Jarmil Burghauser Vídeos
compositor, director de coro, musicólogo, director de orquesta
- ópera, música clásica
- República Checa, Checoslovaquia
Última actualización
2024-05-23
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Richard Strauss Weise Rudolf Kempe Hans Christian Andersen Tales Burghauser Krause 1947 1954
Richard Strauss Duet Concertino for Clarinet, Bassoon and Strings (1947) Allegro moderato – Andante – Rondo (Allegro ma non troppo) Manfred Weise, clarinet Wolfgang Liebscher, bassoon Staatskapelle Dresden Rudolf Kempe, conductor Sculpture: Fausto Melotti, Donnina, 1954, Turin, Galleria d'Arte Moderna The relaxed cheerfulness of old age is surely the most notable characteristic of the Duet Concertino for clarinet and bassoon (accompanied by string orchestra and harp). Strauss wrote the piece in Montreux for the small ensemble of the Radio Svizzera Italiana. He described this and his other late works as "just splinters from an old man's workshop, written perhaps only with a desire to amuse", The Duet Concertino is an exception among the late works in that it is the only one inspired by a poetic idea. It is quite likely that Strauss was inspired by one of Hans Christian Andersen's fairy tales; in a letter of dedication to "his old Philharmonic bassoon", Hugo Burghauser in Vienna, the composer wrote that the piece was about a princess and a bear. A young princess is courted by a growling bear which dances round her and frightens her until she realises that she can outwit him. She continues to dance, until finally the clumsy beast is transformed into a prince. "Thus you too, Burghauser, become a prince at last and everything ends happily," Strauss informed the dedicatee. However, this delightful music can still be enjoyed even without knowing the story, for it is just as effective as "absolute" music. The choice of the two solo instruments was no doubt influenced by the fact that they were also particular favourites of Mozart. Strauss once said : "Mozart wrote better for the bassoon than anyone else and he always managed to think of something really lovely for it." The 83-year-old composer evidently enjoyed contrasting the sound qualities of the two instruments and placing them against the gentle background of strings and harp. The accompaniment is enriched by the use of a sextet of solo strings drawn from the main body, which frequently gives the impression of chamber music. Music Notes by Ernst Krause
The Slavonic Dances (Czech: Slovanské tance) are a series of 16 orchestral pieces composed by Antonín Dvořák in 1878 and 1886 and published in two sets as Op. 46 and Op. 72 respectively. Originally written for piano four hands, the Slavonic Dances were inspired by Johannes Brahms's own Hungarian Dances and were orchestrated at the request of Dvořák's publisher soon after composition. The pieces, lively and full of national character, were well received at the time and today are considered among the composer's most memorable works, occasionally making appearances in popular culture. “Contrary to what the title might suggest, the dances are not so much inspired by Slavic folk music generally, but specifically by styles and forms from Bohemia. In these pieces, Dvořák never actually quotes folk melodies, but evokes their style and spirit by using traditional rhythmic patterns and structures in keeping with traditional folk dances.” The Op. 46 set is listed in the Burghauser catalogue as B. 78 in the original piano four hand version, and as B. 83 in the orchestral version. The Op. 72 set is catalogued as B. 145 in the piano four hand version, and as B. 147 in the orchestral version. In Simrock's original edition of the piano duet, no. 3 was the D major Sousedská and no. 6 the A flat major Polka - an order apparently approved by Dvořák. Their positions were reversed in the orchestral version. Both orders are still found. Antonín Dvořák Slavonic Dances Op. 46 No. 4 For more: (http•••) #MusicHistory #ClassicalMusic #Dvorak
Antonín Dvořák Jarmil Burghauser Günter Raphael Sádlo Václav Neumann Česká Filharmonie 1841 1865 1895 1903 1904 1921 1960 1997
Cello Concerto in A major, B. 10 (Cello Concerto No. 1), orchestrated by Jarmil Burghauser II. Lento cantabile Many of you will be familiar with Antonín Dvořák's +••.••(...)) second cello concerto - his Op. 104 in B minor from 1895 - but thirty years earlier in 1865 he composed his first cello concerto (B. 10), which has been all but forgotten. Dvořák abandoned the project and left it unorchestrated, and it was only rediscovered in the 1920s by the composer Günter Raphael +••.••(...)). In its entirety, the work is over an hour long. This version, an orchestration by Dvořák's cataloguer Jarmil Burghauser +••.••(...)), suffers from extensive cuts, but enough material is left to give listeners a good idea of the original work's conception. Cello: Miloš Sádlo Conductor: Václav Neumann Česká filharmonie
