Gottfried van Swieten Vidéos
diplomate, librettiste et mécène de musique hollandais
- Pays-Bas
- bibliothécaire, diplomate, librettiste, compositeur ou compositrice, personnalité politique
Dernière mise à jour
2024-04-28
Actualiser
Joseph Haydn Frieder Bernius Bauer Swieten Hofkapelle Stuttgart 2022
Provided to YouTube by Universal Music Group Haydn: Die sieben letzten Worte unseres Erlösers am Kreuze, Hob. XX:2 - I. Introduzione. Maestoso ed adagio · Hofkapelle Stuttgart · Frieder Bernius · Joseph Haydn Haydn: Die sieben letzten Worte unseres Erlösers am Kreuze (Vokalfassung) ℗ 2022 Carus Released on: 2022-03-04 Producer: Andreas Priemer Studio Personnel, Recording Engineer: Alexander Noelle Studio Personnel, Editor, Mastering Engineer: Irmgard Bauer Composer: Joseph Haydn Author: Gottfried van Swieten Auto-generated by YouTube.
Carl Philipp Emanuel Bach Johann Sebastian Bach Giovanni Antonini Swieten Johann Christian Bach Beethoven Haydn Il Giardino Armonico Musikverein 1714 1768 1788 1821 2000
A musical feast for lovers of the “Hamburg Bach”: Il Giardino Armonico play Carl Philipp Emanuel Bach’s Symphony in G major Wq 182,1 (H657) under the baton of Giovanni Antonini. The concert on period instruments took place at the Musikverein, Vienna in 2000. 00:00 I. Allegro di molto 03:53 II. Poco adagio in E major 08:04 III. Presto As the son of one of the greatest composers of all time, Carl Philipp Emanuel Bach +••.••(...)) received one of the best music educations available. From a young age, he was given lessons in voice, composition, organ, keyboard and a string instrument (most likely violin) – many of which he received directly by his father Johann Sebastian Bach. After studying law at the University of Leipzig and the University of Frankfurt-on-the-Oder, C. P. E. Bach obtained a position at the Prussian court in the service of Crown Prince Frederick of Prussia (later: Frederick II). Three decades later, in 1768, Bach took over as director of music (Kapellmeister) in Hamburg, where he died in 1788. During his time in Hamburg, Bach composed two sets of symphonies: six for string orchestra, Wq 182 (H657–62) and four so-called Orchestral Symphonies with Twelve Obbligato Parts, Wq 183 (H663–6). His symphony in G major is the first of the former group and was part of a commission of symphonies for the diplomat and wealthy patron of the arts, Baron van Swieten. Wq 182,1 contains many features characteristic of the “Empfindsamer Stil” (sentimental style) of which C. P. E. Bach can be understood as a trailblazer: Sudden switches in mood and atmosphere, daring modulations and expressive contrasts with disruptive incursions – particularly in the first of the three movements. C. P. E Bach was often referred to as “Berlin Bach”, or “Hamburg Bach”, after his employment as Kapellmeister there, in order to distinguish him from his brother Johann Christian Bach, who was known as “London Bach”. C. P. E. Bach is remembered today as a highly accomplished composer and music teacher, whose works doubtlessly exerted major influence on the next generation of composers, including Beethoven, Mozart and Haydn. ORF and EuroArts Music International Watch more concerts in your personal concert hall: (http•••) Subscribe to DW Classical Music: (http•••) #CarlPhilippEmanuelBach #CPEBach #SymphonyinGmajor
Shaffer Fehringer Hotter Dvořák Antonio Salieri Wolfgang Amadeus Mozart Trapp Constanze Weber Weber Kretschmer Rosenberg Swieten Katharina Cavalieri Cavalieri 2020
von Peter Shaffer, Schauspiel mit Musik Inszenierung: Michael Schachermaier | Bühne: Karl Fehringer und Judith Leikauf | Kostüme: Alexander Djurkov Hotter | Musik: Thomas Leboeg, Musikalische Beratung: Jan Dvořák | Dramaturgie: Simone Kranz Es spielen Bernd Geiling (Antonio Salieri), Raimund Widra (Wolfgang Amadeus Mozart), Laura Trapp (Constanze Weber, seine Frau ), Gregor Trakis (Joseph II., Kaiser von Österreich ), Silvio Kretschmer (Graf Johann Kilian von Strack, Kaiserlicher Kammerherr/ Venticello 1), Ali Berber (Graf Franz Orsini-Rosenberg, Direktor der Nationaloper/ Venticello 2), Michael Wischniowski (Baron Gottfried van Swieten, Präfekt der Nationalbibliothek/ Venticello 3), Lisa Bebelaar (Katharina Cavalieri, Salieris Schülerin) Musiker: Rick-Henry Ginkel (Flügel, Celesta ), Lorenz Blaumer (Geige, Elektronik) und Jasmin Hubert (Cello) Statisterie des Saaarländischen Staatstheaters Premiere: 7. Februar 2020 am Saarländischen Staatstheater Weitere Infos: (http•••)rland/nc/stuecke/schauspiel/detail/amadeus/
