Rudolf Dost Vidéos
compositeur
- Allemagne
Dernière mise à jour
2024-04-27
Actualiser
Dostal Dost Alenka Kraus Hloušková Pecháček Jelínek 1985
Každý z nás se jistě někdy dostal do situace, na niž není připraven a není schopen se v ní okamžitě a správně orientovat. A že v ní dochází i k řadě nedorozumění a hořkých omylů, se přesvědčí dost nepříjemným způsobem i hrdina našeho příběhu… Nevýrazný úředníček Jaroslav Falta (J. Abrhám) nedokáže po hospitalizaci majetné tety (A. Hegerlíková) odolat tlaku několika zájemců o koupi tetina domku. Svým šarmem ho okouzlí a ovládne, po odjezdu jeho přítelkyně Milady (M. Durnová) na služební cestu, kolegyně z práce – Alenka (J. Asterová) a jejím prostřednictvím si naivní budoucí dědic rychle udělá hned několik nepřátel… Hrají: Josef Abrhám, Jitka Asterová, Marie Durnová, Antonie Hegerlíková, Vladimír Ráž, Stella Zázvorková, Věra Tichánková, Oldřich Vlach, Karel Roden, Ota Sklenčka, Ilja Prachař, Václav Mareš, Jan Kraus, Leoš Suchařípa, Ferdinand Krůta, Radana Hloušková, Petra Lustigová, Karel Houska, Igor Smržík, Zdeněk Pecháček Režie: Petr Koliha Scénář: Viktor Dusil Kamera: Vladimír Holomek Hudba: Miki Jelínek
Maye Dost Charles Sanford Terry Stinson Bach Schweitzer Buxtehude Böhm Johann Gottfried Walther 1999 2003
BWV 601 Herr Christ, der einge Gottes-Sohn [Lord Christ, the only Son of God] (or Herr Gott, nun sei gepreiset [Lord God, now be praised]) Below are the first and last verses of Elisabeth Cruciger's hymn for Epiphany Herr Christ, der einig Gotts Sohn with the English translation of Myles Coverdale. Herr Christ, der ein'ge Gottes-Sohn Vaters in Ewigkeit, aus sein'm Herzen entsprossen, gleichwie geschrieben steht, er is der Morgensterne, sein Glänzen streckt er ferne vor andern Sternen klar. ∘∘∘ Ertöt uns durch dein Güte, erweck uns durch dein Gnad; den alten Menschen kränke, daß der neu' leben mag wohl hie auf dieser Erden, den Sinn und all Begehren und G'danken hab'n zu dir. Christ is the only Sonne of God, The Father Eternall: We have in Jesse founde this rod, God and Man natural! He is the mornynge star; His beames sendeth He out farre Beyonde other starres all. ∘∘∘ Awake us, Lorde, we praye The; Thy Holy Spirite us gave, Which maye oure olde man mortifie, That oure new man maye lyve. So wyll we alwaye thanke The, That shewest us so great mercye, And oure synnes dost forgeve. The same melody was used in the postprandial grace Herr Gott, nun sei gepreiset, the first verse of which is given below with the English translation of Charles Sanford Terry. Herr Gott, nun sei gepreiset, wir sagen frohen Dank, daß du uns Gnad' erwiesen, gegeben Speis' und Trank, dein mildes Herz zu merken, den Glauben uns zu stärken, daß du seist unser Gott. O God in heaven we praise Thee And yield Thee gratitude For all Thy generous bounty, For all our daily food, For all the love showered on us. For all the grace poured on us, By Thee, our loving Lord. According to the chronology of Stinson (1999), this chorale prelude was probably the first to be entered by Bach in the autograph manuscript. Already it shows with beguiling simplicity all the features typical of the Orgelbüchlein preludes. The cantus firmus is presented unadorned in the soprano line with the other three voices on the same keyboard and in the pedal. The accompaniment is derived from the suspirans pedal motif of three semiquavers (16th notes) followed by two quavers (eighth notes). For Schweitzer (1911b) this particular motif signified "beatific joy", representing either "intimate gladness or blissful adoration." Although the chorale prelude cannot be precisely matched to the words of either hymn, the mood expressed is in keeping both with joy for the coming of Christ and gratitude for the bountifulness of God. The motif, which is anticipated and echoed in the seamlessly interwoven inner parts, was already common in chorale preludes of the period. Easy to play with alternating feet, it figured in particular in the preludes of Buxtehude and Böhm as well as an earlier manualiter setting of the same hymn by Bach's cousin, Johann Gottfried Walther. Bach, however, goes beyond the previous models, creating a unique texture in the accompaniment which accelerates, particularly in the pedal, towards the cadences. Already in the opening bar, as Williams (2003) points out, the subtlety of Bach's compositional skills are apparent. The alto part anticipates the pedal motif and, with it and the later dotted figure, echos the melody in the soprano. This type of writing—in this case with hidden and understated imitation between the voices, almost in canon, conveying a mood of intimacy—was a new feature introduced by Bach in his Orgelbüchlein. '하나님의 독생자이신 주 예수 그리스도' BWV 601을 클래식 기타 2대로 편곡한 곡입니다. #bach #bwv601 #arrange #guitar
