Vanessa Zips Vídeos
cantante de ópera austríaca
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- mezzosoprano
- Austria
- cantante de ópera
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2024-05-21
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Wolfgang Amadeus Mozart Zips 1774
Wolfgang Amadeus Mozart's Piano Sonata No. 1 in C major, K 279 (189d) (1774) is a sonata in three movements. It was composed when Mozart was only 18 years old. 1. Allegro 2. Andante 3. Allegro The opening Allegro features smooth thematic material, sometimes based on sharp dynamic contrasts, with a short development (only eighteen bars long). The development sections of the remaining two movements are much more substantial. The Andante is full of expressive shading, in large measure the result of Mozart's harmonic freedom. Some of that same freedom characterizes the concluding Allegro, which zips along in its 2/4 meter. This features an unusually active part for the left hand, another extended development section, and a surprising close: Mozart rounds the sonata off with two firm chords, which he marks Coda. A typical performance takes about 14 minutes. The work was written down, except for the first part of the opening movement, during the visit Mozart paid to Munich for the production of La finta giardiniera from late 1774 to the beginning of the following March. / FREE .mp3 and .wav files of all Mozart's music at: (http•••) FREE sheet music scores of any Mozart piece at: (http•••) ALSO check out these cool sites: (http•••) and (http•••) / NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome. / ENJOY!!!! :D
Beethoven Joseph Haydn Fries Ignaz Schuppanzigh Louis Spohr Johann Nepomuk Hummel Giacomo Meyerbeer Antonio Salieri Romberg Domenico Dragonetti Mauro Giuliani Zips Hopkins Borne Richard Wagner Weber Thomas Beecham 1770 1811 1812 1813 1827
BEETHOVEN SYMPHONY NO 7 Ludwig van Beethoven[1] (baptized 17 December 1770[2]--26 March 1827) was a German[3] composer and pianist. The crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential composers of all time. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven moved to Vienna in his early 20s, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. His hearing began to deteriorate in the late 1790s, yet he continued to compose, conduct, and perform, even after becoming completely deaf. Symphony No. 7 (Beethoven) Ludwig van Beethoven's Symphony No. 7 in A major, Op. 92, in 1811, was the seventh of his nine symphonies. He worked on it while staying in the Bohemian spa town of Teplice in the hope of improving his health. It was completed in 1812, and was dedicated to Count Moritz von Fries. At its debut, Beethoven was noted as remarking that it was one of his best works.[1] The second movement Allegretto was the most popular movement and had to be encored.[1] The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.[2] Premiere The work was premiered in Vienna on December 8, 1813 at a charity concert for soldiers wounded in the Battle of Hanau, with Beethoven himself conducting and double featured with the patriotic Wellington's Victory symphony. The orchestra was led by Beethoven's friend, Ignaz Schuppanzigh, and included some of the finest musicians of the day: violinist Louis Spohr,[3] Johann Nepomuk Hummel, Giacomo Meyerbeer, Antonio Salieri, Anton Romberg, and the Italian double bass virtuoso, Domenico Dragonetti, whom Beethoven himself described as playing "with great fire and expressive power". It is also said that the Italian guitar virtuoso Mauro Giuliani played cello at the premiere. The piece was very well received, and the second movement, the allegretto, had to be encored immediately.[3] Spohr made particular mention of Beethoven's antics on the rostrum ("as a sforzando occurred, he tore his arms with a great vehemence asunder ... at the entrance of a forte he jumped in the air"), and the concert was repeated due to its immense success. Reception Critics and listeners have often felt stirred or inspired by the Seventh Symphony. For instance, one program-note author writes:[5] ... the final movement zips along at an irrepressible pace that threatens to sweep the entire orchestra off its feet and around the theater, caught up in the sheer joy of performing one of the most perfect symphonies ever written. Composer and music author Antony Hopkins says of the symphony:[6] The Seventh Symphony perhaps more than any of the others gives us a feeling of true spontaneity; the notes seem to fly off the page as we are borne along on a floodtide of inspired invention. Beethoven himself spoke of it fondly as "one of my best works". Who are we to dispute his judgment? Another admirer, Richard Wagner, referring to the lively rhythms which permeate the work, called it the "apotheosis of the dance".[4] On the other hand, admiration for the work has not been universal. Carl Maria von Weber considered the chromatic bass line in the coda of the first movement evidence that Beethoven was "ripe for the madhouse"[7] and the 20th century conductor Thomas Beecham was similarly uncharitable, saying "What can you do with it? It's like a lot of yaks jumping about."[8]
Anton Bruckner Linde Zips Richard Wagner Joseph Schalk Schalk Hans Richter Richter Perger Johannes Brahms Gustav Mahler Theodore Thomas Moore Lawson Ritter Goetze Lloyd Holmes Musikvereinssaal Cincinnati May Festival Chicago Symphony Orchestra 1881 1883 1884 1885 1886 1892
