Johann Baptist Gänsbacher Vídeos
compositor austríaco
Conmemoraciones 2024 (Muerte: Johann Baptist Gänsbacher)
- Austria
- compositor, director de orquesta
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2024-05-10
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Johann Baptist Gänsbacher Herzog Stecher Abbé Vogler Albrechtsberger Weber Meyerbeer Joseph Weigl Preindl Anton Mitterwurzer Wilt Milka Ternina Leopold Demuth Brahms Schubert Musikverein Stephansdom Music Central 1751 1778 1795 1801 1803 1806 1810 1812 1813 1814 1815 1818 1823 1824 1829 1838 1844 1853 1855 1868 1872 1875 1897 1904 1911
Alles Gute zum Geburtstag Johann Baptist Gänsbacher! Composer: Johann Baptist Gänsbacher +••.••(...)) Work: Lauretanische Litanei (1812) Performers: Sabina von WaIthеr (soprano); Johanna Pradеr (alto); Otto RastbichIеr (tenor); MichaеI GrossIеrcher (bass); TiroIеr vocalensemble & Kammerorchester des Fеrdinandеums; Josеf Wеtzingеr (leitung) Painting: Joseph Mathias von Trenkwald +••.••(...)) - Herzog Leopolds des Glorreichen Einzug in Wien nach dem Kreuzzug von 1219 (1872) Image in high resolution: (http•••) Painting: Franz Anton Stecher +••.••(...)) - Der Komponist Johann Baptist Gänsbacher und seine Familie (c.1838) Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / Johann (Baptist Peter Joseph) Gänsbacher (Sterzing, [now Vipiteno], 8 May 1778 - Vienna, 13 July 1844) Austrian composer and conductor. He was the son of a choirmaster and teacher, Johann Gänsbacher +••.••(...)), and as a boy sang in church choirs in Sterzing, Innsbruck, Hall and Bolzano; he also had lessons in piano, organ, violin, cello and thoroughbass. In 1795 he went to the university at Innsbruck and studied first philosophy, then law, supporting himself by giving music lessons, playing the organ, singing in church choirs and playing in the theatre orchestra. His first compositions date from this period. While at university he took part in four campaigns against Napoleon. In 1801 he went to Vienna to continue his musical studies, and was relieved of financial worries when Count Firmian, who further promoted his career as a musician, took him into his family as a son in about 1803. In Vienna he had lessons from the Abbé Vogler +••.••(...)) and from Albrechtsberger (1806). A Mass in C, composed through the offices of Vogler for Nikolaus Esterhazy in 1806, established his reputation as a composer. Nevertheless, he returned to Vogler in Darmstadt for a short period in 1810, where his fellow-pupils and friends included Weber and Meyerbeer, who admitted him as a founder-member of the ‘Harmonische Verein’, for which he was active until 1813. In January 1813 he met Weber in Prague and recommended him for the post of Kapellmeister of the theatre. In the summer of the same year Gänsbacher returned to the Tyrol to join the fighting to liberate the province from the Bavarian occupation. After the end of the war he did not return to the Firmian family but joined the army as a first lieutenant (1814). He was stationed first in Italian garrisons, in Trient, Mantua and Padua then at Innsbruck in 1815, where he again tried to gain a foothold as a musician. He worked as a conductor and director of a church choir, and helped to found the Musikverein, though he did not gain the position of chief conductor. He did not accept the post of director of music in Dresden, offered him at the instigation of Weber in 1823, since (after representations against the election of Joseph Weigl), he was appointed Kapellmeister of the Stephansdom in Vienna as successor to Josef Preindl in September 1824. One of the choristers was his nephew Anton Mitterwurzer +••.••(...)), later famous as an opera singer. From this time on Gänsbacher composed mainly church music, and only a few homage cantatas. By the time of his death he was one of the most famous musicians in Vienna. Some of Gänsbacher's early instrumental compositions, such as the Clarinet Concertino and the sonatas in F major (1803) and G minor (1810), are remarkable for the individuality of their ideas and their unconventional structure, while his Italian canzonettas and terzetti are effective for their reticent simplicity. Yet the works he composed later for social performance clearly show a deterioration of quality. Even before his 20 years at the Stephansdom, sacred music was becoming central to his output. Starting with the masses in C and B and the Requiem (1812), he wrote some creditable and well-regarded works in this field. Although they do not stand out from the manner of their time, and show little stylistic innovation, they nonetheless show Gänsbacher's considerable skill as a composer. His son Josef Gänsbacher +••.••(...)) studied the piano, the cello and singing, and went to university to read law, graduating in 1855. He practised law for a number of years, but concurrently gave piano and singing lessons, and in 1868 devoted himself entirely to teaching singing. From 1875 to 1904 he was a tutor at the conservatory of the Gesellschaft der Musikfreunde, becoming by the turn of the century the most highly-regarded singing teacher in Vienna. Some of his pupils achieved international recognition, including Maria Wilt, Milka Ternina, Leopold Demuth and Julius Liban. Brahms dedicated his cello sonata op.38 to him. He was a composer, chiefly of songs but also of piano and choral pieces, and was a co-editor of the Schubert complete edition.
