Percy Goetschius Vídeos
compositor estadounidense
- Corea del Norte
- compositor, musicólogo, profesor de música
Última actualización
2024-05-16
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Niccolò Paganini Franz Liszt Busoni Campanella Percy Goetschius Rubin Rubin Goldmark Goldmark Henderson Josef Lhévinne 1838 1851 1904 1952 1986
Sascha Gorodnitzki (24 May 1904 – 4 April 1986) was an American pianist. Born in Kiev (then in the Russian Empire, now in Ukraine), Gorodnitzki emigrated as an infant to Brooklyn, NY, where his parents founded a college of music. He was a child prodigy; his teachers included his mother, then Percy Goetschius, Rubin Goldmark, William J. Henderson, Edwin Hughes, and Krehbiel at the Institute of Musical Art. At Juilliard Graduate School, he was taught by Josef Lhévinne. La campanella (Italian: the little bell) is the nickname given to the third of six Grandes études de Paganini ("Grand Paganini Études"), S. 141 (1851), composed by Franz Liszt. This piece is a revision of an earlier version from 1838, the Études d'exécution transcendente d'après Paganini, S. 140. Its melody comes from the final movement of Niccolò Paganini's Violin Concerto No. 2 in B minor, where the tune was reinforced by a little handbell.Кампанелла — обиходное название 3-го этюда (1851 г., Веймар, Германия) по Паганини Ференца Листа, является фортепьянной транскрипцией одноименной скрипичной пьесы. У Листа есть 6 этюдов, написанные на темы Паганини. 3-й его этюд написан на тему финала 2ого скрипичного концерта Паганини. Этот финал, который за свое звучание, напоминающее нежные звуки колокольчиков,(от итал. campanella - колокольчик) Паганини назвал «Кампанеллой». ラ・カンパネッラ (la Campanella) は、ニコロ・パガニーニのヴァイオリン協奏曲第2番ロ短調Op.7、第3楽章のロンド『ラ・カンパネッラ』を主題にフランツ・リストがピアノ用に編曲し作り上げた曲である。最終稿の『パガニーニによる大練習曲第3番』は、数多くあるリストの曲の中で最も有名。今も多くのピアニストに愛されている名曲である。Campanellaとはイタリア語で「鐘」を意味している。4度の改訂が行われているので、以下に作曲された順に紹介する。 La campanella è il nome dato comunemente all'opera Étude S.140 in sol diesis minore No.3 di Liszt (Grandes études de Paganini). È costruito sulla melodia del movimento finale del Concerto per violino e orchestra n. 2 (Paganini), di cui rielabora il motivo per il pianoforte.La Campanella (del italiano: campanilla) es un estudio para piano compuesto por el pianista y compositor Franz Liszt. Es el estudio n.º 3 de los Grandes Études de Paganini y está escrito en la tonalidad de Sol sostenido menor (G#m). La pieza está basada en un tema de la última parte del concierto para violín n.º 2 de Paganini en Si menor (Bm), un rondó en el que la armonía estaba reforzada por el sonido de una campanilla. La Campanella (ital.: Glöckchen, Handglocke) in gis-Moll ist die 3. Etüde der "Six Grandes Etudes de Paganini" für Klavier des Komponisten und Pianisten Franz Liszt. Das Stück basiert auf einem Thema aus dem letzten Satz des Violinkonzerts h-Moll des Geigers Niccolo Paganini, einem Rondo, in dem die Harmonien durch das Läuten einer Handglocke unterstützt werden.
