Florian Leopold Gassmann Vídeos
compositor austríaco
Conmemoraciones 2024 (Muerte: Florian Leopold Gassmann)
- ópera
- Austria, Monarquía Habsburgo
- compositor, director de orquesta, organista
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2024-05-09
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Florian Leopold Gassmann Albrechtsberger 1729 1774
Three similar trios for flute or violin, viola d'amore, and basso (viennese violone) usually are associated with Albrechtsberger. This present work is the only one of the three with a name on the manuscript that of Gassmann. There is a second source of this work in the hand of Albrechsberger.
Antonio Salieri Carl Schütz Schütz Gassmann Anselm Hüttenbrenner Gluck Giuseppe Bonno Ponte Albrechtsberger Michael Haydn Haydn Georg Reutter Reutter Eybler Leopold Hofmann Hofmann Opera Vienna 1745 1750 1763 1765 1766 1771 1773 1774 1775 1778 1780 1781 1782 1784 1786 1788 1800 1804 1820 1824 1825 1860
★ Follow music ► (http•••) Composer: Antonio Salieri +••.••(...)) Work: Orgelkonzert C-Dur (1773) Performers: Anton Gansberger (organ); Leondinger Symphony Orchestra Drawing: Carl Schütz +••.••(...)) - Námestie vo Viedni (1780) Image in high resolution: (http•••) Painting: Joseph Willibrord Mähler +••.••(...)) - Antonio Salieri Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / Antonio Salieri (Legnago, 18 August 1750 - Vienna, 7 May 1825) Italian composer, mainly active in Vienna. Born in Legnago in the Veneto, he studied violin and keyboard with his brother Francesco and with a local organist, Giuseppe Simoni. After the deaths of his parents between 1763 and 1765 he was taken to Venice, where his musical education continued. The Viennese composer F.L. Gassmann, in Venice to oversee the production of his opera Achille in Sciro in 1766, noticed Salieri's talent and ambition and took the youth back to Vienna with him. Under Gassmann's direction he began an intensive programme of musical training. Described by his student Anselm Hüttenbrenner as ‘the greatest musical diplomat’, Salieri won the friendship of people who could help him build a career. Having earned Gassmann's paternal affection, he developed close relations with Metastasio, Gluck and Joseph II. Opportunities to write operas soon offered themselves to Salieri. His success in Vienna owed much to the support of Joseph II, who was also helpful to him in Italy and France through his influence with his brothers Leopold (Grand Duke of Tuscany) and Ferdinand (governor of Lombardy) and his sister Marie Antoinette. As early as 1771 Joseph sent a copy of Armida to Leopold, reporting that it had been performed with great success in Vienna. The following year he asked Leopold about the possibility of Salieri writing an opera for Florence. When Gassmann died in 1774 Joseph appointed Salieri his successor as Kammerkomponist, an appointment that led to his also being made, at only 24 years of age, Gassmann's successor as music director of the Italian opera in Vienna. Between 1778 and 1780 he wrote five operas for theatres in Milan. In 1780 Joseph II commissioned him to write a Singspiel to be performed by the Nationaltheater's German troupe: one of only two operas in German by Salieri, Der Rauchfangkehrer (1781) enjoyed considerable success until it was overshadowed by Mozart's Die Entführung aus dem Serail. Salieri's exploration of operatic genres continued in 1782. Gluck, too weak to undertake the composition of a work commissioned by the Paris Opéra, handed the commission to Salieri. Armed with a letter of recommendation from Joseph, he went to Paris for the first time to oversee the production of Les Danaïdes (1784). Its success led to commissions for two more French operas, and during the rest of the decade Salieri divided his time and energy between composing tragédie lyrique in Paris and opera buffa in Vienna. The second of his French operas, Les Horaces, failed when it was given in 1786, but the following year he achieved one of his greatest operatic triumphs with Tarare, on a libretto by Beaumarchais. Returning to Vienna in 1784 after the première of Les Danaïdes, Salieri busied himself with composing and directing Italian comic operas at the Burgtheater. In February 1788 Joseph granted the position of Hofkapellmeister to Salieri, who had frequently acted in that capacity since 1775 for the ailing Giuseppe Bonno. Salieri succeeded Bonno in March 1788. He remained in this office until his retirement in 1824, his tenure the longest in the history of the Hofmusikkapelle. The 1790s left Salieri without the steadfast patronage of Joseph II, without the opportunity to write operas for Paris (cut off from him by the Revolution), without the theatrical talent of Da Ponte and without the stimulating rivalry of Mozart. Salieri's last complete opera, Die Neger, was given to sparse applause in 1804. As Hofkapellmeister, Salieri attended closely to the selection of new instrumentalists and singers, filling such posts as organ builder, overseeing the acquisition of instruments and keeping the music library in good order. Hofkapelle records for the period from 1820 to Salieri's retirement in 1824 show that for regular services under his direction he most frequently chose masses by Albrechtsberger, Joseph and Michael Haydn, Georg Reutter the younger, Eybler, Leopold Hofmann and Mozart. Salieri, who benefited so much from his teachers and mentors, devoted much of his energy to teaching, especially after retiring from operatic composition.
