Eduard Melkus Videos
österreichischer Violinist und Dirigent
- Violine, Bratsche
- klassische Musik
- Österreich
- Geiger, Musikwissenschaftler, Bratschist, Dirigent, Musikpädagoge
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2024-05-19
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Johann Sebastian Bach Gisela Litz Eduard Melkus Pro Arte Orchestra 1965 1993
Provided to YouTube by Universal Music Group J.S. Bach: Mass In F Major, BWV 233 - 5. Quoniam tu solus sanctus · Gisela Litz · Eduard Melkus · Leonard Hokanson · Pro Arte Orchestra, Munich · Kurt Redel Bach, J.S.: Mass in B minor/Missa Brevis in F ℗ 1965 Universal International Music B.V. Released on: 1993-01-01 Composer: Johann Sebastian Bach Auto-generated by YouTube.
Lotus Barnett Dvořák Hlaváč Takahashi Matěj Melkus Sedmidubský Slezak Kirschner Dvořák Hall Rudolfinum Rudolfinum
Music from/ Tower of God** - Yu Han Sung vs Lo Po Bia Ren ————— Subscribe for more OST releases, Behind the Scenes, etc. ————— FULL Tower of God OST will be available WORLDWIDE from October 16th on all major platforms. ————— TOWER OF GOD 『神之塔』 Original SoundTrack “Vinyl Limited” Project AVAILABLE!! (http•••) ————— SNS: twitter: (http•••) instagram: (http•••) twitch: (http•••) ————— VISUALISER CREDITS: Hiromitsu Iijima ————— TOWER OF GOD OST - FULL CREDITS: Music by Kevin Penkin Music Direction by Hiromitsu Iijima Mixed by Matthew Templeman Mastered by Simon Struthers Composed with Raj Ramayya 3/400 Lotus Examiner The 25th Bam Composed with feeding|ear Shinsu Facing the Enemy GodSuite II “Annak” ‘Lotus’ Recomposed by James Landino Electric Guitar by Eric Barnett ‘Lero Ro’ Composed with Jeremy Lim ‘Prisoners’ Vocals & Melody by Mason Lieberman ‘Khun’ Piano & Keys by Ben Mathews Guest Vocals by Raj Ramayya Kat Penkin hibiki Spoken Word Korean by Jarang Lim ———————————————————————————————————————— ———————————————————————————————————————— London Recordings Viola Rachel Maxey Cello Deni Teo Harp Valeria Kurbatova Bassoon Emma Westley Recorded at Noatune Studios by Ruby Smith and Kristoffer Rylander Recordings Edited by Matthew Templeman ———————————————————————————————————————— Prague Recordings String Orchestra FILMharmonic Orchestra, Prague Recorded at Dvořák Hall, Rudolfinum Conductor Adam Klemens Violins Costin Anghelescu Luboš Dudek Petr Hlaváč Vlastimil Kobrle Anna Kostková Bohumil Kotmel Marcel Kozánek Jiří Kubita Klára Kutmanová Jakub Marek Jan Nykrýn Václav Prudil Hiroko Takahashi Jindřich Vácha Marie Vaňková Matěj Vlk Violas Alan Melkus Jaromír Pávíček Adam Pechočiak Jiří Poslední Radim Sedmidubský Karel Stadtherr Dominik Trávníček Violoncellos Miloš Jahoda Štěpánka Kutmanová Jan Relich Martin Sedlák Roman Stehlík Richard Žemlička Doublebass Martin Hilský Roman Koudelka Marek Lustig Jan Smažík Sound Engineer Oldrich Slezak Assistant Engineers Cenda Kotzmann Ivan Zbiral Score Editing & Preparation Maeve McCarthy “Two Cathedrals” MIDI Transcription James Yan Librarian Tomas Kirschner Recording Manager & Orchestra Contractor Petr Pýcha ————- TV Animation / Tower of God 『神之塔』 Official Site (http•••) —————- MUSIC LABEL Published by IRMA LA DOUCE (http•••) —————- Tower of God Animation Partners/LA DOUCE
Corelli Eduard Melkus Dreyfus 1972
Corelli: Violin Sonata No.12 in D minor Op. 5-12, "La Follia" 코렐리: 바이올린 소나타 12번 D단조 작품 5-12, "라 폴리아" Adagio -Allegro-Adagio-Vivace-Allegro -Andante -Allegro -Adagio -Allegro Violin: Eduard Melkus 바이올린: 에두아르트 멜쿠스 Harpsicord: Huguette Dreyfus 하프시코드: 휴가레트 드레이푸스 Violoncello: Garo Atmacayan 비올론첼로: 가로 아트마카얀 Recorded: March 1972, Wien
Tomaso Antonio Vitali Pietro Nardini Giuseppe Tartini Eduard Melkus Schulz Salter Mendelssohn Bach Schumann Gluck Ferdinand David Spohr 1663 1692 1722 1745 1770 1793 1810 1867 1872 1873
