Jacques Franco Mendes Vidéos
compositeur ou compositrice, violoncelliste
- violoncelle
- Pays-Bas
Dernière mise à jour
2024-05-15
Actualiser
Joseph Merk Mauro Giuliani Johann Nepomuk Hummel Joseph Mayseder Franz Schubert Bohm Mendes Knecht Beethoven Bocklet Frédéric Chopin Fuchs Limmer Niccolò Paganini Sigismond Thalberg Giuditta Pasta Jenny Lutzer Friedrich August Kummer Kummer Franz Liszt 1753 1795 1808 1815 1816 1818 1822 1823 1825 1827 1829 1830 1834 1836 1837 1838 1848 1852
Joseph (or Josef) Merk was born in Vienna in 1795. He first studied singing, the guitar and the violin,[1] but at the age of 15[2] he was bitten so severely on his left arm by a dog, that he could no longer play the violin adequately even after the wound had healed. He then turned to the cello and had lessons with the principal cellist of the Vienna Court Opera, Philipp Schindlöker +••.••(...)),[3] making such rapid progress that after only a year he was engaged by a Hungarian aristocrat to play in his string quartet, where he remained for two years.[2][4] In 1815 the guitarist Mauro Giuliani appeared with Joseph Merk, Johann Nepomuk Hummel and the violinist Joseph Mayseder in a series of chamber concerts in the botanical gardens of Schönbrunn Palace (dubbed the "Dukaten Concerte", after the price of the ticket, which was a ducat). He frequently performed with Mayseder throughout his career, and was even dubbed "the Mayseder of the cello".[1][4][5] After touring the Austrian provinces, in 1816 or 1818 Merk was appointed to his teacher Schindlöker's old post of principal cellist at the Vienna Court Opera.[3][5] In 1822 Franz Schubert wrote a quartet for male voices, Geist der Liebe (D.747; Op. 11, No. 3), especially for a Joseph Merk concert.[6] Merk dedicated his 20 Études, Op. 11, to Schubert.[5] In 1823 Merk became professor at the Vienna Conservatory, remaining in that position until 1848.[4] His pupils included Karl Leopold Bohm, Anton Trag, Jacque Franco-Mendes and Franz Knecht.[2][4][6] He became associated with Ludwig van Beethoven's Triple Concerto, his performances of it helping to bring it out of the obscurity in which it had languished since its debut in 1808 (Beethoven himself having never played it in public, unlike his piano concertos[7]).[8] These include performances in 1825[9] or 1830[2][10] with Mayseder and the pianist Carl Maria von Bocklet. In 1829, the 19-year-old Frédéric Chopin visited Vienna, and dedicated his Introduction and Polonaise brillante, Op. 3, to Joseph Merk.[11] In a letter, Chopin wrote "On Thursday there was a soiree at Fuchs's, when Limmer introduced some of his own compositions for four violoncellos. Merk as usual made them more beautiful than they really were by his playing, which is so full of soul. He is the only violoncellist I really respect".[12] Chopin was also said to have played with Merk.[6] He was named k.k. Kammervirtuoso (translated as Imperial and Royal Chamber Virtuoso) to the Emperor in 1834.[4] Up to 1837-38, only five other musicians had ever been given this special title: the violinists Niccolò Paganini and Joseph Mayseder, the pianist Sigismond Thalberg, and the singers Giuditta Pasta and Jenny Lutzer.[13] In 1836 a reviewer wrote that Merk "would undoubtedly evoke admiration among those who give preference to singing instead of to difficulties alien to the nature of the instrument. Let all the cellists imitate his tone, taste, performance and abandon useless torments in conquering difficulties that never touch anybody's soul."[6] In 1836 Friedrich August Kummer dedicated his Souvenir de la Suisse, Concertino for cello and orchestra, Op. 30, to Joseph Merk.[14] On 19 April 1838 Merk played Beethoven's "Archduke" Trio with Mayseder and Franz Liszt. Liszt also played privately for Merk, and on 23 April the two took part in a performance of Hummel's Septet for piano, flute, oboe, horn, viola, cello and bass.[13] Joseph Merk's compositions include a Concerto, a Concertino, an Adagio and Rondo, a Polonaise, various sets of variations, études and similar works. His complete list of works can be found here. He died in Vienna's 19th district Döbling in 1852, aged 57 lessons through Skype 210-699-4914 John Stuart Here's my edited copy of the sheet music.. (http•••)
Alphonsus Johannes Maria Diepenbrock Elly Ameling Dalton Baldwin Hekking Cahen Mendes Simons Concertgebouw Orchestra 1862 1873 1880 1882 1886 1890 1904 1909 1912 1916 1917 1921 1943 1951 1957 1962 1971 1980 1981
- Composer: Alphonsus Johannes Maria Diepenbrock (2 september 1862 / 5 april 1921) - Performers: Elly Ameling (soprano), Richte van der Meer (cello), Dalton Baldwin (piano) - Year of recording: 1980-1981 Berceuse, for mezzo-soprano, cello and piano, written in 1912. One movement: Andantino Diepenbrock composed his Berceuse for mezzo-soprano, cello and piano in October 1912 as a present for his friends Gérard and Julie Hekking-Cahen on the occasion of the birth of their daughter Françoise. A few months earlier, on 25 June, Hekking – since 1904 the leader of the cellos in the Concertgebouw Orchestra – had given an excellent performance of the solo in the last movement of Diepenbrock’s incidental music to Vondel’s Gijsbrecht van Aemstel (RC 108). In 1909 his wife Julie had premiered Mandoline (Mandolin, RC 99). The couple had a cordial relationship with Diepenbrock and his wife. At the suggestion of Elisabeth, Diepenbrock first attempted to write an instrumental lullaby. When that did not work out, he was inspired by a poem (without title) from van Lerberghe’s La chanson d’Ève (The Song of Eve) which Johanna Raphael-Jongkindt had sent him not long before. On 26 October he started a sketch and four days later, on 30 October, he had completed the composition. On 1 November a neat copy was delivered to the Hekkings as a present. They were so delighted with it, that they visited the composer to play through the work that very same evening. It has not been documented whether or when they performed it in public. Possibly the performance in Zaal Heystee in Amsterdam on 8 May 1916 by the mezzo-soprano Berthe Seroen +••.••(...)), the cellist Marix Loevensohn +••.••(...)) and the pianist Hans Franco Mendes +••.••(...)) was its actual premiere. Diepenbrock considered the poem charming, sonorous and "not at all unmusical". With his setting in a 6/8 metre, flowing melodies and harmonies that flexibly adapt to the lightness and seriousness of the text, he turned it into an appealing lullaby that has maintained its charm to this very day. It concludes with a long hummed garland. Especially the version with only piano accompaniment (RC 112) was popular, but the original setting was also performed in public, e.g. by Elisabeth Simons +••.••(...)), the cellist Charles van Isterdael +••.••(...)) and the pianist Hans Goemans at a special soiree for the Dutch Red Cross and the committee for Belgian war victims in the Royal French Theatre in The Hague on 3 December 1917. The berceuse is dedicated "à Julie Hekking".
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