Victor Eder Vídeos
compositor
- Alemania
Última actualización
2024-05-15
Actualizar
Nada Tončić Eder 1909 1933 1963 1985 1986 1998
Srdačno Vaši: Nada Tončić +••.••(...).) U razgovoru s Ivanom Hetrichom, operna pjevačica Nada Tončić govori o svojoj opernoj karijeri, djetinjstvu, prvoj audiciji i ulozi, ali i ostalim hobijima. Snimano u stanu gđe. Tončić na Jelačićevom trgu u Zagrebu, travanj 1985. Režiser i voditelj razgovora: Ivan Hetrich Proizvodnja: TV Zagreb, 1986. Nada Tončić (Zemun, 30. VII. 1909. – Varaždin, 29. III. 1998.), hrvatska operna pjevačica (sopran). Studirala je u Zagrebu i diplomirala solo pjevanje na Muzičkoj Akademiji u klasi prof. Nade Eder-Bertić, a potom debitirala u zagrebačkoj Operi 1933. (Oskar u Krabuljnom plesu). Do 1963. bila je prvakinja Opere HNK u Zagrebu i ostvarila stotinjak lirskih i koloraturnih uloga (Cio-Cio-San, Mimi, Violetta, Lakmé, Marženka, Manon, Saloma, Đula, Zorka, Jelena).
Beethoven Eder Franz Liszt Rellstab Alessandro Simonetto 1748 1799 1800 1804 1806 1835 1838
Beethoven: Piano Sonatas Opp. 13, 27, 57 / Gala Chistiakova 00:00 Sonata No. 8 in C Minor, Op. 13 'Pathètique' - I. Grave - Allegro di molto e con brio 12:26 Sonata No. 8 in C Minor, Op. 13 'Pathètique' - II. Adagio cantabile 17:48 Sonata No. 8 in C Minor, Op. 13 'Pathètique' - III. Rondo. Allegro 22:58 Piano Sonata No. 13 in E-flat major, Op. 27 'Quasi una fantasia' - I. Andante - Allegro - Andante 28:40 Piano Sonata No. 13 in E-flat major, Op. 27 'Quasi una fantasia' - II. Allegro molto e vivace 30:52 Piano Sonata No. 13 in E-flat major, Op. 27 'Quasi una fantasia' - III. Adagio con espressione 39:35 Piano Sonata No. 14 in C sharp minor, Op. 27 'Quasi una fantasia' - I. Adagio sostenuto 45:14 Piano Sonata No. 14 in C sharp minor, Op. 27 'Quasi una fantasia' - II. Allegretto 47:43 Piano Sonata No. 14 in C sharp minor, Op. 27 'Quasi una fantasia' - III. Presto agitato 55:52 Piano Sonata No. 23 in F minor, Op. 57 - I. Allegro assai 1:06:30 Piano Sonata No. 23 in F minor, Op. 57 - II. Andante con moto 1:14:26 Piano Sonata No. 23 in F minor, Op. 57 - III. Allegro ma non troppo. Presto Gala Chistiakova, Piano In the first decade of his career as a published composer, Ludwig van Beethoven completed an enormous amount of music. Some of the most beloved sonatas for piano belong to this prolific period, marked not only by the desire to be acknowledged as an emerging composer of his time, but also by wonderfully creative inspiration and innovation. All of these sonatas are crucial in the way Beethoven understood both musical forms and the possibilities of the piano as the new household instrument. The Sonata in C Minor, Op. 13 was published in 1799 by Eder as “Grande sonate pathétique” – a title not by Beethoven but by the publisher, and which the composer nonetheless liked (Eder found the piece’s dramatic sonorities greatly affecting). The frontispiece indicates that the work is composed for harpsichord or piano - to increase sales, since many people in Vienna still owned harpsichords (all the sonatas for piano that Beethoven published until then were sold as works written for both instruments). Here Beethoven experiments with novel ideas about form in the outer movements - innovations which will influence contemporaneous and future composers. The Two Sonatas, Op. 27, composed in the year 1800, were subtitled by Beethoven “Sonata quasi una fantasia” for the freedom with which their structures were conceived. Both sonatas present unusual features – the first, in E-flat major, almost cyclical, structurally evokes a fantasy wherein different movements are played without interruption. The structure is made more complex by the return of slow movement at the end of the work, before the closing coda. The second sonata, in C-sharp minor, presents two movements in sonata form - the first an Adagio, and the second featuring unusual harmonic relations between the two main thematic blocks. Franz Liszt aptly proclaimed that the second movement, a simple minuet in the key of D-flat major in