Leopold Wenzel Videos
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2024-05-02
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Junghans Nardini Mutter Beyer 1987 1988
FILM IM GESPRÄCH Kindheit (DEFA 1987, fa, 88 min) Buch und Regie: Siegfried Kühn, Kamera: Peter Ziesche, Musik: Hans-Jürgen Wenzel, Darsteller: u.a. Günter Junghans Der 9-jährige Alfons erlebt das letzte Kriegsjahr in einem schlesischen Dorf bei seiner phantasiereichen, liebevollen Omamutter und dem eher stillen Großvater. Dieser stirbt nach einem von Alfons verschuldeten Unfall. Als ein Wanderzirkus im Dorf auftaucht, scheint Großmutter wie von einem Zauber verwandelt, während die Ortsgewaltigen den Zirkusdirektor Nardini fast wie einen Fremdrassigen mit Misstrauen betrachten, weil er sich aller Einordnung entzieht. Das nächtliche Gespräch der Großmutter mit dem Zirkusmann wird zur unausgesprochenen Liebeserklärung. Der Junge beobachtet die heimlichen Abenteuer mit dem Zirkusmann, doch seine Solidarität siegt über die Eifersucht, als er von einem geplanten Anschlag der Ortsnazis gegen das Liebesnest der beiden hört. Nardini muss fort. Großmutter und Enkel verlassen das Dorf und folgen ihm in ein neues Leben. Der von Kameramann Peter Ziesche in eindrucksvollen Bildern fotografierte Film erzählt die autobiografisch gefärbte Geschichte des Regisseurs Siegfried Kühn, der den Spielfilm seiner Großmutter gewidmet hat. Carmen-Maja Antoni als Oma-Mutter besticht durch ihre grandiose schauspielerische Leistung. Ebenfalls herausragend sind Fritz Marquart als Nardini und Marc Poser als Alfons. Der Spielfilm erhielt folgende Auszeichnungen: 1987: Staatliches Prädikat der DDR für Spielfilme: Wertvoll, Kritikerpreise "Die große Klappe" für den besten Film sowie die beste Darstellerin an Carmen-Maja Antoni, 1988: 5. Nationales Spielfilmfestival der DDR: Preise als bester Nebendarsteller an Hermann Beyer sowie für die Beste weibliche Hauptrolle an Carmen-Maja Antoni. Gesprächspartner: Siegfried Kühn Moderation: Paul Werner Wagner
Gioachino Rossini Caron Netherlands Wind Ensemble 1977
Provided to YouTube by Universal Music Group Rossini: Il barbiere di Siviglia - Overture (Arr. W. Sedlak for Wind Ensemble) · Netherlands Wind Ensemble Rossini: Il barbiere di Siviglia, arranged for Wind Ensemble ℗ 1977 Universal International Music B.V. Released on: 1977-01-01 Composer: Gioachino Rossini Author: Cesare Sterbini Author, Original Text Author: Pierre Augustin Caron de Beaumarchais Author, Original Text Author: Giuseppe Petrosellini Arranger, Work Arranger: Wenzel Sedlak Auto-generated by YouTube.
Johann Sebastian Bach Stefan Donner 1685 1750 1796 2019 2020
Johann Sebastian Bach (1685 – 1750): Toccata d-moll, BWV 538 ("Dorische") Stefan Donner spielt J. S. Bach an der Okenfus-Orgel der Pfarrkirche Poysdorf Stefan Donner an der Okenfus-Orgel der Pfarrkirche Poysdorf Ursprünglich von Wenzel Okenfus 1796 gebaut, wurde das Instrument durch OBM Ferdinand Salomon restauriert und im Jahr 2019 fertiggestellt. Im November 2019 fand ein Orgelkonzert mit Stefan Donner statt. Originally built by Wenzel Okenfus in 1796, it was restored by organ builder Ferdinand Salomon. After the inauguration Stefan Donner gave a recital in November 2019 Rec. 2020 (C) LEO GACH www.liveklang.at
Edvard Hagerup Grieg Leif Ove Andsnes Jean Sibelius Bedřich Smetana Robert Schumann Clara Schumann Edmund Neupert Holger Simon Paulli Niels Gade Anton Rubinstein Rubinstein Rikard Nordraak James Huneker Franz Liszt Johan Svendsen Wilhelm Backhaus Junichi Hirokami Norrköping Symphony Orchestra 1843 1858 1868 1869 1870 1872 1874 1900 1907 1909
Edvard Hagerup Grieg (15 June 1843 – 4 September 1907) was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use and development of Norwegian folk music in his own compositions brought the music of Norway to international consciousness, as well as helping to develop a national identity, much as Jean Sibelius and Bedřich Smetana did in Finland and Bohemia, respectively. Please support my channel: (http•••) Piano Concerto in A minor, Op. 16 (1868) 1. Allegro molto moderato (0:00) 2. Adagio (12:51) 3. Allegro moderato molto e marcato (19:00) Leif Ove Andsnes, piano and Bergen Philharmonic conducted by Ole Christian Ruud Watch live performance here: (http•••) The work is among Grieg's earliest important works, written by the 24-year-old composer in 1868 in Søllerød, Denmark, during one of his visits there to benefit from the climate. The concerto is often compared to the Piano Concerto of Robert Schumann: it is in the same key; the opening descending flourish on the piano is similar; the overall style is considered to be closer to Schumann than any other single composer. Incidentally, both composers wrote only one concerto for piano. Grieg had heard Schumann's concerto played by Clara Schumann in Leipzig in 1858, and was greatly influenced by Schumann's style generally, having been taught the piano by Schumann's friend Ernst Ferdinand Wenzel. Grieg's concerto provides evidence of his interest in Norwegian folk music; the opening flourish is based on the motif of a falling minor second followed by a falling major third, which is typical of the folk music of Grieg's native country. This specific motif occurs in other works by Grieg, including the String Quartet No. 1. In the last movement of the concerto, similarities to the halling (a Norwegian folk dance) and imitations of the Hardanger fiddle (the Norwegian folk fiddle) have been detected. The work was premiered by Edmund Neupert on April 3, 1869, in Copenhagen, with Holger Simon Paulli conducting. Some sources say that Grieg himself, an excellent pianist, was the intended soloist, but he was unable to attend the premiere owing to commitments with an orchestra in Christiania (now Oslo). Among those who did attend the premiere were the Danish composer Niels Gade and the Russian pianist Anton Rubinstein, who provided his piano for the occasion. Neupert was also the dedicatee of the second edition of the concerto (Rikard Nordraak was the original dedicatee), and James Huneker said that he composed the first movement cadenza. The Norwegian premiere in Christiania followed on August 7, 1869, and the piece was later heard in Germany in 1872 and England in 1874. At Grieg's visit to Franz Liszt in Rome in 1870, Liszt played the notes a prima vista (by sight) before an audience of musicians and gave very good comments on Grieg's work which would later influence him. The work was first published in Leipzig in 1872, but only after Johan Svendsen intervened on Grieg's behalf. The concerto is the first piano concerto ever recorded—by pianist Wilhelm Backhaus in 1909.[9] Due to the technology of the time, it was heavily abridged and ran only six minutes. Grieg revised the work at least seven times, usually in subtle ways, but the revisions amounted to over 300 differences from the original orchestration. In one of these revisions, he undid Liszt's suggestion to give the second theme of the first movement (as well as the first theme of the second) to the trumpet rather than to the cello. The final version of the concerto was completed only a few weeks before Grieg's death, and it is this version that has achieved worldwide popularity. The original 1868 version has been recorded, by Love Derwinger, with the Norrköping Symphony Orchestra under Junichi Hirokami.
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