Hermann Kretzschmar Videos
deutscher Musikwissenschaftler und -schriftsteller (1848-1924)
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2024-05-31
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Walter Niemann Niemann Engelbert Humperdinck Carl Reinecke Hugo Riemann Hermann Kretzschmar Meissen Brahms Richard Strauss Mahler Arnold Schoenberg Max Reger Hans Pfitzner Sibelius Edward Macdowell 1801 1876 1901 1904 1906 1907 1910 1917 1919 1953
Bing Bing Li - Piano (Not the actress) 00:00 Allegro Moderato 08:52 Poco Adagio 18:01 Non troppo allegro e poco giocoso Walter Niemann +••.••(...)) was a German Composer. Walter Niemann studied with Engelbert Humperdinck as a youth in Leipzig. He then entered the Leipzig Conservatory where he was a pupil of Carl Reinecke. He pursued doctoral studies in musicology at the University of Leipzig under Hugo Riemann and Hermann Kretzschmar, earning a doctorate in 1901. His dissertation was on early ligatures and mensural music. Niemann first worked as a teacher in Hamburg then served as the editor of the Neue Zeitschrift für Musik in Leipzig from 1904 to 1906. From 1907 through 1917 he was a writer and critic for the Neueste Nachrichten in Leipzig. He also taught during those years on the faculty of the Hamburg Conservatory. Niemann's compositions include 189 opus numbers, of which more than 150 are works for solo piano, chiefly of character pieces. He also composed violin sonata, several orchestral works, and some chamber music. Niemann was one of the very few German composers to explore Impressionist music. His works are characterized by color and exoticism, and the titles reflect interests in the past ("From Watteau's time", "Sanssouci" "Meissen porcelain"), and exotic subject matter on poetic titles ("Old China, Op. 62," "The Orchid Garden, Op. 67", "The Exotic Pavillon"). His book, "Masters of the Piano: past and present," published in 1919 is considered a classic. He also wrote popular biographies of composers; his biography of Brahms emphasized that composer's north German roots at the expense of his Viennese retirement and liberalism. As a reviewer he was outspoken in his criticism of "pathological" and "sensuous" composers like Richard Strauss, Mahler, and Arnold Schoenberg, and was threatened in 1910 with a libel suit by composer Max Reger. He praised nationalists and folk-influenced composers like Hans Pfitzner, Sibelius, and Edward MacDowell, and was influential in popularizing Scandinavian composers in Germany. Following the second world war, Niemann's artistic viewpoint consequently fell out of favor. / Please support this channel (http•••)
Ensemble Modern Hermann Kretzschmar Charles Ives John Cage 1915 1987
On Air – Ensemble Modern live aus dem Dachsaal / Live from the Attic #12 Hermann Kretzschmar, Klavier und Dietmar Wiesner, Flöte Charles Ives: "Thoreau" aus Pianosonata No. 2 "Concord, Mass." (1915) John Cage: Two (1987) Dietmar Wiesner (Flöte, flute), Hermann Kretzschmar (Klavier, piano) Die digitale Live-Konzertreihe "On Air – Ensemble Modern live aus dem Dachsaal" wird aus dem Dachsaal des Domizils des Ensemble Modern im Frankfurter Ostend gestreamt. Ab sofort jeden Donnerstag und Montag, 20.30 Uhr! The digital live concert series will be streamed live from the attic of our domicile in Frankfurt’s Ostend. The concerts will take place each Thursday and Monday at 8:30 pm! In Zusammenarbeit mit Seehund Media und Streaming Factory. Gefördert durch das Kulturamt der Stadt Frankfurt am Main.
