August Friedrich Manns Vidéos
chef d'orchestre anglais d'origine allemande
Commémorations 2025 (Naissance: August Friedrich Manns)
- violon, clarinette, cor d'harmonie
- musique classique, orchestre militaire, symphonie
- Confédération germanique, Reich allemand, Royaume-Uni de Grande-Bretagne et d'Irlande
- chef ou cheffe d'orchestre, maître de chapelle, violoniste, compositeur ou compositrice
Dernière mise à jour
2024-05-11
Actualiser
Chopin Bauer Harold Bauer Paderewski Gorski August Manns Saint Saens Vieuxtemps Kreisler 1873 1900 1920 1925 1940 1942
Bauer describes Chopin as a "composer of extraordinary genius." Unfortunately, Bauer left only four recordings of Chopin's music. Harold Bauer was born in London in 1873.Coming from a musical family,his aunt gave him his first piano lessons and his father became his first violin teacher. Thus it was that the violin became the instrument upon which Bauer concentrated his musical studies. His teachers were Adolf Politzer and later at Paderewski's suggestion, Gorski. He made his debut as a violinist at the age of ten amd by the age of twenty, his repertoire included the Mendelssohn,Beethoven and Mozart violin concertos. In his autobiography,"Harold Bauer:My Book," Bauer describes a program where he and his sister, who was the pianist of the family,presented a joint concert under the direction of the conductor August Manns at the Crystal Palace in London. She played the Saint Saens G minor concerto while her brother was asked to play the Vieuxtemps'Fantasia Appassionata which was considered to be an important composition for violin in those days. (Interestingly, the Saint Saens concerto became part of Bauer's repertoire after he switched instruments from violin to piano.He made a piano roll of the first movement in th 1920's,first recording the solo part and then recording the orchestral reduction on the ssme roll.) There is no doubt that Harold Bauer was a very fine violinist. But by the age of twenty, he realized that he would never be able to match the the playing of such violinists as Thibaud,Henri Marteau and the young Kreisler. He writes,"the truth,as far as my career was concerned,is that I could not hold a candle to to any of these great violinists,and I knew it--nevertheless. my ambitionn was by no means dampened ,although I was bitterly disappointed." It was about this time that Bauer was introduced to Paderewski. Bauer writes,"The great pianist expressed interest,inviting me to go and play for him the following day.I did so and also played something on the piano. He pulled my hair,saying 'You must become a pianist--you have such beautiful hair.'He ought to know,I thought,contemplating his yellow mane with respectful awe." But by this time,Bauer had already made up his mind that he would never have a great career as a violinist.While continuing to give violin recitals he began to concentrate more and more upon upon the piano as his chosen instrument. Paderewski would,when his busy schedule permitted.listen to Bauer as a pianist. And when Paderewski was preparing a concerto for performance, Bauer often played the orchestral reduction on a second piano.Paderewski gave Bauer advise and perhaps coached him,but he never gave Bauer lessons in the traditional sense of the word. It seems that Bauer was pretty much self taught as far as the piano was concerned. By 1900 ,Bauer had established as a pianist and as they say, the rest is history. Bauer retired from the concert stage in the mid 1940's.(He made his last recordings in 1942). Bauer writes in the Coda of his book,"Peace is over my soul. I have retired from public life. I am never going to practice the piano anymore. Gone is the searing ambition to succeed,gone the qualms of stage fright, gone the resentment against critics who failed to discover genius in everything I did and whose writings could not be used for propaganda;gone also the tedium of travel. the hideous fatique of submitting to journalistic interviews--and finally,God be praised,gone the feeling that I must pile up enough money to live in idle luxury whenever I chose to quit. The wars and taxes have taken care of the last item and I am still working,my interests being now entirely bound up by with matters of musical education." After retiring, Bauer taught at the Manhattan School of Music in New York and the Julius Hartt School of Music. He died on March 12,1951 at the age of 77 in Miami, Florida. Harold Bauer-- a great pianist, a superb musician and a sincere human being.