Leopold Demuth Gänsbacher Marschner Goldmark Alberts Gluck Bayreuth Hans Sachs Bayreuth Festival 1861 1889 1891 1896 1897 1898 1899 1903 1904 1905 1906 1907 1908 1910 2014
Leopold Demuth - Tannhauser - Blick ich umher- Gramophone 3-42739 enregistré en 1906 Leopold Demuth (Baritone) (Brünn 1861 – Czernowitz 1910) His real name was Leopold Pokorny. His voice was discovered during his military service. He studied singing with Joseph Gänsbacher in Vienna and made his debut in 1889 at the Municipal Theatre of Halle (Saale) in ‘’Hans Heiling’’ of Marschner. In the 1891-96 seasons he sang at the Opera House of Leipzig, from 1896-98 Demuth appeared at the Municipal Ttheatre of Hamburg. In 1898 he was engaged by the Vienna Court Opera, where his career reached the climax. On 2. 1. 1908 he sang there in the premiere of the opera ‘’Ein Wintermärchen’’ of Goldmark. In the same year he took over at the Vienna première of d'Alberts ‘’Tiefland’’. Already in 1904 he performed at the Vienna Court Opera in an unforgettable performance of Gluck’s ‘’Iphigenie in Aulis’’. He made guest appearances at different German and Austrian opera houses. Thus he sang in the Wagner-Festspielen of Munich (1903 and 1905), at the Berlin Court Opera (1897), also in Frankfurt a. M.,Cologne, Leipzig, Wroclaw and at the German Theatre of Prague (1907). In 1899 he appeared at Bayreuth Festival the role of Hans Sachs in ‘’Meistersingers’’ and the Gunther in ‘’Götterdämmerung’’. He was married with actress Eugenie Lenau, who was engaged temporarily by the German theatre in Berlin. He was one of the best baritones of his time. Source : (http•••)
Hermann Jadlowker Schubert Winkler Gänsbacher Freed 1877 1899 1901 1907 1910 1911 1913 1917 1929 1933 1938 1951 1953
with Bruno Seidler-Winkler (piano). Polydor master 1164 m, rec. Berlin, 1917/18. Hermann Jadlowker +••.••(...)) was considered by many as the finest German tenor of his generation. His fees were even higher than Carusos. However, he was neither German, nor particularly interested in opera. He was born in Riga as the child of a very religious family, and at first studied only with the cantor of the local synagogue. Only after a lot of persuasion was he able to take up studies with the famous Viennese teacher Joseph Gänsbacher. He made his debut in Germany in 1899, but returned to Riga in 1901, where he not only sang at the opera house, but also as a cantor at the synagogue. He returned to Germany in 1907, and from 1911 on was a member of the Berlin Court Opera. He was also on the Met roster between 1910 and 1913. He sang everything from Almaviva to Lohengrin, and especially his coloratura was thought to be without equal. Many of his recordings display his dazzling technique, but at the same time sound emotionally distanced, even cold. In my opinion this might be due to his strong religious roots - opera never was something close to his heart. Also he suffered from extreme nervousness on the stage and so presumably in the recording studio. To me, this seems to be much less obvious in his song recordings. As this recording shows, he generates his interpretation by rather subtle rhythmical inflictions and a few of the expressive means of Jewish liturgical singing. Although dismissed by some (but lets be honest: not too many people bought his Schubert in the 1920s, and not too many had the chance to hear it later), I find the result very moving. Jadlowker left Germany for good in 1929 and again settled in Riga, this time as a chasan and teacher at the conservatory. It is interesting to read a small paragraph about him that was published by his record company in early 1933, which I try to translate here: "Visionary he freed himself from any inhibition the presence of a numerous audience might have imposed on his vocal art. But his deliverance manifested itself in a state of religious trance. He released himself from audience and theatre, he sang himself upwards to the eternal heights, after a performance it took him hours to return to this earth and its not always completely satisfying reality. And this release from the audience may have prompted Jadlowker to go to Riga as a cantor, where he, unseeing and unseen on the gallery, brings his high art to the ears of the thousands listening below." Jadlowker later moved to Tel Aviv, where he still sang occasionally at religious ceremonies. His only opera or concert appearance there seems to have been a sole Riccardo in 1938 - in Hebrew! He still sang as late as 1951, and it is a shame that there is no recording of him singing liturgy, which must have been an incredible experience.
Bernardini Michael Haydn Joseph Haydn Bühler Johann Baptist Gänsbacher Johannes Amon Amon Friedrich Witt Franz Schubert Joseph Netzer Felix Mendelssohn Bartholdy 1800 1850
Music for wind orchestra, 1800-1850. Alfredo Bernardini, played on period instruments by Bläserensemble des Ferdinandeums. 1. Michael Haydn: Türkischer Marsch - 00:00 2. Joseph Haydn: Sinfonie Nr. 100 G-Dur Hob. I:100 (Londoner Sinfonie) "Militär-Sinfonie" (Auszug) - 4:22 3. Joseph Haydn: Marsch Nr. 2 C-Dur "Derbyshire" (für das Kavallerie-Regiment) - 7:54 4. Franz Bühler: Marsch der boznerischen tirolischen Landesverteidigungstruppen - 9:22 5. Johann Baptist Gänsbacher: Marsch für das bürgerliche Schützencorps - 12:19 6. Johann Baptist Gänsbacher: Marsch Es-Dur - 14:27 7. Johannes Amon: Stücke für türkische Musik op. 40 (Auszug) - 18:20 8. Friedrich Witt: Concertino für Oboe und Bläser C-Dur - 25:04 9. Franz Schubert: Nonett für Bläser es-moll D 79 - 32:41 10. Johann Strauss Vater: Wilhelm Tell-Galopp op. 29b - Marche - 36:35 11. Joseph Netzer: Marsch c-moll - 40:56 12. Netzer: Marsch B-Dur - 44:01 13. Netzer: Marsch As-Dur (für die Communalgarde in Grimma) - 46:28 14. Michael Sebastian Pegger: Marsch für die türkische Musik - 50:40 15. Felix Mendelssohn Bartholdy: Notturno für Bläser - 52:58 Buy it here: (http•••)
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- cronología: Compositores (Europa). Directores de orquesta (Europa).
- Índices (por orden alfabético): B...