Choreografia: Jarosław Staniek Przygotowanie chóru: Jacek Mentel Reżyseria światła: Dariusz Pawelec O „Hrabinie Maricy” opowiadają: realizatorzy – Tomasz Tokarczyk, Paweł Aigner, Ryszard Melliwa, Zofia de Ines oraz soliści – Wioletta Chodowicz i Marcelina Beucher (Hrabina Marica), Janusz Ratajczak i Tadeusz Szlenkier (Hrabia Tassilo). Reportaż przygotowali: Dagmara Merecik, Zbigniew Jarosz, Tomasz Kochan, Jacek Merecik, Klaudia Nosek Opera Krakowska, 2017
Günter Kochan Herbert Kegel Peter Müller Barthel 1930 1962 1965 1978 2009
Günter Kochan +••.••(...) ) Konzert für Orchester (concerto for orchestra in 5 parts) 1962. 1. Satz: Allegro 2. Satz: Presto 3. Satz: Larghetto 4. Satz: Allregro molto 5. Satz: Epilog RUNDFUNK-SINFONIE-ORCHESTER LEIPZIG (RSO Leipzig) Dirigent / conducting : HERBERT KEGEL date of concert: 09.03.1965 . I recorded from rare MONO LP made in GDR by ETERNA with Ortofon Mono system and a NAD PP2 pre-amp. / Das Orchesterkonzert entstand im Jahre 1962 im Anschluss an seine Reise nach Kuba. In einem Werkstattgespräch mit dem Publizisten Hans-Peter Müller äußert der Komponist sich folgendermaßen (Zitat vom Plattencover, 1978): „Das, was sich dort drüben kurz vor den Toren der USA entwickelt hat, das beeindruckt mich ungeheuer. Ich kam aber nicht mit dem Gedanken zurück: Jetzt schreibst du eine kubanische Siegessinfonie oder so etwas Ähnliches, nein, ich komponiere mein Konzert für Orchester und habe ihm die von Ihnen genannten Worte von Kurt Barthel vorangestellt. Ich habe bei der Arbeit nicht konkret an Kuba gedacht, aber dass auf dem amerikanischen Kontinent ein sozialistischer Staat heranwuchs, dies hat mir soviel Kraft gegeben und vor allem frohe Zuversicht in dem Sinne, dass der Sozialismus eines Tages schließlich in der ganzen Welt siegen wird. Wobei letzthin nicht das Motto entscheidend ist, sondern die Musik". Nun, welche emotionalen Kräfte den Komponisten damals auch angetrieben haben mögen, muss der Musikfreund von heute nicht mehr bewerten. Entstanden ist ein fünfsätziges Orchesterkonzert von äußerster Brillanz. Eine Fülle kompositorischer Einfälle drängen sich auf engstem Raum zusammen. Die Spannung wird unaufhörlich wach gehalten und das Orchester steht ständig unter Dampf. Dissonanzen halten sich in Grenzen. Die einzelnen Gruppen des Orchesters werden gegeneinander ausgespielt. Hin und wieder gibt ein Soloinstrument „den Ton an", um dann von den jubilierenden Streichern abgelöst zu werden. Der emotionale Überschwang überträgt sich auf den Zuhörer. /
oder
- Zeitleiste: Komponisten (Europa).
- Indizes (in alphabetischer Reihenfolge): K...