ABA form, is “a flower between two abysses.” The second sonata from Op. 27 was nicknamed Mondschein (“Moonlight”) by the German critic Ludwig Rellstab in 1835, as its first movement evoked in his mind the silvery moon reflecting on the placid Lake Lucerne. Composed between 1804 and 1806, the Sonata in F Minor, Op. 57 was posthumously nicknamed “Appassionata” – a title given by the publisher of a four-hand version of the work in 1838, a title which still remains today. At the time of its composition, it was one of Beethoven’s most impressive works for the piano, perhaps matched in difficulty only by the Sonata Op. 53. Its nickname perfectly portrays the highly charged emotional content of the sonata’s framework. Dramatic dynamic contrasts in the outer movements create a compelling narrative, ending in a tragic, virtuosic coda. The andante movement is a series of variants based on the exponential development of rhythmic figurations. Gala Chistiakova, a rising talent on the world scene, offers an original reading of these famous Beethoven works, with great refinement and riveting control. The recordings was made by producer Alessandro Simonetto using two historical pairs of Brüel & Kjær microphones matched with more modern Prism Sound pres and converters equipments. Original album may be found here: (http•••) Don't forget to share our music and to subscribe to our channel: (http•••) Want to license our music? Check this: (http•••)
Sequentia Münchener Bach Chor Maria Stader Eder Hertha Töpper Kesteren Karl Christian Kohn Karl Richter Bach Wolfgang Amadeus Mozart 2020
Provided to YouTube by NAXOS of America Requiem in D Minor, K. 626 "Missa pro defunctis": IIIb. Sequentia. Tuba mirum · Maria Stader Mozart: Sacred Works ℗ 2020 haenssler CLASSIC Released on: 2020-09-18 Artist: Franz Eder Artist: Hertha Töpper Artist: John van Kesteren Artist: Karl Christian Kohn Conductor: Karl Richter Artist: Maria Stader Choir: Münchener Bach-Chor Orchestra: Münchener Bach-Orchester Composer: Wolfgang Amadeus Mozart Auto-generated by YouTube.
Zola Amaro Wolfgang Amadeus Mozart Vieira Puccini Ponchielli Mascagni Kretschmer Aguirre Pacheco Eder Silas Souza Oliveira Kremer Juliano Medeiros Prego 2022
03 de julho de 2022 Associação Leopoldina Juvenil – Porto Alegre PROGRAMA Wolfgang Amadeus Mozart – Sinfonia nº 40 Intervalo Árias de ópera com as vencedoras do concurso Zola Amaro Revelação Juvenil Maria Clara Vieira (SC) - "Ó Mio Babbino caro", da ópera Gianni Schichi, de Puccini Voto Popular Cristiane Serkes (PR) - "Tu che di gei sei cinta ", da ópera Turandot, de Puccini Incentivo Artístico Bárbara Brasil (MG) - " Voce di Donna", da ópera La Gioconda, de Ponchielli Intermezzo Sinfônico - da ópera Cavalleria Rusticana, de Mascagni 3º lugar Lillian Magrinelli (EUA) - Ach, Ich Fül's ", da òpera A Flauta Mágica, de Mozart 2º lugar Maria Gerk (RJ) - " O Zitre Nicht", da Ópera A Flauta Mágica, de Mozart 1º lugar Débora Faustino (SC) - Valsa Musetta - "Quando me'n vo" - Ópera La B Ficha Técnica 1os Violinos Emerson Kretschmer Danilo Campos Vieira Giovani dos Santos Sandro Wasen Paulo Barcelos 2os Violinos Omar Aguirre Cleci Cielo Guerra Maria de Lourdes J. Schinke Carlos Sell Lucas Henrique Bernardo Gonçalves Violas Vladimir Romanov Álvaro Aguirre Maria Fernanda Canabarro Violoncelos Rodrigo Alquati Alexandre Diel Carla Pacheco Monica Panizzon Contrabaixo Walter Schinke Eder Kinappe Flautas Artur Elias Silas de Souza Oboés Viktoria Tatour Romulo Chimelli Clarinete Ariane Rovesse Marcelo Piraíno Fagote Ange Bazzani Prada Adolfo Almeida Júnior Trompas Israel de Oliveira Nadabe Tomás Regência: Tiago Flores Arquivista/Montador Fábio Kremer Produção Executiva Maria Margareth Heineck Assessoria de imprensa, conteúdo e redes sociais Dona Flor Comunicação Tráfego pago: Juliano Medeiros Hespanhol Design Muna Estúdio Criativo Iluminação Prego Iluminação Vídeo e Transmissão Atmosfera Produções Culturais Lei de Incentivo à Cultura PRONAC 191644
o
- cronología: Compositores (Europa).
- Índices (por orden alfabético): E...