Stan Golestan Vídeos
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2024-06-01
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Bach William Walton Henri Büsser Gabriel Fauré Jules Massenet Sitt Haydn Mozart Beethoven Henri Marteau Paul Rougnon Stan Golestan Debussy 1718 1896 1897 1899 1903 1905 1910 1929 1933 1938
Violist Jutta Puchhammer’s album PIÈCES DE CONCOURS is a treasure trove of late romantic French viola music. Originating as exam compositions for students enrolled at the Conservatoire Supérieur de Paris from 1896-1938, this album demonstrates Puchhammer’s peerless virtuosity as a performer, as well as the expressive range of her instrument, which was largely dismissed by the mainstream of eighteenth and nineteenth century composers. Indeed, the vast majority of prominent concertos and chamber works featuring viola are relatively recent, as only a handful of lasting works were written for the instrument between Bach’s sixth Brandenburg Concerto (1718) and William Walton’s 1929 Viola Concerto in A minor. PIÈCES DE CONCOURS POUR brings many more thrilling, lyrical, and passionate viola compositions to light, suggesting the viola’s repertoire is much richer than Classical Music’s conventional wisdom may lead one to believe. In addition to providing Puchhammer with ample opportunities to show off her tremendous abilities, the works on PIÈCES DE CONCOURS POUR represent an interesting snapshot of French and European music history in the late nineteenth and early twentieth centuries. For example, although composed in 1910, Henri Büsser’s Appassionato in Cis Dur reflects the aesthetic heart of French Romanticism as established by better-known composers such as Gabriel Fauré and Jules Massenet. Heinrich Sitt’s Concertino Op. 46 (1899) is emblematic of nineteenth century classicism, namely in the way it conveys the hallmarks of the traditional concerto structure as established by Haydn, Mozart, and Beethoven. Many of the compositions on PIÈCES DE CONCOURS POUR share the Classical form of Sitt’s concerto, such as Henri Marteau’s Chaconne in ut majeur (1905), or the French romantic aesthetic of Büsser’s Appassionato, such as Paul Rougnon’s Concertino Romantique (1897). Romanian-born composer Stan Golestan’s Arioso et Allegro (1933) marks an interesting departure from these other works, as it reflects the new aesthetics of the twentieth century. Arioso et Allegro is dominated by pentatonic scales, which may suggest the influence of indigenous Asian musics – as they do in Debussy’s piano piece Pagodes (1903) – Eastern European folk music, or American jazz, which took France by storm in the 1920s and 30s. (http•••)
Moritz Moszkowski Golestan Ignacy Paderewski Chopin Julius Stern Stern Eduard Franck Friedrich Kiel Theodor Kullak Richard Wüerst Heinrich Dorn Scharwenka Franz Liszt Damrosch Joaquín Nin Ernest Schelling Joaquín Turina Pollack Sachs Schack Cécile Chaminade Scriabin Schoenberg Debussy Satie Josef Hofmann Peters Ossip Gabrilowitsch Percy Grainger Josef Lhévinne Elly Ney Wilhelm Backhaus Harold Bauer Bauer Royal Philharmonic Carnegie Hall 1854 1865 1869 1871 1873 1875 1884 1887 1908 1924 1925
Experimental Remix, Non-Commercial Purposes "You Are The Music While The Music Lasts." T. S. Eliot Image: Palace Golestan - Tehraan Moritz (Maurice) Moszkowski (23 August 1854 – 4 March 1925) was a German-Jewish composer, pianist, and teacher of Polish descent on his paternal side. His brother Alexander Moszkowski was a famous writer and satirist in Berlin. Ignacy Paderewski said: "After Chopin, Moszkowski best understands how to write for the piano, and his writing embraces the whole gamut of piano technique." Although less known today, Moszkowski was well respected and popular during the late nineteenth century. He was born in Breslau, Prussia (now the Polish city of Wrocław), into a wealthy Polish-Jewish family whose parents had come to Breslau from Pilica, near Zawiercie, in 1854. He was an ardent Jew at a time when many Jews downplayed their Jewishness.[2] He showed early talent from a very tender age, beginning his musical training at home until 1865, when his family moved to Dresden. There he continued his piano studies at the conservatory. He moved to Berlin in 1869 to continue his studies first at the Julius Stern's Conservatory, where he studied piano with Eduard Franck and composition with Friedrich Kiel, and then at Theodor Kullak's Neue Akademie der Tonkunst, where he studied composition with Richard Wüerst and orchestration with Heinrich Dorn. There he became close friends with the Scharwenka brothers, Xaver and Philipp. In 1871 he accepted Kullak's offer to become a teacher in his academy; as he was also a more than competent violinist, he sometimes played first violin in the orchestra. In 1873 Moszkowski made his first successful appearance as a pianist, and soon began touring the nearby cities in order to gain experience and establish his reputation. Two years later he was already playing his piano concerto on two pianos with Franz Liszt at a matineé before a selected audience invited by Liszt himself.