Richard Strauss Harold Wright Seiji Ozawa Burghauser Roth Mozart Clemens Krauss Hans Christian Andersen Boston Symphony Orchestra Vienna Philharmonic 1864 1947 1948 1949 1988
Richard Strauss +••.••(...)) Duet-Concertino for clarinet and bassoon with string orchestra & harp (1947) 00:00 - Allegro moderato 06:25 - Andante 09:37 - Rondo. Allegro ma non troppo Harold Wright, clarinet Sherman Walt, bassoon Boston Symphony Orchestra, dir. Seiji Ozawa (broadcast performance of 12 March 1988) "Richard Strauss composed the Duet-Concertino in late 1947, completing the score on December 16. It was first performed in Lugano, Switzerland, on April 4, 1948, with Otmar Nussio conducting a small orchestral ensemble from the orchestra of the Italian-Swiss Radio. The score bears the dedication 'Hugo Burghauser, dem Getreuen' ('to my faithful Hugo Burghauser'); the dedicatee had been the bassoonist of the Vienna Philharmonic. In October 1947, the eighty-three-year-old Richard Strauss made his first journey by airplane to accept an invitation to London, which allowed him to see some of his old friends, including Dr. Ernst Roth, his publisher. No doubt he hoped, too, that this journey would allow him to 'thaw' some of his royalties, which had been frozen in England during the war. (Two years earlier he had moved to Switzerland in the hope of receiving some royalties, which would not come to him as long as he remained in Germany.) In England Strauss was curt with the press, having little patience with the persistence of reporters who asked him what his plans were; to them he said simply, 'Well, to die.' But the old man still had music in him. Before his death two years later he turned out two substantial last compositions in a glorious 'Indian summer' of his life. Of the two pieces, the Duet-Concertino is as rarely heard as the eloquent Four Last Songs are familiar. Though the Duet-Concertino did not take palpable shape until 1947, Strauss had been thinking about it for some time. A year earlier he had written to the eventual dedicatee, Hugo Burghauser, a close friend and former bassoonist of the Vienna Philharmonic, who had moved to New York: 'I am even busy with an idea for a double concerto for clarinet and bassoon, thinking especially of your beautiful tone / nevertheless apart from a few sketched out themes it still remains no more than an intention... Perhaps it would interest you; my father always used to say, "It was Mozart who wrote most beautifully for the bassoon." But then he was also the one to have all the most beautiful thoughts, coming straight down from the skies!' Finding a reference to Strauss's idolized Mozart in immediate juxtaposition to the first inkling of the Duet-Concertino should alert us to a certain Mozartean flavor that the score shares with many of Strauss's late works. Not that the piece is in any way a pastiche: rather it translates much of what Strauss saw as the soul of the classical era into a new guise. The concertante working out of two solo instruments, echoed by a second concertante relationship between the solo and massed strings, recalls the spirit / without attempting to preserve the letter / of classical forms. At some stage in the planning of the work, Strauss told conductor Clemens Krauss that he was thinking of Hans Christian Andersen's story 'The Swineherd,' in which a prince courts a beautiful princess by disguising himself as a swineherd at her father's palace. Later Strauss wrote to Burghauser to tell him that the clarinet was a dancing princess, with the bassoon representing the grotesque attempts of a bear to imitate her. Eventually she is won over by the bear and dances with it. Strauss told Burghauser, 'So you too will turn into a prince and live happily ever after.' In the end, though, the Duet-Concertino is pure music-making. Its three movements run together without break, but the first two are quite brief and serve essentially as an elaborate preface to the closing rondo." - Steven Ledbetter Painting: Human Ancestors, Nicholas Roerich
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- cronología: Compositores (Europa). Directores de orquesta (Europa).
- Índices (por orden alfabético): B...