Pyotr Ilyich Tchaikovsky Riccardo Muti Sir August Manns Philadelphia Orchestra 1874 1875 2009
Pyotr Ilyich Tchaikovsky: Symphony No. 3 in D major, Op. 29, TH 26 "Polish" (with Score) Composed: 1875 Conductor: Riccardo Muti Orchestra: The Philadelphia Orchestra 00:00 1. Introduzione e Allegro: Moderato assai (Tempo di Marcia funebre) — Allegro brillante (D minor — D major) 13:31 2. Alla tedesca: Allegro moderato e semplice (B-flat major) 20:09 3. Andante: Andante elegiaco (D minor) 30:04 4. Scherzo: Allegro vivo (B minor) 35:44 5. Finale: Allegro con fuoco (Tempo di Polacca) (D major) The nickname of Tchaikovsky's "Polish" symphony was rather capriciously attached, and six years after the composer's death, at that. Sir August Manns led the work's London premiere and affixed this inappropriate moniker, taking a cue from Tchaikovsky's parenthetical marking for the finale, Tempo di polacca. He could just as well have focused on the second movement Alla tedesca marking, thereby calling this symphony the "German." In any event, there is nothing particularly Polish about the work, but much that is Russian. This symphony is cast in five movements, the only one of the composer's symphonies with more than the standard four. The work dates from 1874, just before the creation of Swan Lake, and the work, with a form resembling that of a dance suite, is dancelike in many individual stretches as well. Like the Second symphony it has no explicit programmatic content. The first movement, marked Moderato assai, tempo di Marcia funebre (for the introduction) and Allegro brillante (for the main section), is a colorful mixture of mostly light music. After a dark opening, the mood brightens with a proud theme of martial character. A lovely, exotic melody on oboe is then presented, and when the strings enter the music sweetens in typically Tchaikovskian manner. This movement, bustling with much energy and colored with brilliant orchestration, is rhythmically one of the composer's most intriguing creations. The second movement (Allegro moderato e semplice) is subdued and balletic; the flavor of Swan Lake is especially pronounced here. The ensuing Andante elegiaco offers a horn theme vaguely reminiscent of the Fifth Symphony's motto. The mood remains light here, however, and features richly Romantic music that, ironically, sounds more German than anything else in the symphony, including the preceding "Alla tedesca" panel. The Scherzo that follows is marked Allegro vivo. It is mischievous, rife with swirls and playful menace, the writing colorful and charming. The aforementioned finale (Allegro con fuoco) opens with a muscular heroic theme of typically Russian character. The music is polonaise-like (hence the "Tempo di polacca" marking referred to above), and the form is a rondo. An alternate theme is hymn-like and jubilant, and also very Russian-sounding. If the ending is a bit bombastic, even corny, it works well with this symphony whose manner is unabashedly direct and richly colorful throughout.
Montero Heck Engländer Manns 2013 2021
CAS [CEAS] - Eduardo Montero Sábado 16 de enero de 2021 ∞∞∞ Animación Copyright: Script, design, animation: Julia Ocker Sound design, music: Christian Heck Voice zebra: Ferdinand Engländer Artistic director: Andreas Hykade Editor, SWR: Benjamin Manns Funding: MFG Baden-Württemberg Production management: Bianca Just Co Production: SWR Production: Thomas Meyer-Hermann Studio FILM BILDER, 2013
Hans Zender Arditti Alpen Manns Einfalt Schönheit Hing Eisen Berge Arditti String Quartet 1770 1802 1843 1936 1991 1999
Hans Zender (b. 1936): "'Denn wiederkommen' Hölderlin lesen III - für Streichquartett und Sprechstimme" (1991) Salome Kammer/ Arditti String Quartet (1999) Text: Friedrich Hölderlin +••.••(...)): "Patmos" (1802) [Excerpts] Vs. 6: [...] furchtlos gehn Die Söhne der Alpen über den Abgrund weg Auf leichtgebaueten Brüken. Vs. 72: Sie hören ihn und liebend tönt Es wieder von den Klagen des Manns. [...] Vs. 27: Im goldenen Rauche, blühte Schnellaufgewachsen, Mit Schritten der Sonne, Mit tausend Gipfeln duftend, Mir Asia auf, und geblendet [...] Vs. 76: Gegangen mit Dem Sohne des Höchsten, unzertrennlich, denn Es liebte der Gewittertragende die Einfalt Des Jüngers [...] Vs. 136: Wenn aber stirbt alsdenn An dem am meisten Die Schönheit hing, [...] Vs. 97 [...] Eingetrieben war Wie Feuer im Eisen, das, und ihnen ging Zur Seite der Schatte des Lieben. Drum sandt' er ihnen Den Geist, und freilich bebte Das Haus und die Wetter Gottes rollten Frendonnernd [...] Vs. 125: [...] über die Berge zu gehn Allein, wo zweifach Erkannt, einstimmig War himmlischer Geist; weg Die Loken ergriff es, gegenwärtig, [...] Vs. 182: [...], und hier ist der Stab Des Gesanges, niederwinkend, Denn nichts ist gemein. Die Todten wecket Er auf, [...] Vs. 112: Denn wiederkommen sollt es Zu rechter Zeit. Nicht wär es gut Gewesen, später, und schroffabbrechend, [...]
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