Handel Girolamo Frescobaldi Percy Goetschius Clarence Lucas François Couperin 1606
The passacaglia is a musical form that originated in early seventeenth-century Spain and is still used today by composers. It is usually of a serious character and is often, but not always, based on a bass-ostinato and written in triple metre. The term passacaglia (Spanish: pasacalle; French: passacaille; Italian: passacaglia, passacaglio, passagallo, passacagli, passacaglie) derives from the Spanish pasar (to walk) and calle (street). It originated in early 17th-century Spain as a strummed interlude between instrumentally accompanied dances or songs. Despite the form's Spanish roots (confirmed by references in Spanish literature of the period), the first written examples of passacaglias are found in an Italian source dated 1606. These pieces, as well as others from Italian sources from the beginning of the century, are simple, brief sequences of chords outlining a cadential formula. The passacaglia was redefined in the late 1620s by Italian composer Girolamo Frescobaldi, who transformed it into a series of continuous variations over a bass (which itself may be varied). Later composers adopted this model, and by the nineteenth century the word came to mean a series of variations over an ostinato pattern, usually of a serious character. A similar form, the chaconne, was also first developed by Frescobaldi. The two genres are closely related, but since "composers often used the terms chaconne and passacaglia indiscriminately [...] modern attempts to arrive at a clear distinction are arbitrary and historically unfounded". In early scholarship, attempts to formally differentiate between the historical chaconne and passacaglia were made, but researchers often came to opposite conclusions. For example, Percy Goetschius held that the chaconne is usually based on a harmonic sequence with a recurring soprano melody, and the passacaglia was formed over a ground bass pattern, whereas Clarence Lucas defined the two forms in precisely the opposite way. More recently, however, some progress has been made toward making a useful distinction for the usage of the seventeenth and early eighteenth centuries, when some composers (notably Frescobaldi and François Couperin) deliberately mixed the two genres in the same composition.
Samuel Gardner Franz Kneisel Percy Goetschius Charles Auguste Bériot Giovanni Battista Viotti Baillot Paganini Maria Malibran Felix Mendelssohn Huber Hubert Léonard Henri Vieuxtemps Heinrich Wilhelm Ernst Granados Ravel Viñes Chicago Symphony Orchestra 1802 1810 1833 1836 1841 1842 1843 1852 1858 1866 1870 1891 1893 1909 1918 1929 1984
Samuel Gardner (August 25, 1891 / January 23, 1984) was an American composer and violinist of Russian origin. In 1893, his family moved to New York, where he studied violin at the Institute of Musical Art, now the Juilliard School of Music. He was a student of Franz Kneisel and Percy Goetschius, and began his career as a concert violinist; among his compositions is a violin concerto. Mr. Gardner made his debut in New York in 1909. He won a Pulitzer prize with a string quartet in 1918. He wrote a number of other chamber works, and a handful of things for orchestra, including Broadway, which was performed by the Boston Symphony in the 1929-30 season. He also pursued a distinguished career as a violinist, appearing with the Kniesel String Quartet, the Chicago Symphony Orchestra and the New York Philharmonic. Mr. Gardner taught violin at the Juilliard School (My, how times have changed!), Columbia University and at the University of Wisconsin, and wrote several textbooks on the art of the violin. Charles Auguste de Bériot (20 February 1802 / 8 April 1870) Born in Leuven, Belgium, where there is now a street named in his honour, he moved to France in 1810, where he studied violin with Jean-Francois Tiby, a pupil of Giovanni Battista Viotti. He was later encouraged by Viotti himself and briefly worked with Baillot but did not embrace all their teachings and was also influenced by Paganini. He served as chamber violinist to King Charles X of France and to King William I of the Netherlands and toured with great success to London, Paris and the great music centres of Europe. In addition to playing the violin, he was a virtuosic pianist who toured through much of China despite the emperor's objections. Bériot lived together with the opera singer Maria Malibran and had a child with her in 1833. They were married in 1836 when Malibran obtained an annulment of her previous marriage. Felix Mendelssohn wrote an aria accompanied by a solo violin especially for the couple. However, Malibran died the same year from injuries sustained in a fall from a horse. After Malibran's death, de Bériot lived in Brussels, playing little in public. In 1841, however, he went on tour in Germany, where he met and married Marie Huber, daughter of a magistrate of Vienna. In 1842, Baillot died in Leuven at the age of 68, and his position as instructor at the Paris Conservatoire was offered to de Bériot. He rejected the offer, however, and in 1843 became chief violin instructor at the Brussels Conservatory where he established the Franco-Belgian school of violin playing. On account of failing eyesight he retired in 1852, and in 1858 became totally blind. Paralysis of the left arm ended his career in 1866. His most illustrious disciples were Hubert Léonard, Henri Vieuxtemps and Heinrich Wilhelm Ernst. Bériot wrote a great amount of violin music including ten concertos, now rarely heard, although his pedagogical compositions are still of use for violin students. His son Charles-Wilfrid was a pianist who taught Granados, Ravel and Viñes. Find the error in the pics for extra credit.
