Joseph Rudolph Schachner Vídeos
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Beethoven Woo Malfatti Elisabeth Röckel Unger Brunswick Schachner Joseph August Röckel August Röckel Bamberg Anna Mozart Hoffmann Johann Nepomuk Hummel Anna Milder Hauptmann Hauptmann Antonio Salieri Theater Wien 1792 1793 1806 1808 1810 1811 1813 1816 1830 1851 1865 1883 1984 2010 2014 2015
Bagatelle No. 25 in A minor (WoO 59, Bia 515) for solo piano, commonly known as "Für Elise" (English: "For Elise"), is one of Ludwig van Beethoven's most popular compositions. It was not published during his lifetime, only being discovered (by Ludwig Nohl) 40 years after his death, and may be termed either a Bagatelle or an Albumblatt. The identity of "Elise" is unknown; researchers have suggested Therese Malfatti, Elisabeth Röckel, or Elise Barensfeld. The version of "Für Elise" heard today is an earlier version that was transcribed by Ludwig Nohl. There is a later version, with drastic changes to the accompaniment which was transcribed from a later manuscript by the Beethoven scholar Barry Cooper. The most notable difference is in the first theme, the left-hand arpeggios are delayed by a 16th note. There are a few extra bars in the transitional section into the B section; and finally, the rising A minor arpeggio figure is moved later into the piece. The tempo marking Poco moto is believed to have been on the manuscript that Ludwig Nohl transcribed (now lost). The later version includes the marking Molto grazioso. It is believed that Beethoven intended to add the piece to a cycle of bagatelles. Whatever the validity of Nohl's edition, an editorial peculiarity contained in it involves the second right-hand note in bar 7, that is, the first note of the three-note upbeat figure that characterizes the main melody. Is it E4 or D4? Nohl's score gives E4 in bar7 but D4 thereafter in all parallel passages. Many editions change all of the figures to beginning with E4 until the final bars, where D4 is used and resolved by adding a C to the final A octave. The pianist and musicologist Luca Chiantore argued in his thesis and his 2010 book Beethoven al piano (new Italian edition: Beethoven al pianoforte, 2014) that Beethoven might not have been the person who gave the piece the form that we know today. Chiantore suggested that the original signed manuscript, upon which Ludwig Nohl claimed to base his transcription, may never have existed. On the other hand, Barry Cooper wrote, in a 1984 essay in The Musical Times, that one of two surviving sketches closely resembles the published version. It is not certain who "Elise" was. Max Unger suggested that Ludwig Nohl may have transcribed the title incorrectly and the original work may have been named "Für Therese", a reference to Therese Malfatti von Rohrenbach zu Dezza (1792–1851). She was a friend and student of Beethoven's to whom he supposedly proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816. Note that the piano sonata no. 24, dedicated to Countess Thérèse von Brunswick, is also referred to sometimes as "für Therese". The Austrian musicologist Michael Lorenz has shown that Rudolf Schachner, who in 1851 inherited Therese von Droßdik's musical scores, was the son of Babette Bredl, born out of wedlock. Babette in 1865 let Nohl copy the autograph in her possession. According to a 2010 study by Klaus Martin Kopitz, there is evidence that the piece was written for the 17-year-old German soprano singer Elisabeth Röckel (1793–1883), the younger sister of Joseph August Röckel, who played Florestan in the 1806 revival of Beethoven's opera Fidelio. "Elise", as she was called by a parish priest, had been a friend of Beethoven's since 1808, who, according to Kopitz, perhaps wanted to marry her. But in April 1810 Elisabeth Röckel got an engagement at the theater in Bamberg where she made her stage debut as Donna Anna in Mozart's Don Giovanni and became a friend of the writer E. T. A. Hoffmann. In 1811 Röckel came back to Vienna, in 1813 she married there Beethoven's friend Johann Nepomuk Hummel. In 2015 Kopitz published further sources about Beethoven's relationship to Röckel and the famous piano piece. It shows that she was also a close friend of Anna Milder-Hauptmann and lived together with her and her brother Joseph August in the Theater an der Wien. In a letter to Röckel, which she wrote in 1830, she called her indeed "Elise". In 2014, the Canadian musicologist Rita Steblin suggested that Elise Barensfeld might be the dedicatee. Born in Regensburg and treated for a while as a child prodigy, she first travelled on concert tours with Beethoven's friend Johann Nepomuk Mälzel, also from Regensburg, and then lived with him for some time in Vienna, where she received singing lessons from Antonio Salieri. Steblin argues that Beethoven dedicated this work to the 13-year-old Elise Barensfeld as a favour to Therese Malfatti who lived opposite Mälzel's and Barensfeld's residence and who might have given her piano lessons. Steblin admits that question marks remain for her hypothesis.
