Marie Wilt Vidéos
chanteur ou chanteuse, artiste lyrique
- soprano
- Autriche
Dernière mise à jour
2024-05-10
Actualiser
Johann Baptist Gänsbacher Herzog Stecher Abbé Vogler Albrechtsberger Weber Meyerbeer Joseph Weigl Preindl Anton Mitterwurzer Wilt Milka Ternina Leopold Demuth Brahms Schubert Musikverein Stephansdom Music Central 1751 1778 1795 1801 1803 1806 1810 1812 1813 1814 1815 1818 1823 1824 1829 1838 1844 1853 1855 1868 1872 1875 1897 1904 1911
Alles Gute zum Geburtstag Johann Baptist Gänsbacher! Composer: Johann Baptist Gänsbacher +••.••(...)) Work: Lauretanische Litanei (1812) Performers: Sabina von WaIthеr (soprano); Johanna Pradеr (alto); Otto RastbichIеr (tenor); MichaеI GrossIеrcher (bass); TiroIеr vocalensemble & Kammerorchester des Fеrdinandеums; Josеf Wеtzingеr (leitung) Painting: Joseph Mathias von Trenkwald +••.••(...)) - Herzog Leopolds des Glorreichen Einzug in Wien nach dem Kreuzzug von 1219 (1872) Image in high resolution: (http•••) Painting: Franz Anton Stecher +••.••(...)) - Der Komponist Johann Baptist Gänsbacher und seine Familie (c.1838) Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / Johann (Baptist Peter Joseph) Gänsbacher (Sterzing, [now Vipiteno], 8 May 1778 - Vienna, 13 July 1844) Austrian composer and conductor. He was the son of a choirmaster and teacher, Johann Gänsbacher +••.••(...)), and as a boy sang in church choirs in Sterzing, Innsbruck, Hall and Bolzano; he also had lessons in piano, organ, violin, cello and thoroughbass. In 1795 he went to the university at Innsbruck and studied first philosophy, then law, supporting himself by giving music lessons, playing the organ, singing in church choirs and playing in the theatre orchestra. His first compositions date from this period. While at university he took part in four campaigns against Napoleon. In 1801 he went to Vienna to continue his musical studies, and was relieved of financial worries when Count Firmian, who further promoted his career as a musician, took him into his family as a son in about 1803. In Vienna he had lessons from the Abbé Vogler +••.••(...)) and from Albrechtsberger (1806). A Mass in C, composed through the offices of Vogler for Nikolaus Esterhazy in 1806, established his reputation as a composer. Nevertheless, he returned to Vogler in Darmstadt for a short period in 1810, where his fellow-pupils and friends included Weber and Meyerbeer, who admitted him as a founder-member of the ‘Harmonische Verein’, for which he was active until 1813. In January 1813 he met Weber in Prague and recommended him for the post of Kapellmeister of the theatre. In the summer of the same year Gänsbacher returned to the Tyrol to join the fighting to liberate the province from the Bavarian occupation. After the end of the war he did not return to the Firmian family but joined the army as a first lieutenant (1814). He was stationed first in Italian garrisons, in Trient, Mantua and Padua then at Innsbruck in 1815, where he again tried to gain a foothold as a musician. He worked as a conductor and director of a church choir, and helped to found the Musikverein, though he did not gain the position of chief conductor. He did not accept the post of director of music in Dresden, offered him at the instigation of Weber in 1823, since (after representations against the election of Joseph Weigl), he was appointed Kapellmeister of the Stephansdom in Vienna as successor to Josef Preindl in September 1824. One of the choristers was his nephew Anton Mitterwurzer +••.