atribuido a Tomaso Antonio Vitali +••.••(...)) 00:00 Chacona en Sol menor para violín & continuo Giuseppe Tartini +••.••(...)) 11:30 Tema y 30 variaciones de ¨L´Arte dell´arco¨ 26:05 ¨El trino del diablo¨ Sonata en Sol menor para violín & continuo: Larghetto affettuoso - Tempo giusto della Scuola Tartinista - Andante, Allegro assai Pietro Nardini +••.••(...)) 38:36 Sonata en Re mayor para violín & continuo: Adagio - Allegro - Allegro Eduard Melkus, violin / Walter Schulz, cello / Alfred Planyavsky, contrabass Karl Scheit, lute / Lionel Salter, organ, harpsichord & piano The compositions of virtuoso violin music, which have been recorded for this disc, represent the best known of their type. They have continued to be an integral part of virtually all violin repertoires down to this day, and we can still hear the great soloists of our day play them in the concert hall. However, none of these compositions have come down to us in their original form. As most baroque compositions, they were subjugated to the stylistic changes inaugurated by the classical period, which meant that in their original form they could only be found among collected works or in the form of copies in the possession of individual music lovers, and it was not until the important movement of rediscovering the “old music”, which took place in the romantic period, that musicians especially interested in these compositions began to revive them. Naturally, they were altered to suit the tastes of the time. The solo texts were changed, shortened or lengthened, or movements from other compositions were added or simply exchanged for older ones. The harpsichord was replaced by the piano, thus introducing a totally different character of sound and new dynamic possibilities. The accompaniment -originally indicated as a figured bass only- was now eliminated completely and pianistically polished up while the simple original harmonies were often made “more interesting” in the romantic sense by means of chromatic passages or a bass lead. Nonetheless, the compositions became truly popular again, which in all probability would not have been the case had they been re-introduced in their original form as we prefer to hear them today, and we are, therefore, highly indebted to those who made these interpretative alterations. Mozart’s rendition of the Messiah, Mendelssohn’s Bach renditions, Schumann’s piano accompaniments to the Bach solo sonatas, Wagner’s concert finale for Gluck’s Iphigenia overture and many more examples were altered in the same spirit, i. e., the attempt to adapt older master pieces to the current tastes and forms in order to uphold an interest for these compositions and to maintain their popularity. Although we think differently in our century and prefer the composition in its original form, we can hardly be accused of fossilized history. On the contrary, we are imbued with the same passionate love for music that moved musicians in the last century. It is simply that we today believe that a composition has its greatest effect in its original form. And even if we cannot achieve absolute authenticity today because of diverse reasons as far as the performance of older music is concerned, we still feel bound to strive for the best reconstruction of the original sound possible. It is possible to come to terms with great musical compositions -to understand the essence of the music- by trying to comprehend the spiritual motivation of a given composition and the Zeitgeist in which it was written; by discerning the typical stylistic characteristics of a particular grouping of compositions, and by grasping expression and sound as they differ from the present day music to which we are accustomed. Above and beyond this, however, it is also possible to perform many popular master pieces with a new, contemporary impulse and to prevent them from slowly evanescing into the forgotten by employing a new interpretative style based on historical development. It is in such a spirit that we have undertaken to present the four compositions on this recording, which became popular again in the 19th century thanks to the adaptations of Ferdinand David +••.••(...)). In fact, they gained a greater popularity than they had originally enjoyed. David, a pupil of Spohr’s at an excellent violin school, was inspired by Mendelssohn’s work in Leipsic to adapt a whole series of older violin compositions, which he then published in his “Hohe Schule des Violinspiels” +••.••(...)) and in other editions. Vitali’s Chaconne and the Sonata in D major by Nardini are included in the “Hohe Schule des Violinspiels”; both the Tartini compositions were treated later by David.
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- Zeitleiste: Dirigenten (Europa). Interpreten (Europa).
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