Wallingford Constantine Riegger Arnold Schoenberg Percy Goetschius Schramm Drake Leonard Bernstein Stout George Gershwin Henry Cowell Charles Ives Carl Ruggles Becker 1885 1888 1900 1907 1910 1911 1917 1918 1922 1930 1931 1941 1956 1957 1958 1961
Wallingford Constantine Riegger (April 29, 1885 - April 2, 1961) was a prolific American music composer, well known for orchestral and modern dance music, and film scores. He was born in Albany, Georgia, but lived much of his life in New York City. He is noted for his use of Arnold Schoenberg's twelve-tone technique. Riegger was born in 1885 to Ida Wallingford and Constantine Riegger. After his father's lumber mill burned down in 1888, his family moved to Indianapolis, and later to Louisville, finally settling in New York in 1900. A gifted cellist, he graduated from the first graduating class of the Institute of Musical Art, later known as the Juilliard School, in 1907, after studying under Percy Goetschius. He continued his studies at the Hochschule für Musik in Berlin for three years. After returning in 1910, he married Rose Schramm, with whom he later had three daughters, in 1911. For a time, he returned to Germany and accepted various conducting positions, but this was interrupted by the joining of America in World War I in 1917, after which he moved back to America. From 1918 to 1922, he taught music theory and violoncello at Drake University. During the greater part of the time from 1930 to 1956, he continued publishing music and taught at various universities in New York, notably the Institute of Musical Art and Ithaca College. In 1957, he was called before the House Un-American Activities Committee, which was investigating Communism in the musical world. In 1958, Leonard Bernstein honored him by conducting his Music for Orchestra with the New York Philharmonic Orchestra. He died in New York in 1961 when he tripped over the leashes of two fighting dogs, resulting in a fall and a head injury from which he did not recover despite treatment. His students included Alan Stout and Merton Brown. We have heard that when, toward the end of his life, George Gershwin told his friend (and tennis partner) Arnold Schoenberg that we wanted to study composition seriously, Schoenberg suggested that Gershwin study with Riegger. (We would very much like to confirm this story. The official version is that when Gershwin asked Schoenberg for composition lessons. Schoenberg refused, saying "I would only make you a bad Schoenberg, and you're such a good Gershwin already." Again, what we heard was that Schoenberg then suggested Riegger.) Riegger was known for his use of Schoenberg's twelve-tone system, but he did not use it in all of his compositions. For example, Dance Rhythms was not written in this style. Aside from Schoenberg, Riegger was also significantly influenced by his friends Henry Cowell and Charles Ives. Along with Cowell, Ives, Carl Ruggles, and John J. Becker, Riegger was a member of the group of American modernist composers known as the "American Five". Starting in the mid 1930's, Riegger began to write contemporary dance music. Later, as his career progressed, he began to use Schoenberg's twelve-tone technique more and more often, though he did occasionally revert to his earlier styles. From 1941 on, he focused almost solely on instrumental music, and his Symphony No. 3 received the New York Music Critics' Circle Award and a Naumburg Foundation Recording Award. [We apologize for the couple of skips in this very old LP.]
- cronología: Compositores (Norteamérica). Intérpretes (Norteamérica).
- Índices (por orden alfabético): G...