Gustave Kahnt Vidéos
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2024-05-21
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Scarlatti Alessandro Scarlatti Vivaldi Antonio Guarnieri Guarnieri Benjamin Cooke Kahnt Arnold Schering Collegium Musicum Orchestra Maggio Musicale Fiorentino Maggio Musicale Fiorentino 1740 1928 1941 1948 1949
Alessandro Scarlatti: Concerto Grosso No. 1 in F Minor Wiesbaden Collegium Musicum Edmund Weyns, director Recorded August 29, 1941, for Telefunken in Germany. Issued in June, 1949, in the USA, as Capitol-Telefunken 89-80059 (78 rpm) and 64-80059 (45 rpm), and on LP a few months later, as Capitol-Telefunken L-8035 (on one side of a a 10-inch LP, coupled with Vivaldi's Concerto Grosso in G minor, Op. 3, No. 2, played by the Orchestra of the Maggio Musicale Fiorentino conducted by Antonio Guarnieri). The CHARM database (www.charm.rhul.ac.uk) gives a German Telefunken catalog number of E-3707 for this recording, but there is no evidence that this was actually issued; this isn't listed in WERM or the 1948 Gramophone Shop Encyclopedia, for example. The Telefunken matrix numbers are given in CHARM as 025999 and 026000; the Capitol 78-rpm matrices, which are dubbings, are 8107-1D-1 and 8108-1D-2. The piece is the first of six concertos first published in London by Benjamin Cooke in 1740, some 15 years after the composer's death. Scarlatti himself called them "sonate a quattro" and this particular one was written to be also playable as a string quartet. The Wiesbaden players do it this way, adding a double bass to reinforce the cello. The sections are as follows: (0:07) Grave (2:08) Allegro (3:59) Largo (7:26) Allemanda: Allegro An edition of this concerto was published in Leipzig by the firm of C. F. Kahnt in 1928, edited and arranged by Arnold Schering. This appears to be the edition used for this recording.
Spyridon Samaras Byron Fidetzis Teatro Lirico 1797 1800 1903 1905 1906
Το ιντερμέδιο (μεταξύ 2ας και 3ης πράξεως) της δραματικής όπερας του μεγάλου κερκυραίου μουσουργού Σπυρίδωνος - Φιλίσκου Σαμάρα ( Spyro Samaras) : Η ΞΑΝΘΟΥΛΑ ( La Biondinetta - Storia d' Amore ), σε λιμπρέττο (libretto) Paoul Milliet. Ακούγεται εδώ, η δεύτερη έκδοση του έργου, αυτή των εκδ. C.F.Kahnt, Nachfolger (Λειψία 1905), που πρωτοπαίχτηκε στην Gotha Γερμανίας, την 1.4.1906. Η πρώτη έκδοση του έργου είναι από τον οίκο Sonzogno (Μιλάνο, 1903). Η αρχική αυτή, ανέβηκε το πρώτον στο Teatro Lirico Internazionale του Μιλάνο, τις 17.11.1903, ως "Ιστορία Αγάπης" ("Histoire d' Amour") ή " Η Ξανθούλα". Η υπόθεση της όπερας, διαδραματίζεται στη Βενετία +••.••(...)) Γονδολιέρης βενετσιάνος : Βαγγέλης Χατζησίμος, τενόρος Συμφωνική Ορχήστρα Pasardjik Βουλγαρίας Χορωδία Ραδιοφωνίας Σόφιας Διδασκαλία Χορωδίας, Michail Milkov Αρχιμουσικός, Βύρων Φιδετζής The intermezzo (between 2 and 3 act) of the great dramatic opera composer Spyridon Corfiot - Filiskou Samara (Spyro Samaras): The XANTHOULA (La Biondinetta - Storia d 'Amore), a libretto (libretto) Paoul Milliet. Heard here, the second edition of this Edition of CFKahnt, Nachfolger (Leipzig 1905), who first played in Gotha Germany, 1.4.1906. The first version of the project is from the house Sonzogno (Milan, 1903). The initial, first staged in the Teatro Lirico Internazionale of Milan on 17.11.1903, as "Love Story" ("Histoire d 'Amour") or "Xanthoula". The case of the opera takes place in Venice +••.••(...)) Venetian gondolier: Hatzisimos Vangelis, tenor Symphony Orchestra Pasardjik Bulgaria Choir of Radio Sofia Teaching Choir, Michail Milkov Conductor, Byron Fidetzis Το παρόν βίντεο, αποτελεί μικρό αφιέρωμα στην επέτειο 150 χρόνων από την γέννηση του παγκοσμίως μεγάλου βεριστή συνθέτη, Σπύρου Σαμάρα. Εικονίζονται φωτογραφίες από το λεύκωμα του Ευριπίδη Κλεόπα : "Βενετία - Κέρκυρα, μια διαδρομή", και φωτογραφίες της παλιάς και σύγχρονης Κέρκυρας (οι τελευταίες, από δημοσιευμένες, στο διαδίκτυο), των : Νικολάου Γρηγοροπούλου, Βασιλείου Μεταλληνού, Αντωνίου Σουέρεφ, Βλασσίου Τσώνου κλπ.