••(...)), later famous as an opera singer. From this time on Gänsbacher composed mainly church music, and only a few homage cantatas. By the time of his death he was one of the most famous musicians in Vienna. Some of Gänsbacher's early instrumental compositions, such as the Clarinet Concertino and the sonatas in F major (1803) and G minor (1810), are remarkable for the individuality of their ideas and their unconventional structure, while his Italian canzonettas and terzetti are effective for their reticent simplicity. Yet the works he composed later for social performance clearly show a deterioration of quality. Even before his 20 years at the Stephansdom, sacred music was becoming central to his output. Starting with the masses in C and B and the Requiem (1812), he wrote some creditable and well-regarded works in this field. Although they do not stand out from the manner of their time, and show little stylistic innovation, they nonetheless show Gänsbacher's considerable skill as a composer. His son Josef Gänsbacher +••.••(...)) studied the piano, the cello and singing, and went to university to read law, graduating in 1855. He practised law for a number of years, but concurrently gave piano and singing lessons, and in 1868 devoted himself entirely to teaching singing. From 1875 to 1904 he was a tutor at the conservatory of the Gesellschaft der Musikfreunde, becoming by the turn of the century the most highly-regarded singing teacher in Vienna. Some of his pupils achieved international recognition, including Maria Wilt, Milka Ternina, Leopold Demuth and Julius Liban. Brahms dedicated his cello sonata op.38 to him. He was a composer, chiefly of songs but also of piano and choral pieces, and was a co-editor of the Schubert complete edition.
Een Jacob Bijster Witte Wilt 1857 1902 1958 2021
Minne Veldman Bätz/Witte-orgel (1857) Oude Kerk Delft Jacob Bijster +••.••(...)) Variaties op een Oud-Nederlands Lied "Ick wil mij gaen vertroosten", opus 4 Online-orgelconcert 26 maart 2021 Registranten: Sijtje & Mirna Veldman Beeld & geluid: Minne Veldman - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Als u dit werk wilt steunen, dan kunt u een donatie doen: - via PayPal: (http•••) - via Buy Me a Coffee: (http•••) - via de webwinkel: (http•••) (pas het bedrag aan door het aantal aan te passen) - of maak uw bijdrage over naar NL86 RABO 0312 0495 44 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (http•••) (http•••)
Een Wilt Jan Zwart Waart Corda Rust Heer Mees Lauwers Bron 1455 1600 1705 1750 1835 1920 1957 2001
Te Deum Laudamus Volume 1 - een verzamel-LP uit de jaren ’50-’60 van CiD (nr. 130.168) Volgorde: 1. (op 0:12) Feike Asma - Wilt heden nu treden (orgelhymne - Jan Zwart) (opname Ronde Lutherse Kerk te Amsterdam) 2. (op 4:30) Samenzang o.l.v. Jan van der Waart - Een vaste burcht is onze God (opname uit 1957 in de Ronde Lutherse Kerk te Amsterdam; m.m.v. Chr. zangkoor ‘Sursum Corda’ en Feike Asma orgel) 3. (op 7:26) David Hollestelle zang – Rust mijn ziel, uw God is Koning (opname 1957 in de Grote Kerk te Edam m.m.v. Peter (Piet) Post orgel) 4. (op 9:20) Chr. Residentie Mannenkoor o.l.v. Jan van der Waard - Psalm 42 : 1, 5 en 7 (opname 24 okt. 1957 in de Ronde Lutherse Kerk te Amsterdam m.m.v. Feike Asma orgel) 5. (op 12:38) David Hollestelle Kwartet - Kom tot uw Heiland (opname 1957 in de (vm) Zuiderkerk te Bussum m.m.v. Feike Asma orgel) 6. (op 14:55) Harry Sevenstern (trompet) – Ik hoor trompetten klinken (m.m.v. Peter (Piet) Post orgel) 7. (op 17:05) Dé van Oenen sopraan – Heer Jezus heeft een hofken (m.m.v. een meisjeskoor o.l.v. Mees van Huis; Stoffel van Vliegen orgel) 8. (op 20:01) Buurkerkkoor o.l.v. Mees van Huis – Blijf bij mij Heer (bew. van F. Asma) (m.m.v. Fred Hausdorfer trompet & Stoffel van Vliegen orgel) contact: •••@••• foto-verantwoording: 1:12-2:02, 6:15-6:50, 12:05-12:38 - J Lauwers 2:02-2:50 - *_* 2:50-4:30, 10:55-12:05, 17:50-18:35, 20:31-22:10 - Piet Bron 4:30-5:05 - Henk van der Schoor 5:05-5:40, 19:20-20:01, 22:40-23:10 - Publiek Domein 5:40-6:15, 8:31-10:55, 12:38-14:55, 16:00-17:05 - Onbekend 7:26-7:46 - Colin+ 7:46-8:31 - Michiel van ’t Einde 14:55-16:00 - www.leonardrieksenfotografie.nl 18:35-19:20 - Gerco Schaap