Jean Muller Beethoven Adorno Kretzschmar
Jean Muller, piano - (http•••) L. van Beethoven: Piano Sonata No. 32 in C minor, Op. 111 Sonata No. 32 Op. 111 is the last in Beethoven’s vast cycle of piano sonatas and one of his most mysterious works. It has always elicited interpretation, whether poetic (the most famous being that by Thomas Mann in Doctor Faustus, inspired by T. W. Adorno) or highly rational. Yet all these analyses are somewhat unsatisfactory and do not give plain justice to the extraordinary spiritual elevation this music provides. The first movement is often considered to be the last that Beethoven composed using the classical sonata form, and is ranked with his other major works in C minor. The pathos is reminiscent of that of the Pathétique and the 5th Symphony, though the tendency towards the disintegration of the traditional structure is undeniable. After a grave, majestic introduction, a long trill in the bass register leads to the allegro, where one can musically witness the genesis of the principal movement. There are several hesitating attempts to formulate a theme but there is no satisfactory result: too many pauses and ritenente indications halt the flow. Only after the short second theme does the entire main theme appear, and does so triumphantly in A flat major. After this very development-like exposition, the development itself is somewhat reduced, drawing us immediately back into the initial turmoil. The recapitulation, by analogy with the exposition, leads us to expect a final victory of the first theme in C major. But this is not to be, because the episode is now transposed to C minor. This is the key moment of the first movement, a simple transposition radiating exceptional energy and intensity. A brief coda concludes this drama and makes way for the second movement, diametrically opposed to the first. It is as if we move from darkness to light. The arietta theme seems to transcend the worldly dimension. The following variations, based on a diminution of rhythmical values, dissolve the melody, transporting us into the cosmic sphere. The logical goal of this process is a last rhythmic acceleration in the form of an extremely long trill as a final dissolution of the melody. The result is a moment of utter serenity, with time seemingly suspended. After the “motif seems to hover alone and forsaken above a giddy yawning abyss”, in the words of Thomas Mann, the melody of the theme reappears in its initial form after a brief modulation, creating a profoundly moving moment. After this "passionato" of the theme and the following crescendo, the music once again bears us to celestial spheres. Perhaps the trill in the highest register is also a response to the one bubbling in the bass in the introduction to the first movement. To conclude, I give the floor to Wendell Kretzschmar, alias Thomas Mann, “A return after this parting – impossible! It had happened that the sonata had come, in the second, enormous movement, to an end, an end without any return. And when he said “the sonata,” he meant not only this one in C minor, but the sonata in general, as a species, as traditional art-form; it itself was here at an end, brought to its end, it had fulfilled its destiny, reached its goal, beyond which there was no going, it cancelled and resolved itself, it took leave...the farewell of the sonata form.” recorded in Luxembourg (L) in December 2020 If you like this project, please consider to make a tax deductible donation for the Alzheimer research at the Luxembourg Center of Neuropathology here: (http•••) Jean Muller 2020 Facebook: (http•••) Twitter: (http•••) Spotify: (http•••)
Ensemble Modern Böcker Hermann Kretzschmar Reichert 1964
Wir nehmen gern Spenden an (Romanfabrik e.V., IBAN: DE49 5005 0201 0000 3817 30, BIC: HELADEF1822). Freitag, 25. Juni / 20.00 UHR. Paul Celan hatte ein vielfältiges Verhältnis zur Musik. Sein Gedicht „Cello-Einsatz“ (1964) weist beispielsweise auf eine Erinnerung an den zweiten Satz aus Dvoraks Cellokonzert hin. Und seine Sprache selbst ist getragen von einem intimen Verhältnis zur Musik, die in seinem Leben über den Bereich der klassischen Musik weit hinaus ging: So besuchte er in den 1950er Jahren in Paris das Café „L’Échelle de Jacob“, wo er „Negro-Spirituals“ hörte. Die Musiker des Ensemble Modern reagieren mit ihren Instrumenten Cello, Klavier und Flöte auf die Sprache Celans, auf seine Gedichte, indem sie, improvisierend, aus dem weit gefaßten Repertoire ihrer Formen und Ausdrucksweisen schöpfen. Wie kaum ein anderer Klangkörper steht das Ensemble Modern seit über 40 Jahren für einen offenen und undogmatischen Umgang mit zeitgenössischem Musikschaffen aus europäischen und weltweiten Quellen, der wie selbstverständlich Grenzen auslotet und benachbarte Genres und Sparten mit einbezieht. Mit: Eva Böcker (Violoncello), Hermann Kretzschmar (Klavier), Dietmar Wiesner (Flöte), Jens Harzer (Sprecher) und Klaus Reichert (Kommentator). Eine Kooperation des Ensemble Modern und der Romanfabrik im Rahmen von Ostport. Die Musikreihe wird gefördert durch NEUSTART KULTUR.
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