Anton Bruckner - Te Deum The Te Deum in C major, WAB 45 is a setting of the Te Deum hymn, composed by Anton Bruckner for SATB choir and soloists, orchestra, and organ ad libitum. Bruckner started work on his Te Deum from 3 to 17 May 1881, when he was finalising his Symphony No. 6. After finishing his next Symphony No. 7, Bruckner resumed work on his Te Deum on 28 September 1883. The vocal and orchestral score was completed on 7 March 1884. The ad lib. organ part was added on a separate score on 16 March 1884. The composer dedicated the piece A.M.D.G. "in gratitude for having safely brought me through so much anguish in Vienna." The Te Deum was premiered in the Kleiner Musikvereinssaal in Vienna on 2 May 1885, with soloists Frau Ulrich-Linde, Emilie Zips, Richard Exleben, and Heinrich Gassner, with the choir of the Wiener Akademischer Richard Wagner Verein, and Robert Erben and Joseph Schalk substituting for the orchestra on two pianos.[1] Hans Richter conducted the first performance with full orchestra on 10 January 1886 in the Großer Musikvereinssaal of Vienna. Thereafter, there were almost thirty more performances within Bruckner's lifetime. The last performance, which Bruckner attended, was conducted by Richard von Perger at the suggestion of Johannes Brahms. On his copy of the score, Gustav Mahler crossed out "für Chor, Soli und Orchester, Orgel ad libitum" (for choir, solos and orchestra, organ ad libitum) and wrote "für Engelzungen, Gottsucher, gequälte Herzen und im Feuer gereinigte Seelen!" (for the tongues of angels, heaven-blest, chastened hearts, and souls purified in the fire!). The composer himself called the work "the pride of his life". The first performance in the United States occurred at the Cincinnati May Festival on 26 May 1892. Theodore Thomas conducted the Chicago Symphony Orchestra, the Cincinnati May Festival Chorus and the soloists Corinne Moore-Lawson, Marie Ritter-Goetze, Edward Lloyd and George Ellsworth Holmes. The draft version of 1881 and the first sketch of 1883 are stored in the archive of the Kremsmünster Abbey. The voice and orchestral score, and the ad lib. organ score of 1884 are stored in the archive of the Österreichische Nationalbibliothek. 1. I Te Deum (Allegro) 5:48 2. II Te Ergo (Moderato) 2:26 3. III Aeterna fac (Allegro) 1:21 4. IV Salvum fac (Moderato) 5:42 5. V In te, Domine, speravi (Massig bewegt) 5:46 For more: (http•••)
Anton Bruckner Herbert Von Karajan Anna Tomowa Sintow Agnes Baltsa Peter Schreier Werner Krenn José Van Dam Zips Richard Wagner Joseph Schalk Schalk Hans Richter Perger Johannes Brahms Gustav Mahler Theodore Thomas Moore Lawson Ritter Goetze Holmes Berliner Philharmoniker Chicago Symphony Orchestra Musikvereinssaal Cincinnati May Festival 1881 1883 1884 1885 1886 1892
Anton Bruckner - Te Deum in C major, WAB 45 Berliner Philharmoniker Conductor - Herbert Von Karajan Soprano - Anna Tomowa-Sintow Alto - Agnes Baltsa Tenor - Peter Schreier, Werner Krenn Bass - José Van Dam Vienna Singverein The Te Deum in C major, WAB 45 is a setting of the Te Deum hymn, composed by Anton Bruckner for SATB choir and soloists, orchestra, and organ ad libitum. Bruckner started work on his Te Deum from 3 to 17 May 1881, when he was finalising his Symphony No. 6. After finishing his next Symphony No. 7, Bruckner resumed work on his Te Deum on 28 September 1883. The vocal and orchestral score was completed on 7 March 1884. The ad lib. organ part was added on a separate score on 16 March 1884. The composer dedicated the piece A.M.D.G. "in gratitude for having safely brought me through so much anguish in Vienna." The Te Deum was premiered in the Kleiner Musikvereinssaal in Vienna on 2 May 1885, with soloists Frau Ulrich-Linde, Emilie Zips, Richard Exleben, and Heinrich Gassner, with the choir of the Wiener Akademischer Richard Wagner Verein, and Robert Erben and Joseph Schalk substituting for the orchestra on two pianos. Hans Richter conducted the first performance with full orchestra on 10 January 1886 in the Großer Musikvereinssaal of Vienna. Thereafter, there were almost thirty more performances within Bruckner's lifetime. The last performance, which Bruckner attended, was conducted by Richard von Perger at the suggestion of Johannes Brahms. On his copy of the score, Gustav Mahler crossed out "für Chor, Soli und Orchester, Orgel ad libitum" (for choir, solos and orchestra, organ ad libitum) and wrote "für Engelzungen, Gottsucher, gequälte Herzen und im Feuer gereinigte Seelen!" (for the tongues of angels, heaven-blest, chastened hearts, and souls purified in the fire!). The composer himself called the work "the pride of his life". The first performance in the United States occurred at the Cincinnati May Festival on 26 May 1892. Theodore Thomas conducted the Chicago Symphony Orchestra, the Cincinnati May Festival Chorus and the soloists Corinne Moore-Lawson, Marie Ritter-Goetze, Edward Lloyd and George Ellsworth Holmes. The draft version of 1881 and the first sketch of 1883 are stored in the archive of the Kremsmünster Abbey. The voice and orchestral score, and the ad lib. organ score of 1884 are stored in the archive of the Österreichische Nationalbibliothek. (http•••) Te Deum - 0:00 Te Ergo - 6:54 Aeterna Fac - 9:35 Salvum Fac - 11:20 In te, Domine, speravi - 18:04 Join the Score Video Creator Discord Server: (http•••) Support me on Patreon: (http•••)
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): Z...