John Dowland Nigel Rogers Paul O Dette Wilt Monteverdi Handel Baroque Orchestra Schola Cantorum 1550 1563 1626 1851 1987
Today’s talents will be tomorrow’s legends. Please Subscribe to our New channel @PAINTED. Discover and Empower classical music Artists all around the World ! (http•••) ——— John Dowland +••.••(...)) - Flow my Tears Album : Songs for Tenor and Lute. *Clique pour activer les sous-titre en français (00:00-02:22)* Book 2 Flow my tears (00:00) Book 1 Come heavy sleep (04:21) Wilt thou unkind thus reave me? (08:43) If my complaints could passions move (12:29) My thoughts are winged with hopes (15:50) Awake sweet love (18:51) Come away, come sweet love (21:35) Book 2 Sorrow, stay (23:41) Fine knacks for ladies (27:06) Shall I sue (29:44) I saw my lady weep (32:23) Book 3 When Phoebus first did Daphne love (36:25) Say, love, if ever thou didst find (38:16) Fie on this feigning (40:07) Weep you no more sad fountains (42:03) Book 4 (A Pilgrimes Solace) Love those beams (46:44) Sweet stay awhile (49:32) To ask for all thy love (52:41) Were every thought an eye (56:11) Shall I strive with words to move? (57:49) Tenor : Nigel Rogers Lute : Paul O’Dette Recorded in 1987, at London Find CMRR's recordings on Spotify: (http•••) Nigel Rogers began singing at an early age as a boy treble and later became a Choral Scholar at King's College, Cambridge. After graduating he went first to Italy and then to Germany, where he studied at the Hochschulefür Musik. During the early 1960s he toured all over the world before returning to England, where he began to take a greater interest in Baroque music. The special technique he uses in Italian Baroque vocal music draws on performances by the singers of Classical Indian and Arabian music that he heard in India and the Middle East. He has given solo recitals throughout the world and has performed with many distinguished groups of musicians. He has also taken part in productions of Baroque opera from Monteverdi to Handel. In recent years he has directed his own Chiaroscuro vocal ensemble and Baroque orchestra in many concerts and recordings. He is also an experienced teacher and has taught in Switzerland, Holland, Australia, the USA and at the Royal College of Music in London. Paul O'Dette was born in Pittsburgh and began playing the guitar at the age of eleven. After several years of performing rock music, he took up the classical guitar, and within six months had won first prize in the Columbus (Ohio) Symphony Orchestra's young Musicians Competition. Using the treatises and method books of the sixteenth century, he taught himself the lute and developed an interest in, and a preference for, early music. He subsequently enrolled at the Schola Cantorum Basiliensis, where he studied medieval and Renaissance performance practice with Thomas Binkley and the lute with Eugen Dombois. He has travelled widely throughout Europe, North America and the Middle East, both as a soloist and with early music ensembles. He is currently Director of Early Music at the Eastman School ofMusic in Rochester, New York. Dowland - Complete Lute Galliards Works/Lachrimae + Presentation (Century's record. : Paul O'Dette) : (http•••)
ou
- chronologie: Artistes lyriques (Europe).
- Index (par ordre alphabétique): W...