Antal Doráti Vidéos
chef d'orchestre et compositeur (1906–1988)
- symphonie
- États-Unis, Hongrie
- chef ou cheffe d'orchestre, compositeur ou compositrice
streaming
chaînes vidéo
Dernière mise à jour
2024-03-29
Actualiser
Antonín Dvořák Antal Doráti Minneapolis Symphony Orchestra 1959 1997
Provided to YouTube by Universal Music Group Dvořák: 8 Slavonic Dances, Op.46 - No.1 in C (Presto) · Minneapolis Symphony Orchestra · Antal Doráti Dvorák: Slavonic Dances Op.46 & Op.72 ℗ 1959 Universal International Music B.V. Released on: 1997-01-01 Composer: Antonín Dvořák Auto-generated by YouTube.
London Symphony Orchestra Antal Doráti Schoenberg Anton Webern Berg 2017
Provided to YouTube by Believe SAS Five Pieces for Orchestra, Op. 10: I. 1. Sehr ruhig und zart; 2. Lebhaft und zart bewegt; 3. Sehr langsam und auberst ruhig; 4. Fliebend, auberst zart; 5. Sehr fliebend · London Symphony Orchestra, Antal Doráti Schoenberg & Webern Five Pieces for Orchestra and Berg Three Pieces for Orchestra & Lulu Suite ℗ Mangora Classical Released on: 2017-03-01 Composer: Anton Webern Auto-generated by YouTube.
Béla Bartók Székely Antal Doráti London Symphony Orchestra 1963 2004
Provided to YouTube by Universal Music Group Bartók: Bluebeard's Castle, Sz. 48 (Op.11) - original version - Door 7. "Lásd a régi aszszonyokat" · Olga Szönyi · Muhaly Székely · London Symphony Orchestra · Antal Doráti Doráti conducts Bartók ℗ 1963 Universal International Music B.V. Released on: 2004-09-01 Composer: Béla Bartók Author: Béla Balázs Auto-generated by YouTube.
Beethoven Christian Gottlob Neefe Antoine Reicha Nikolaus Simrock Franz Ries Ries Joseph Haydn Johann Georg Albrechtsberger Antonio Salieri Johannes Brahms Richard Wagner Dorati London Symphony Orchestra 1770 1792 1794 1800 1811 1817 1827
Ludwig van Beethoven, (1770 – 1827), born in the small city of Bonn, Germany, was the predominant musical figure in the transitional period between the Classical and Romantic eras. The events of Beethoven's life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. He received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. He moved to Vienna in 1792 to study with Joseph Haydn; despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. His works also include the celebrated 9 symphonies; the opera Fidelio; 2 masses; 5 piano concertos; a violin concerto; 6 piano trios; 10 violin sonatas; 5 cello sonatas; and several concert overtures. Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. He profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works. The Romantic tradition of descriptive music began with Beethoven's "Pastoral" Symphony No. 6. Even in the second half of the nineteenth century, Beethoven still directly inspired both conservatives (such as Johannes Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Richard Wagner, who viewed the Ninth Symphony as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power. Ludwig van Beethoven died in Vienna, Austria on March 26, 1827. Symphony No.7 in A, Op. 92 - Allegretto Performed by the London Symphony Orchestra Antal Dorati, Conductor
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