[3][n 2] Retaining his post as a teacher at the Berlin conservatory from 1875,[n 3] he had among his pupils Frank Damrosch, Joaquín Nin, Ernest Schelling, Joaquín Turina, Carl Lachmund, Bernhard Pollack, Ernst Jonas, Wilhelm Sachs, Helene von Schack, Albert Ulrich and Johanna Wenzel. Moszkowski then travelled successfully throughout Europe under the reputation of being an exceptional concert pianist and brilliant composer, having also gained some recognition as a conductor. In 1884 Moszkowski married the younger sister of pianist and composer Cécile Chaminade, Henriette Chaminade, with whom he had a son named Marcel and a daughter named Sylvia.[4] By the mid-1880s, Moszkowski began suffering from a neurological problem in his arm and gradually diminished his recital activity in favor of composing, teaching and conducting.[4] In 1887 he was invited to London where he had the chance to introduce many of his orchestral pieces. There he was awarded honorary membership by the Royal Philharmonic Society. Three years later his wife left him for the poet Ludwig Fulda and a divorce was issued two years later.[4] In 1908, by the age of 54, Moszkowski had already become a recluse as he began to suffer from poor health. His popularity began to fade and his career slowly went into decline. He stopped taking composition pupils because "they wanted to write like artistic madmen such as Scriabin, Schoenberg, Debussy, Satie ...".[4] His last years he spent in poverty for he had sold all his copyrights and invested the whole lot in German, Polish and Russian bonds and securities, which were rendered worthless on the outbreak of the war. Two of his former pupils, Josef Hofmann and Bernhard Pollack came to his aid. Through the intervention of Pollack, who sent new piano arrangements of Moszkowski's opera Boabdil to Peters Publishing House in Leipzig, he collected an extra 10,000 francs camouflaged as royalties besides a gift of 10,000 marks and personal donations of 10,000 marks from Hofmann and 5,000 marks from himself.[4] On 21 December 1924, when he was ill and heavily in debt, his friends and admirers arranged a grand testimonial concert on his behalf at Carnegie Hall, involving 15 grand pianos on stage. Ossip Gabrilowitsch, Percy Grainger, Josef Lhévinne, Elly Ney, Wilhelm Backhaus and Harold Bauer were among the performers, and Frank Damrosch conducted (Paderewski telegrammed his apologies).[n 5] The concert netted US$13,275, with one part transferred to the Paris branch of the National City Bank of New York in order to provide immediate relief from his financial problems, and an annuity purchased at the Metropolitan Life Insurance Company, whereby he would receive US$1,250 annually for the rest of his life.[4][n 6] However, Moszkowski's illness lingered and he died from stomach cancer on 4 March of the next year, before the supply of funds could reach him. The money raised went instead to pay his funeral expenses and to his wife and son.
Antonio Vivaldi Yehudi Menuhin Herbert Karajan Peacock Golestan 1948 1967 1970 1971 1972 1978 1979 1980 1991
Concerto Grosso Op.3 no8 in A Performed by National Iranian Chamber Orchestra /1978 Composer: Antonio Vivaldi Conductor: Emil Tchakarov ارکستر مجلسی رادیو تلویزیون ملی ایران آنتونیو ویوالدی رهبر : امیل تاچاکروف The National Iranian Radio Television chamber orchestra was formed in 1967. Its inaugural concert took place on the first night of the Shiraz-Persepolis Festival of arts, in the presence of HIM the Shahbanou, with Yehudi Menuhin as soloist, and Vahe Kojayan, conductor. It performed regularly in Iran's main cities and appeared in international festivals in Paris, Brussels, Amsterdam, Moscow, Leningrad, Bulgaria, Romania, and Poland. Warmly acclaimed at home and abroad, it received reviews such as the one by Henry Louis de la Grange in MUSIC AND MUSICIANS: "high level of excellence...refinement...polish". Emil Tchakarov, born in 1948 in Bourgas, Bulgaria, was a rising star in the 1970's and 1980's. In 1971 he received the third prize in the Herbert von Karajan Second International Competition of Conductors, in Berlin, and in 1972 he receives the second prize with his Bulgarian Youth Chamber Orchestra, in the Herbert von Karajan Second International Youth Orchestra Competition. Karajan was impressed by Tchakarov's brilliant musical memory and purposeful nature. He went on building a brilliant career with many collaborations with great names, until his early death in 1991. In 1978, the NIRT chamber orchestra and Tchakarov made a truly world-class recording of baroque pieces. A "volume II" was supposed to follow, but of course plans were cancelled after the tragic events of 1979. The now ultra-rare double LP album features photos of Tchakarov and the orchestra in front of the Peacock Throne in the Golestan Palace in Tehran in its sleeve. Here, I have uploaded a sample, the first track of the first record: part one (Allegro) of Vivaldi's concerto grosso opus 3 no8 in A minor.
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- cronología: Compositores (Europa).
- Índices (por orden alfabético): G...