Florian Leopold Gassmann Checa Nikolaus Harnoncourt Pfeiffer Concentus Musicus Wien 1729 1774
Florian Leopold Gassmann (3 de mayo de 1729, República Checa - 21 de enero de 1774, Viena, Austria). Compositor de Bohemia. Los escasos registros que existen de sus primeros años son inciertos. Es factible que haya sido educado en el Gymnasium jesuita de Komotau (hoy Chomutov) y se cree que estudió con Gluck. Al parecer estudió con el padre Martini durante su viaje a Italia alrededor de 1732. Pasó algún tiempo en Venecia al servicio del conde Leonardo Veneri y su éxito como compositor operístico lo llevó a Viena en 1763 como compositor de ballet, en sustitución de Gluck. En 1772 fue designado Hofkapellmeister imperial, pero falleció sólo dos años después debido a la caída de un carruaje. Gassmann escribió algunas opere serie, pero sus últimas óperas cómicas para Viena fueron más modernas y con un enfoque más claro en los finales de conjunto; en ellas puede detectarse cierta influencia de las primeras óperas de Mozart y son definitivamente sus mejores obras, en particular L’amore artigiano (1767) y La contessina (1770). Con Ezio (Roma, 1770) regresó a la opera seria y, por su tratamiento, la obra sugiere que seguramente conoció y admiró las “reformas” operísticas de Gluck. Cuarteto nº 3 en Mi bemol mayor 0:00:01 Poco adagio. 0:03:43 Allegro. 0:07:27 Menuetto & Trio. 0:11:21 Allegro. Miembros del Concentus Musicus Wien: Alice Harnoncourt, violín. Walter Pfeiffer, violín Kurt Theiner, viola Nikolaus Harnoncourt, violonchelo
Joseph Haydn Stegmann Ivan Ilić Meissen Homilius Schuch Grossmann Mozart Salieri Gluck Gassmann Bürger Löwe Simrock Beethoven 1751 1760 1766 1772 1773 1774 1775 1776 1777 1778 1783 1785 1788 1789 1791 1792 1796 1798 1811 1826
Joseph Haydn: Symphony no 44, "Trauer" – IV. Finale: Presto Transcribed for solo piano by Karl David Stegmann +••.••(...)) Ivan Ilić, piano – www.IvanCDG.com Karl David Stegmann (1751–1826) was a German tenor, harpsichordist, conductor, and composer. Stegmann was born in Staucha near Meissen. He received his initial musical training from the local organist at Staucha, then studied in Dresden with J.F. Zillich (from 1760), at the Kreuzschule (1766–70) and later under Homilius and the violinist H.F. Weisse. Thereafter he rose rapidly as singer, actor, and harpsichordist; he went to Breslau in 1772 (with the Wäser theatre company), Königsberg in 1773, Heilsberg in 1774 (as court harpsichordist to the Bishop of Ermeland), Danzig in 1775, Königsberg again in 1776 (with the Schuch company) and later appeared in Gotha (at the court theatre). From 1778 to 1783 he made the first of two extended visits to Hamburg, winning particular renown as a harpsichordist. By that time, six of his operas and Singspiels, first produced earlier in Königsberg and Danzig, were attracting performances elsewhere in northern Germany. In 1783 he left Hamburg to join the Grossmann company in Bonn. He then became attached to the court theatre at Mainz in association with which he made highly acclaimed guest appearances in Frankfurt. He sang in the first German-language Don Giovanni (Mainz, 13 Mar 1789), produced or conducted other operas by Mozart, Salieri, Gluck and Gassmann, composed incidental music (e.g. to Bürger's version of Macbeth, 30 Aug 1785) and acted in dramas by Lessing and Schiller. The summit of Stegmann's activities in Frankfurt was the production of his allegorical Singspiel Heinrich der Löwe (15 July 1792) to commemorate the coronation of Emperor Franz II. By the time of his return to Hamburg in November 1792, he was esteemed as a leading operatic producer and adapter, which compensated for the declining vocal prowess that forced him to restrict his appearances to comic roles. In 1798 he joined the directorate of the Hamburg Theatre, remaining there until 1811; thereafter he moved to Bonn and attracted attention mainly as a composer of incidental music and a series of instrumental works, including keyboard and multiple concertos. His earlier close acquaintance with the operas of Gluck and Mozart, and his later keyboard arrangements (published by his friend Simrock) of Haydn's symphonies, Mozart's string quintets and Beethoven's Trios op. 9 enabled him to produce instrumental music notable for contrapuntal and textural ingenuity, combined with an imaginative, if sometimes overladen, instrumentation. As a composer for the theatre, Stegmann has attracted attention for his harmonic and tonal organisation and for using antecedent forms of leitmotif, showing an early interest in dramatic and psychological continuity. He died in Bonn. Works Erwin und Elmire (1776) Philemon und Baucis (1777) Montgolfier (1788) Sultan Wampun (1791) Heinrich der Löwe (1792) Der Triumph der Liebe (1796) Source: (http•••) Also, see: Slipped Disc (http•••) Limelight Magazine (http•••) Classique mais pas has been (http•••) Gramophone (http•••) Pianist Magazine (http•••)
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- cronología: Compositores (Europa). Directores de orquesta (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): G...