Mikhaïl Vielgorski Vidéos
compositeur russe (1788-1856)
- violoncelle
- opéra
- Empire russe
- compositeur ou compositrice, Hofmeister, violoncelliste
Dernière mise à jour
2024-06-01
Actualiser
Beethoven Elizabeth Harwood James King Franz Crass Bernhard Klee Begun Wielhorsky Franz Xaver Huber Huber Breitkopf Wiener Singverein Wiener Symphoniker Theater Wien 1802 1803 1809 1811
Ludwig van Beethoven: Oratorio "Christ on the Mount of Olives (Christus am Ölberge)", Op. 85 (with Score) Composed: 1803 – 04 Soprano: Elizabeth Harwood Tenor: James King Bass: Franz Crass Conductor: Bernhard Klee Chorus: Wiener Singverein Orchestra: Wiener Symphoniker 00:00 1. Introduction. Grave - Adagio (E♭ minor) 06:48 1a. Recitativo (C minor) 11:21 1b. Aria. Allegro (C minor) 16:33 2. Allegro (A major) 18:23 2a. Aria. Larghetto (G major) 19:43 2b. Allegro (G major) 27:08 3. Recitativo (C major) 28:30 3a Duetto. Adagio molto (A♭ major) 34:37 4. Recitativo. Andante con moto (F major) 35:39 4a. Alla Marcia (C major) 38:19 5. Recitativo. L'istesso tempo della Marcia (F major) 40:13 5a. Allegro molto (D major) 42:27 6. Recitativo. Allegro molto (C major) 43:53 6a. Terzetto. Allegro ma non troppo (B♭ major) 51:49 6b. Maestoso (C major) 53:36 6c. Allegro (C major) Christus am Ölberge (Christ on the Mount of Olives), Op. 85, is an oratorio by Ludwig van Beethoven portraying the emotional turmoil of Jesus in the garden of Gethsemane prior to his crucifixion. It was begun in the fall of 1802, soon after his completion of the Heiligenstadt Testament, as indicated by evidence in the Wielhorsky sketchbook. The libretto in German is by the poet Franz Xaver Huber [, editor of the Wiener Zeitung, with whom Beethoven worked closely. It was written in a very short period; in a letter to Breitkopf & Härtel written shortly after the oratorio's completion, Beethoven spoke of having written it in "a few weeks", although he later claimed that the piece required no more than 14 days to complete. It was first performed on April 5, 1803 at the Theater an der Wien in Vienna; in 1811, it was revised by Beethoven for publication by Breitkopf & Härtel. The 10 years that passed between the composition of the work and its publication resulted in its being assigned a relatively high opus number. The piece premiered in the United States in 1809; it was Beethoven's first success in the United States.
Dmitry Sitkovetsky Bella Davidovich Konstantin Igumnov Yakov Flier Chopin Julian Sitkovetsky Bolesław Kon Naum Shtarkman Beckman Maria Grinberg Ryszard Bakst Anatoly Nikolayevich Alexandrov Alexandrov Rachmaninoff Rosa Tamarkina Wielhorski Issay Dobrowen Severe Josef Lhévinne Isidor Philipp 1949 2014
TV Kultura, 2014 Author & Host: Dmitry Sitkovetsky In this interview of the cycle, Dmitry Sitkovetsky is not just a fellow musician and partner on stage, but also a loving son, who speaks with his mother - pianist Bella Davidovich. Bella Mikhailovna reminisces about her childhood in Baku, about her great teachers - Konstantin Igumnov and Yakov Flier, and about her getting the most important prize of her life - the first prize at the Chopin Piano Competition in postwar Warsaw in 1949. One episode of the program is devoted to her husband - violinist Julian Sitkovetsky. The program contains rare archival footage of musical performances. My gratitude to Nosh (Noshirm) for editing the English translation! Many thanks to Nosh, Erwin (Pianopera), and Andre (Truecrypt) for providing the notes below and additional notes on jeu perlé technique, which can be viewed by clicking on the link in the end of this video! Notes: 09:48 Igumnov taught a number of other first-rate pianists, among them Bolesław Kon, Naum Shtarkman, Yelena Beckman-Scherbina, Boris Moiseyevitch Berlin, Maria Grinberg, Andrzej Wasowski, Ryszard Bakst, Tengiz Amirejibi, Anatoly Nikolayevich Alexandrov, Natalia Satina (Rachmaninoff’s wife), Aleksandr Iokheles, Rosa Tamarkina, Maria Gambarian, Aleksander Wielhorski, and the eminent conductor Issay Dobrowen. 09:53 According to pianist Olga Bobrova: “In the 1930s Igumnov entered the last, mature phase of his life…(as) the years went by, Igumnov became more laconic, more severe. But he did not lose what he valued most of all - his romanticism. In his music, as in his day-to-day life, Konstantin Igumnov continued to be meditative, sad, nostalgic and very lonely.” It was at this stage in his life that Davidovich first met and studied with him. 10:51 Josef Lhévinne talked about this in his book, "Basic Principles in Pianoforte Playing". Isidor Philipp also stressed the need to press the keys to the very bottom for a ‘full and even tone’. 11:21 In his book, Lhévinne writes about how having well-padded fingertips could help one to create what he called a ‘ringing, singing tone’. 12:20 It is indeed important that the pedals should be pressed with the tip of the foot only, maintaining contact as much as possible, if only to avoid placing too much weight on them, as that will cause an annoying noise. Also, one can change pedal more quickly in this way. 37:33 Pianist Olga Bobrova recalls of Igumnov’s influence in this regard: “His students were not like him, but they had one thing in common: a romantic attitude to music, which made the piano sound like (the) human voice. Their professor told them: ‘I want music to sound as (a) human language, in which poems, stories, and verses are written. The task of performers is to recite these poems and verses.’” Regarding the “old school traditions” that Sitkovetsky fears are now hardly in evidence, it has been suggested that in these times, the following factors militate against the spirit of Romanticism: realism, modernism, industrialization, standardization, rationalism, an alienation from Nature, the suppression of deep feelings, a general lack of or desire to be original, a lack of spirituality, and too great a focus on technology and materialism.
Beethoven Wielhorsky Huber Breitkopf Joseph Haydn 1770 1802 1803 1811 1827
Christus am Ölberge (in English, Christ on the Mount of Olives), Op. 85, is an oratorio by Ludwig van Beethoven portraying the emotional turmoil of Jesus in the garden of Gethsemane prior to his crucifixion. It was begun in the fall of 1802, after his completion of the Heiligenstadt Testament, as indicated by evidence in the Wielhorsky sketchbook. The libretto in German is by the poet Franz Xaver Huber, editor of the Wiener Zeitung, with whom Beethoven worked closely. It was quickly completed early the following year, and was first heard on April 5, 1803, and revised by Beethoven in 1811 for publication by Breitkopf & Härtel. Ludwig van Beethoven (baptized 17 December 1770 - 26 March 1827) was a German composer and pianist. The crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential composers of all time. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven moved to Vienna in his early 20s, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. His hearing began to deteriorate in the late 1790s, yet he continued to compose, conduct, and perform, even after becoming completely deaf. Free video background: (http•••) Creative Commons license: Public Domain.
Christus am Ölberge (in English, Christ on the Mount of Olives), Op. 85, is an oratorio by Ludwig van Beethoven portraying the emotional turmoil of Jesus in the garden of Gethsemane prior to his crucifixion. It was begun in the fall of 1802, soon after his completion of the Heiligenstadt Testament, as indicated by evidence in the Wielhorsky sketchbook.
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