Münchner Symphoniker Prinzregententheater Dost Gast 2021
Wir spielen MITTENDRIN: Das Prinzregententheater und die Münchner Symphoniker verbindet eine lange Tradition. Intendant Tilman Dost lädt Sie dazu ein, in der Saison 21/22 unser Gast bei wunderbaren Konzerten in einmaligem Ambiente zu sein. In der aktuellen Saison spielen wir für Sie im Prinzregententheater: "Mozarts" am 26. Mai 2021 um 20 Uhr vor Ort und als Livestream. Infos und Tickets: (http•••) Wir freuen uns auf Sie. Bis bald im Prinze! Umsetzung: beets.media
Elisabeth Schwarzkopf Schubert Fröhlich Gluck Puccini Verdi Franz Lehár Johann Strauss II Dost Vienna State Opera Covent Garden Scala 1915 1928 1933 1934 1942 1945 1947 1948 1976 1992 2006
Dame Elisabeth Schwarzkopf, DBE (9 December 1915 – 3 August 2006) was a German-born Austrian/British soprano opera singer and recitalist. She was among the most renowned classical singers of the 20th century, much admired for her performances of Mozart, Schubert, Strauss, and Wolf. Olga Maria Elisabeth Friederike Schwarzkopf was born in Jarotschin in the Province of Posen in Prussia (today Poland) to Friedrich Schwarzkopf and his wife, Elisabeth (née Fröhlich). Schwarzkopf showed an interest in music from an early age. She performed in her first opera in 1928, as Eurydice in a school production of Gluck's Orfeo ed Euridice in Magdeburg, Germany. In 1934, Schwarzkopf began her musical studies at the Berlin Hochschule für Musik. n 1933, shortly after the Nazis came to power, Elisabeth Schwarzkopf's father, a local school headmaster, was dismissed from his position by the new ruling authorities for having refused to allow a Nazi party meeting at his school. He was also banned from taking any new teaching post. Until Friedrich Schwarzkopf's dismissal, the probability was that the 17-year-old Elisabeth would have studied medicine after passing her Abitur; but now, as the daughter of a banned schoolteacher, she was not allowed to enter university and – fortunately for posterity – she commenced music studies at the Berlin Hochschule für Musik. In 1942, she was invited to sing with the Vienna State Opera, where her roles included Konstanze in Mozart's Die Entführung aus dem Serail, Musetta and later Mimì in Puccini's La bohème and Violetta in Verdi's La traviata. In 1945, Schwarzkopf was granted Austrian citizenship to enable her to sing in the Vienna State Opera (Wiener Staatsoper). In 1947 and 1948, Schwarzkopf appeared on tour with the Vienna State Opera at London's Royal Opera House at Covent Garden on 16 September 1947 as Donna Elvira in Mozart's Don Giovanni and at La Scala on 28 December 1948, as the Countess in Mozart's The Marriage of Figaro, which became one of her signature roles. In the 1960s, Schwarzkopf concentrated nearly exclusively on five operatic roles: Donna Elvira in Don Giovanni, Countess Almaviva in The Marriage of Figaro, Fiordiligi in Così fan tutte, Countess Madeleine in Strauss's Capriccio, and the Marschallin. She also was well received as Alice Ford in Verdi's Falstaff. However, on the EMI label she made several "champagne operetta" recordings like Franz Lehár's The Merry Widow and Johann Strauss II's The Gypsy Baron. After retiring, Schwarzkopf taught and gave master classes around the world, notably at the Juilliard School in New York City. After living in Switzerland for many years, she took up residence in Austria. She was made a doctor of music by the University of Cambridge in 1976, and became a Dame Commander of the Order of the British Empire (DBE) in 1992... (http•••) Lyrics & English Translation Dear hall, I greet thee once again, joyfully I greet thee, beloved place! In thee his songs awake and waken me from gloomy dreams. When he departed from thee, how desolate thou didst appear to me! Peace forsook me, joy took leave of thee. How strongly now my heart is leaping; to me now thou dost appear exalted and sublime. He who thus revives both me and thee, tarries afar no more. I greet thee! I greet thee! Thou precious hall, receive my greeting! A link to this wonderful artists personal website: (http•••) Please Enjoy! I send my kind and warm regards,
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