Reich Leander Groth Schachner Goebbels Brodsky Odeon 1907 1930 1936 1937 1943 1981
Zarah Leander mit Orchesterbegleitung (Einar Groth Orchester) - Merci, mon ami (aus dem Film „Premiere“) Musik: Peter Fenyes, Text: Hanns Schachner, Odeon 1937 (Germany) NOTE: Zarah Leander, born in 1907 in Sweden, died in 1981 in Stockholm, Sweden. One of the most prominent film stars of the 1930/40s in Europe. After having acquired a significant position in the theatre- and vadeuville productions in Stockholm in 1st half of the 1930s , Leander was suddenly catapulted in 1936 into a sensational career in Germany, as Number One film star of the Third Reich. Her contract with UFA had furnished her with insanely high salary of ca 180 000 reichsmark per year, a half of which was paid in Swedish crowns into her bank in Stockholm (Which seems to prove, Zarah from the very beginning of her flirt with the Third Reich, disbelieved in Adolf Hitler promises of the 1000 years of life of his empire and preferred to secure her future in the Swedish currency). Until 1943, which was the end of her film career in Germany (she left Germany when her luxurious villa in Berlin’s suburb Grunewald was hit during one of heavy British air raids in March 1943) Zarah Leander filmed 10 very successful melodramatic movies, each of them enriched by several songs, usually written by the best German composers such as Michael Jary, Theo Mackeben, Lothar Brühne, each of them thus sentenced to immediately becoming a great hit. In her films she usually played strong, self-confident women, who were not easy to be broken in life by anything else, but love. But even broken, they rose up again and with a song on their lips, they trustfully waited for better future looking lovingly into the sky (...on which, brave nazi Luftwaffe boys were just flying on their bombers towards Warsaw or some other European city...). Such model of a woman was ofcourse something, what her German female fans looked for, especially when many of them lost temporarily, or forever, their life partners in the war. Through all those years, her enormous popularity in Germany (she was called by Germans “die Leander”) protected her from unfriendliness , which – in a discreet way – was sometimes expressed to her by the Nazi officials. They needed her as an antidote to their deep frustration, after German’s favorite star Marlene Dietrich left Hitler’s Germania with a huge international noise; on the other side, Zarah Leander was more than reluctant to appear publicly with Adolf or glisten on NSDAP gala meetings, on the contrary to another UFA stars, like Leni Riefenstahl, Ilse Werner or Olga Tschechova. Also - and similarily to many foreigners, who were publicly active in the Third Reich - she was suspected of being a “spy” or a “hidden Jew”. At a party she once met the Nazi minister of Propaganda, Joseph Goebbels, who asked her ironically: "Zarah... Isn't that a Jewish name?" "Oh, maybe… but what about Josef?" – she replied, leaving him speechless. However, her Nazi-manipulated career – which provided her with nothing but material profits (for the Reichsmarks she earned at UFA, she bought a castle in Sweden, where she lived in luxury until her death) - made her also pay a high moral and artistic price after the war. Attempts to come back to her not long-ago-fans in Germany, failed. German press – which a decade earlier published nothing but enthusiastic praises about “her beauty and talent”, now loudly heralded news about her serious refractive error (she had to wear thick minus glasses) or her “thick legs”. In one of press reviews after the performance of an operetta, with which she toured in postwar Germany, she was disdainfully called the “Nazi-sirene” and “Zirkus-pferde” – meaning, a “circus horse”. In later years she therefore limited her public appearances to recitals in Sweden, where – after a prolonged pause, when her public performances were also unwished-for by the Swedish audience – she found again many fans among younger generations, whose anti-Nazi resentments started to wane. Also, her contralto voice, which in pass of time was becoming almost masculine, was one of the reasons why in the 1980s she was unofficially nominated a favorite star of the homosexual circles in Europe. A Nobel-prize winning Russian poet Josip Brodsky, writing in his memoirs about his father - a Soviet-army officer who, in Josip’s childhood returned home from the 2nd World War with the trophies from Berlin, and in this number a collection of gramophone records and Third Reich cinema magazines – called Zarah Leander’s photographs “the most beautiful female face he has ever seen”…
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- cronología: Compositores (Europa).
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