Wolfgang Amadeus Mozart Nikolaus Harnoncourt Johannes Brahms Alfred Einstein Kühnel Swieten Antonio Salieri Stadler 1762 1788 1789 1790 1791 1802 1831
Symphony No. 40 in G minor, KV. 550 was written by Wolfgang Amadeus Mozart in 1788. It is sometimes referred to as the "Great G minor symphony", to distinguish it from the "Little G minor symphony", No. 25. The two are the only extant minor key symphonies Mozart wrote. Composition The date of completion of this symphony is known exactly, since Mozart in his mature years kept a full catalog of his completed works; he entered the 40th Symphony into it on 25 July 1788. Work on the symphony occupied an exceptionally productive period of just a few weeks during which time he also completed the 39th and 41st symphonies (26 June and 10 August, respectively). Nikolaus Harnoncourt conjectured that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. 40, as the middle work, has no introduction (unlike No. 39) and does not have a finale of the scale of No. 41's. The 40th symphony exists in two versions, differing primarily in that one includes parts for a pair of clarinets (with suitable adjustments made in the other wind parts). Most likely, the clarinet parts were added in a revised version. The autograph scores of both versions were acquired in the 1860s by Johannes Brahms, who later donated the manuscripts to the Gesellschaft der Musikfreunde in Vienna, where they reside today. Premiere As Neal Zaslaw has pointed out, writers on Mozart have often suggested – or even asserted – that Mozart never heard his 40th Symphony performed. Some commentators go further, suggesting that Mozart wrote the symphony (and its companions, Nos. 39 and 41) without even intending it to be performed, but rather for posterity; as (to use Alfred Einstein's words), an "appeal to eternity". Modern scholarship suggests that these conjectures are not correct. First, in a recently discovered 10 July 1802 letter by the musician Johann Wenzel (1762–1831) to the publisher Ambrosius Kühnel in Leipzig, Wenzel refers to a performance of the symphony at the home of Baron Gottfried van Swieten with Mozart present, but the execution was so poor that the composer had to leave the room. There is strong circumstantial evidence for other, probably better, performances. On several occasions between the composition of the symphony and the composer's death, symphony concerts were given featuring Mozart's music for which copies of the program have survived, announcing a symphony unidentified by date or key. These include: Dresden, 14 April 1789, during Mozart's Berlin journey Leipzig, 12 May 1789, on the same trip Frankfurt, 15 October 1790 Copies survive of a poster for a concert given by the Tonkünstlersocietät (Society of Musicians) 17 April 1791 in the Burgtheater in Vienna, conducted by Mozart's colleague Antonio Salieri. The first item on the program was billed as "A Grand Symphony composed by Herr Mozart". Most important is the fact that Mozart revised his symphony (see above). As Zaslaw says, this "demonstrates that [the symphony] was performed, for Mozart would hardly have gone to the trouble of adding the clarinets and rewriting the flutes and oboes to accommodate them, had he not had a specific performance in view". The orchestra for the 1791 Vienna concert included the clarinetist brothers Anton and Johann Nepomuk Stadler; which, as Zaslaw points out, limits the possibilities to just the 39th and 40th symphonies. Zaslaw adds: "The version without clarinets must also have been performed, for the reorchestrated version of two passages in the slow movement, which exists in Mozart's hand, must have resulted from his having heard the work and discovered an aspect needing improvement". Regarding the concerts for which the Symphony was originally intended when it was composed in 1788, Otto Erich Deutsch suggests that Mozart was preparing to hold a series of three "Concerts in the Casino", in a new casino in the Spiegelgasse owned by Philipp Otto. Mozart even sent a pair of tickets for this series to his friend Michael Puchberg. But it seems impossible to determine whether the concert series was held, or was cancelled for lack of interest. Zaslaw suggests that only the first of the three concerts was actually held. The music The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. The work is in four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement):
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