Salomon Jadassohn Vídeos
compositor alemán
- piano
- música clásica
- Reino de Prusia
- compositor, musicólogo, director de orquesta, profesor de música, teórico de la música, profesor universitario, director de coro, pianista, teórico
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2024-06-05
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Karg Karg Elert Emil Reznicek Salomon Jadassohn Carl Reinecke Johann Sebastian Bach Edvard Grieg Claude Debussy Max Reger Alexander Scriabin Arnold Schoenberg 1877 1914 1919 1930 1932 1933
Michael Zeeschang - Piano Sigfried Karg-Elert +••.••(...)) was a German Composer, better known for his works for Organ and Harmonium. At a gathering of composers in Leipzig, he presented his first attempts at composition to the composer Emil von Reznicek, who arranged a three-year tuition-free scholarship at the Leipzig Conservatory. This enabled the young man to study with Salomon Jadassohn, Carl Reinecke, Alfred Reisenauer and Robert Teichmüller. After having served as a regimental oboist during World War I, Karg-Elert was appointed instructor of music theory and composition at the Leipzig Conservatory in 1919. The cultural climate in Germany in the 1920s and 1930s was very hostile to the internationally oriented, French-influenced Karg-Elert; and although his works were admired outside Germany, especially in the U.K. (the Organ Music Society of London held a twelve-day festival in his honour in 1930, which he attended) and in the United States, in his home country his music was almost completely neglected. All this led to him accepting an invitation for an organ concert tour of America in the spring of 1932. Karg-Elert was offered a position of the organ chair at the Carnegie Institute in Pittsburgh, which he was forced to decline due to his failing health. After his return to Leipzig, his health started deteriorating rapidly. He died there in April 1933, aged 55. Karg-Elert regarded himself as an outsider. Notable influences in his work include composers Johann Sebastian Bach (he often used the BACH motif in Bach's honour), Edvard Grieg, Claude Debussy, Max Reger, Alexander Scriabin, and early Arnold Schoenberg. In general terms, his musical style can be characterised as being late-romantic with impressionistic and expressionistic tendencies. His profound knowledge of music theory allowed him to stretch the limits of traditional harmony without losing tonal coherence. / Please support this channel (http•••)
Karg Karg Elert Emil Reznicek Salomon Jadassohn Carl Reinecke Johann Sebastian Bach Edvard Grieg Claude Debussy Max Reger Alexander Scriabin Arnold Schoenberg 1877 1919 1930 1932 1933
Michael Zieschang - Piano 00:00 Phantastisch und lebhaft 14:07 Sehr breit und empfindungsvoll 21:42 Leidenschaftlich und sturmend Sigfried Karg-Elert +••.••(...)) was a German Composer, better known for his works for Organ and Harmonium. At a gathering of composers in Leipzig, he presented his first attempts at composition to the composer Emil von Reznicek, who arranged a three-year tuition-free scholarship at the Leipzig Conservatory. This enabled the young man to study with Salomon Jadassohn, Carl Reinecke, Alfred Reisenauer and Robert Teichmüller. After having served as a regimental oboist during World War I, Karg-Elert was appointed instructor of music theory and composition at the Leipzig Conservatory in 1919. The cultural climate in Germany in the 1920s and 1930s was very hostile to the internationally oriented, French-influenced Karg-Elert; and although his works were admired outside Germany, especially in the U.K. (the Organ Music Society of London held a twelve-day festival in his honour in 1930, which he attended) and in the United States, in his home country his music was almost completely neglected. All this led to him accepting an invitation for an organ concert tour of America in the spring of 1932. Karg-Elert was offered a position of the organ chair at the Carnegie Institute in Pittsburgh, which he was forced to decline due to his failing health. After his return to Leipzig, his health started deteriorating rapidly. He died there in April 1933, aged 55. Karg-Elert regarded himself as an outsider. Notable influences in his work include composers Johann Sebastian Bach (he often used the BACH motif in Bach's honour), Edvard Grieg, Claude Debussy, Max Reger, Alexander Scriabin, and early Arnold Schoenberg. In general terms, his musical style can be characterised as being late-romantic with impressionistic and expressionistic tendencies. His profound knowledge of music theory allowed him to stretch the limits of traditional harmony without losing tonal coherence. / Please support this channel (http•••)
Sergei Bortkiewicz Anatoly Lyadov Salomon Jadassohn Franz Liszt Schumann Klindworth Scharwenka Chopin Tchaikovsky Rachmaninoff Scriabin Blüthner Orchestra 1877 1888 1900 1902 1904 1913 1914 1923 1932 1952 1967
First published in 1932. Bortkiewicz +••.••(...)) was a Ukrainian Romantic composer and pianist of Polish ancestry. Bortkiewicz received his musical training from Anatoly Lyadov and Karl von Arek at the Imperial Conservatory of Music in Saint Petersburg. In 1900 he left Saint Petersburg and traveled to Leipzig, where he became a student of Alfred Reisenauer and Salomon Jadassohn, both pupils of Franz Liszt. In July 1902, Bortkiewicz completed his studies at the Leipzig Conservatory and was awarded the Schumann Prize on graduation. On his return to the Russian Empire in 1904, he married Elisabeth Geraklitowa, a friend of his sister, and then returned to Germany, where he settled in Berlin. It was there that he started to compose seriously. From 1904 until 1914, Bortkiewicz continued to live in Berlin but spent his summers visiting his family in Ukraine or travelling around Europe often on concert tours. For a year he also taught at the Klindworth-Scharwenka Conservatory, where he was to meet his lifelong friend, the Dutch pianist Hugo van Dalen (1888–1967). Van Dalen premiered Bortkiewicz's Piano Concerto No. 1, Op. 16, in November 1913 in Berlin with the Blüthner Orchestra conducted by the composer. Bortkiewicz's piano style was very much based on Liszt and Chopin, nurtured by Tchaikovsky, Rachmaninoff, early Scriabin, Wagner and Ukrainian folklore. The composer never saw himself as a "modernist", as can be seen from his Künstlerisches Glaubensbekenntnis, written in 1923. His workmanship is meticulous, his imagination colourful and sensitive, his piano writing idiomatic; a lush instrumentation underlines the essential sentimentality of the melodic invention. / - A method to find scores: (http•••) - My donation link to keep the channel growing: (http•••) Thanks for listening :-)
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- cronología: Compositores (Europa). Directores de orquesta (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): J...