Giuseppe Torelli Arcangelo Corelli Francesco Manfredini Pietro Antonio Locatelli Kircher Buhl 1653 1658 1684 1695 1709 1713 1762 1764
00:00 Concerto a 4 in G Minor, Op. 8 No. 6 "in forma di Pastorale per il Santissimo Natale" (Giuseppe Torelli, 1658-1709): Grave, Vivace - Largo - Vivace (Bologna, 1709; edition: Leipzig 1913 (C.F. Kahnt). Critically revised material: Arnold Schering 07:58 Concerto grosso in G minor, Op. 6 No. 8 "fatto per la notte di Natale" (Arcangelo Corelli, 1653-1713): Vivace, Grave, Allegro - Adagio, Allegro, Adagio - Vivace - Allegro, Pastorale (Largo) (Amsterdam 1714; edition: New York/London/Frankfurt 1937 (C. F. Peters). Critically revised material: Waldemar Woehl 22:38 Concerto grosso in C major, Op. 3 No. 12 "fatto per la notte di Natale" (Francesco Manfredini, 1684-1762): Pastorale (Largo) - Largo - Allegro (Bologna, 1718; edition: London 1957 (Ernst Eulenburg). Critically revised material: Felix Schroeder 33:30 Concerto grosso in F minor, Op. 1 No. 8 (Pietro Antonio Locatelli, 1695-1764) Largo, Grave, Vivace - Grave - Largo andante - Andante - Pastorale (Andante) (Amsterdam, 1721; edition: Leipzig 1919 (C. F. Kahnt). Critically revised material: Arnold Schering Günter Kehr & Doris Wolff-Malm, violins / Herbert Blendinger & Volker Kircher, violas Reinhold Buhl, violoncello / Iwona Salling, harpsichord / Mainz Chamber Orchestra
Gustav Mahler Leonard Bernstein Alma Schindler Alban Berg Anton Webern Kahnt Newlin Vienna Philharmonic Orchestra Musikverein 1902 1903 1904 1906 1908 1988
pf: Leonard Bernstein cond/ Vienna Philharmonic Orchestra (recorded September 1988, Vienna, Musikverein, Große Saal ) The Symphony No. 6 in A minor by Gustav Mahler is a symphony in four movements, composed in 1903 and 1904 (revised 1906; scoring repeatedly revised). Mahler conducted the work's first performance at the Saalbau (de) concert hall in Essen on May 27, 1906. It is sometimes referred to by the nickname Tragische ("Tragic"). Mahler composed the symphony at what was apparently an exceptionally happy time in his life, as he had married Alma Schindler in 1902, and during the course of the work's composition his second daughter was born. This contrasts with the tragic, even nihilistic, ending of No. 6. Both Alban Berg and Anton Webern praised the work when they first heard it. Berg expressed his opinion of the stature of this symphony in a 1908 letter to Webern: "Es gibt doch nur eine VI. trotz der Pastorale." (There is only one Sixth, despite the Pastoral.) The work, in four movements, lasts around 80 minutes. The order of the inner movements is a matter of debate. The first published edition of the score (CF Kahnt, 1906) featured the movements in the following order: 0:00 - Allegro energico, ma non troppo. Heftig, aber markig. 23:09 - Scherzo: Wuchtig 37:21 - Andante moderato 53:39 - Finale: Sostenuto – Allegro moderato – Allegro energico However, Mahler subsequently placed the Andante as the second movement, and this new order of the inner movements was reflected in the second and third published editions of the score, as well as the Essen premiere. Formally, the symphony is one of Mahler's most outwardly conventional. The first three movements are relatively traditional in structure and character, with a standard sonata form first movement (even including an exact repeat of the exposition, unusual in Mahler) leading to the middle movements – one a scherzo-with-trios, the other slow. However, attempts to analyze the vast finale in terms of the sonata archetype have encountered serious difficulties. As Dika Newlin has pointed out: "it has elements of what is conventionally known as 'sonata form', but the music does not follow a set pattern [...] Thus, 'expositional' treatment merges directly into the type of contrapuntal and modulatory writing appropriate to 'elaboration' sections [...]; the beginning of the principal theme-group is recapitulated in C minor rather than in A minor, and the C minor chorale theme [...] of the exposition is never recapitulated at all". SOURCE: Wikipedia
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