Franz Schreker Vídeos
compositor austríaco
Conmemoraciones 2024 (Muerte: Franz Schreker)
- ópera, música clásica
- Austria
- compositor, profesor de música, profesor universitario, escritor
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2024-05-13
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Alois Hába Auerbach Bedřich Smetana Franz Schreker Ferrucio Busoni Josef Suk 1893 1908 1918 1923 1928 1931 1933 1937 1941 1955 1967 1973
Dan Auerbach - Violin 00:00 Allegro Non Troppo 03:59 Andante Cantabile 08:44 Scherzo, Energico 11:17 Moderato Alois Hába +••.••(...)) was a Czech composer. When he was five years old it was discovered that he had absolute pitch. In school, Alois became very interested in the musical aspects of the Czech language, above all in pitch, rhythm, accent, dynamics, and timbre of the speech. In 1908 he entered the teacher's training college in Kroměříž, where he began to develop an interest in Czech national music, analyzing the works of Bedřich Smetana. Already at that time he found out from his textbooks that the European system of music was not the only one in the world and that even some European music had in the past used different scales than the ones used in his time. He therefore started to develop his own point of view in this issue. He studied with Franz Schreker in Vienna in 1918. At that time, Hába wrote his first quarter-tone piece, Suite, consisting of three fugues in the quarter-tone system, composed for two pianos tuned a quarter tone apart. In 1923, he met Ferrucio Busoni in Berlin, who had advocated the sixth-tone system and encouraged Hába to continue his work in microtonality. After that he was kicked out of Nazi Germany and he went back to Czechoslovakia. After the premiere of his quarter-tone opera Matka (Mother) in 1931, introducing a practically athematic concept, Hába emerged as a leader of Czech modernist music and became internationally well known as one of the most important avantgarde composers. This opera also uses two quarter-tone clarinets and two quarter-tone trumpets, which were built especially for this work. Hába expressed his bold socialist viewpoint throughout his operas and that caused controversies already at the time. In 1933, when Josef Suk became director of the Prague Conservatory, Hába was made a full professor and established the Department of Quarter-tone and Sixth-tone Music. Here he had much influence over his many students. His works became banned during Nazi occupation of Czechoslovakia. They closed down the Prague Conservatory in 1941 and prevented him from teaching. During the war Hába wrote a continuation of his Theory of Harmony, completed, as already mentioned, a sixth-tone opera (which was never produced), and considered constructing a twelfth-tone harmonium. At the turn of forties and fifties, the work of Alois Hába was affected by the communist regime in Czechoslovakia, becoming transitionally simplified, much more "thematic" and tonal, and also setting texts projecting communist ideology. He was nevertheless unable to rid himself of the label of “formalist” stuck onto him by Marxist aesthetics. When Hába returned to his style, he continued in his experimental musical studies, which culminated in the 1960s with the use of fifth tones in his Sixteenth String Quartet in 1967. Alois Hába's works total 103 opuses, the majority of which are various kinds of chamber music. Among the most important are his string quartets, which document and demonstrate the development of his style. In addition to quarter tones, Hába used sixth-tones in his String Quartets nos. in the 5, 10, and 11, as well as in Six Pieces for Sixth-tone Harmonium or String Quartet (1928), Duo for Sixth-tone Violins (1937), Thy Kingdom Come, a Sixth-tone Musical Drama in Seven Scenes (1937–42), Suite in Sixth-tones for Solo Violin (1955), and Suite in Sixth-tones for Solo Cello (1955).
Wille Sabrowski Attila Kovács Monika Teepe Kiel Franz Schreker 2005
Provided to YouTube by NAXOS of America Christophorus, oder Die Vision einer Oper, Act II: Ich kann nicht sehen - ein zweiter Wille (Live) · Jörg Sabrowski · Jörg Sabrowski · Matthias Klein · Matthias Klein · Attila Kovács · Attila Kovács · Monika Teepe · Monika Teepe · Kiel Philharmonic Orchestra · Kiel Philharmonic Orchestra · Ulrich Windfuhr · Ulrich Windfuhr Schreker: Christophorus, oder Die Vision einer Oper (Live) ℗ 2005 CPO Released on: 2005-04-19 Artist: Jörg Sabrowski Artist: Matthias Klein Artist: Attila Kovács Artist: Monika Teepe Orchestra: Kiel Philharmonic Orchestra Conductor: Ulrich Windfuhr Composer: Franz Schreker Auto-generated by YouTube.
Mykhailo Verbytsky Felix Petyrek Franz Schreker 1862 1863 1864 1892 1920 1951
Phillip Sear plays the first piece from a 1920 set of arrangements of 24 Ukrainian folksongs, made by the Austrian composer Felix Petyrek +••.••(...)). / Petyrek was born in Brno (now in the Czech Republic). After music studies in Vienna (with Franz Schreker, inter alia) he was posted to a prisoner-of-war camp in during the First World War, where he collected folk songs from prisoners of many nationalities, and maybe this is where he encountered Ukrainian songs. Thereafter, he taught at the Salzburg Mozarteum, and then in Athens, Stuttgart, and Leipzig. Actually, though portrayed in this collection as a traditional song, this was in 1920 (and remains today) the Ukrainian national anthem. Per Wikipedia "The lyrics constitute a slightly modified version of the first stanza of a patriotic poem written in 1862 by the poet Pavlo Chubynsky, a prominent ethnographer from Kyiv. In 1863, Mykhailo Verbytsky, a western Ukrainian composer and Greek-Catholic priest, composed music to accompany Chubynsky's text. The first choral performance of the piece was at the Ukraine Theatre in Lviv, in 1864." Thumbnail image created with Wombo Dream ( t.ly/zhJa ). / Played by Phillip Sear (http•••) (Email: •••@••• WhatsApp: (http•••) )
Karol Rathaus Alois Brandhofer Franz Schreker 1127 1895 1927 1932 1938 1939 1954
Sonata for Clarinet and Piano, Op. 21 (1927) I. Allegretto II. Recitative (6:30) III. Allegro con brio (11:27) Alois Brandhofer, clarinet Horst Gobel, piano Karol Rathaus was born in Tanople, Galicia (then part of Austria, now part of Poland) on September 16, 1895. He had a Viennese musical education, studying with Franz Schreker. He spent the first part of his career in Berlin (except for three years in Vienna during the worst part of Germany's post-War inflation). His initial style was a mixture of Viennese elegance and elements of Polish folk tradition. This soon evolved into a modernist German Expressionist style that was initially displeasing to the audience. But a ballet score called The Last Pierrot (about a sixteenth century Pierrot who awakens in the 1920s) was a hit. Over the next few years his style became notably romantic and melodic. He was a pioneer of film scoring in German almost as soon as sound films were invented. Leaving Germany in 1932 because he foresaw the ascendance of the Nazi Party, Rathaus worked, successfully, in Paris, London, and, beginning in 1938, in the U.S. He initially worked in Hollywood (where he felt alienated). In 1939 he became a professor of music at Queens College, New York City, a post he held with great distinction until his death on November 21, 1954. Art by Eamon Everall
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