Goran Filipec Vidéos
pianiste croate
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Dernière mise à jour
2024-05-13
Actualiser
Blagoje Bersa Goran Filipec Ivan Zajc Julius Epstein Robert Fuchs Gustav Mahler Hugo Wolf Jean Sibelius Kunc Boris Papandopulo Bruno Bjelinski 1747 1873 1893 1896 1899 1901 1903 1919 1934 2019
Goran Filipec - Piano 00:00 Ballade Op.65 07:13 Theme and Variations Op.15 13:02 Nocturne Op.38 17:47 Fantasie Breve Op.56 20:19 Minuett Op.11 24:39 Ora triste Op.79 29:50 Melancolie Blagoje Bersa or Benito Bersa +••.••(...)) was a Croatian Composer. From 1893 to 1896, Blagoje was a student at the Music School of the National Music Institute in Zagreb, where his teachers were Ivan Zajc (piano and composition), Anton Stöckl (music theory) and Hinko Geiger (cello). At the end of his apprenticeship in Zagreb, he began work on the opera Jelka based on the libretto by his brother Josip, which he completed for five years, but to this day it has not been performed entirely on stage. From 1896 to 1899, Blagoje Bersa was a student at the Vienna Conservatory where he studied piano with Julius Epstein and composition with Robert Fuchs, who was also a professor at Gustav Mahler, Hugo Wolf, Jean Sibelius and Alexander Zemlinski. While still a Viennese student, he composed the symphonic song Hamlet and a number of piano works. After graduating from Vienna, he did not find a job and left for Sarajevo. After, he moved to Split and got married in 1901. After Split, Bersa tried to get a job in Zagreb, but without success. In an unpublished manuscript autobiography, he wrote that Split was too narrow a field of work for him, while he was rightly indignant at Zagreb: In Zagreb, 2 places were empty, but foreigners got them! He had no choice but to look for a job abroad. In 1903, he moved back to Vienna. Here, things turned out most fruitful after all. As World War I drew to a close, Bersa embarked on composing some works that expressed his political thinking. He went from a boy who spoke his Italian as a first language, to a composer who wrote both of his operas to German librettos, to a patriot who, like many contemporaries, admired (pan) Slavism and believed in a new state after the collapse of the Austro-Hungarian Monarchy, until a man who in his later years, upon his return to Zagreb, unsparingly emphasized his affiliation with the Croatian people and its musical corpus. Bersa's last period, the one in Zagreb, lasted fifteen years, from 1919 until his death in 1934. As an excellent pedagogue he raised a number of Croatian composers while working at the Music Academy in Zagreb, the most prominent were Rudolf Matz, Božidar Kunc, Boris Papandopulo, Ivan Brkanović and Bruno Bjelinski. Please support this channel and it's ongoing effort :-) (http•••)
Franz Liszt Paganini Goran Filipec 2016
Pf: Goran Filipec ℗ 2016 Naxos Provided to YouTube by NAXOS of America
This version of the first Mephisto Waltz was (according to Naxos) was written in 1862, the changes made in this version is an insertion right befor and in the D flat major section (3:16 and 5:20). This later version was excellently executed by a regular pianist in this field, Goran Filipec. Information for my fellow s c o r e c o l l e c t o r s: Where has this score been published? Neue Liszt Ausgabe Serie I Band 15 Can a score of this piece be found on IMSLP? Yes With respect to current copyright, am I allowed to share the score in the video with you? If not, when does the copyright expire? Yes Social media / Twitter: (http•••) Discord server: (http•••) Friend me on discord: The random video maker#9048 Facebook: (http•••) Main channel: (http•••) Second channel: (http•••) Feel free to contact me or request a video to be taken down due to copyright: •••@••• Thanks for watching!
Are you looking for a great Piano programme that actually helps you to sound like a pro right from the start? Then Pianoforall is the right course for you! Check it out: (http•••) (affiliate) A fascinating and disturbing little work, written in 1883. Although in rhythm it is a very different dance from the Mephisto Waltzes, being in 2/4 time, the work begins with a figure not unlike that of the opening of the 2nd Mephisto Waltz, so that it can be regarded as an invocation-figure. Perhaps the most surprising feature of the work (except the incredibly unsettling ending) is its apparent almost complete absence of discordance—yet it sounds strange! Why is this? Firstly, there is the constant use of acciaccatura that is the vestigial echo of those in the first Mephisto Waltz, where they suggested the detuned fifths of the devil's fiddle; secondly there is the use of the mediant as root (0:20) that gives an uneasy feeling of being suspended as in a nightmare; thirdly there is the hypnotic repetition of phrases, even verbatim; fourthly, the atmospheric tremolando effects (3:11) which have previously symbolized ill omen in Liszt's late works (Unstern comes to mind); and fifthly the use of chromatic parallel progressions, which secure the works' Mephisto legacy. But the most subtle use is made of the tritone, seen in the second of the introductory sets of runs (B/F), and in the F-sharp/B-sharp interval in bar 50 (0:56) that recurs in the work.
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- chronologie: Interprètes (Europe).
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