Ödön Mihalovich Vidéos
compositeur hongrois
- piano
- opéra, symphonie
- Hongrie
- compositeur ou compositrice, musicologue, professeur ou professeure de musique, pianiste
Dernière mise à jour
2024-05-14
Actualiser
Mihalovich Pons Joachim Raff Richard Strauss Harry Rowe Shelley Shelley Enrique Granados Constant Lambert Vittorio Gui Sabata Frederick Delius 1872 1943 1956
А знаете ли вы, что с интерпретацией темы Ромео и Джульетты в музыке связаны также следующие имена: Odon Mihalovich, Antonio Mercadel y Pons, Josef Joachim Raff, Richard Strauss (четыре музыкальных отрывка для сцены), Harry Rowe Shelley, Enrique Granados, Constant Lambert, Vittorio Gui, Victor De Sabata, Frederick Delius ... Английский композитор Фредерик Дилиус написал музыку на тему новеллы "Сельские Ромео и Джульетта." - A village Romeo and Juliet - (в 1943 году на музыку Дилиуса, в аранжировке Дорати, Энтони Тюдором был поставлен балет в The Ballet Theatre Метрополитен, Нью-Йорк). Где-то сообщалось также, что священник, композитор и исполнитель духовной музыки, Лоренцо Перози +••.••(...)) в молодые годы написал оперу "Ромео и Джульетта", но затем, сочтя это произведение греховным, уничтожил партитуру. Следите за обновлениями! (http•••) - Юбилей Свердловской киностудии - "the 70" (http•••) - ШКОЛА КИНО Свердловской киностудии (http•••) - Официальная группа в ВК (http•••) - Официальная группа в Facebook (http•••) - Follow US! (http•••) - Официальный сайт проекта
Riego Liszt Ferenc Scholz Barabás Weber Esterházy Hummel Reicha Kornél Ábrányi Erkel Ödön Mihalovich Pusztai Beethoven 1810 1815 1818 1829 1832 1835 1842 1845 1846 1848 1849 1851 1853 1857 1859 1865 1866 1870 1898
★ Follow music ► (http•••) Composer: Mihály Mosonyi +••.••(...)) Work: 3. F-dúr Mise (1849) Performers: Vanessa del Riego Ledo (soprano); Simone Veder (alto); Lars Terray (bariton); Liszt Ferenc Chorus and Orchestra; Péter Scholz 3. F-dúr Mise (1849) 1. Kyrie 0:00 2. Gloria 7:05 3. Credo 14:29 4. Sanctus 26:16 5. Benedictus 28:05 6. Agnus Dei 32:53 Painting: Miklós Barabás +••.••(...)) - The Arrival of the Bride Image in high resolution: (http•••) Painting: Henrik Weber +••.••(...)) - The Composer Mihály Mosonyi and His Wife (c.1845) Image in high resolution: (http•••) Further info: (http•••) Listen free: (http•••) / Mihály (Brand, Michael) Mosonyi (Boldogasszonyfalva, [now Frauenkirchen], 4 September 1815 - Pest, 31 October 1870) Hungarian composer, teacher and writer on music. Like Liszt, he was born in the border region between Hungary and Austria at the meeting-point of several cultures. His name was originally Michael Brand, the same as his father and grandfather, and his first language was German. The fourth of 11 children in a family of furriers, he learnt the usual wind instruments of peasant life. Boldogasszonyfalva was a famous place of pilgrimage, and in its church, built by Prince Pál Esterházy, he had the opportunity to practise the organ and, between the ages of 10 and 12, to deputize for the cantor. In 1829 he left home to work as a church officer in Magyaróvár, where he taught himself music by copying Hummel's manual of exercises for the piano. About 1832 he moved to Pozsony (now Bratislava), at that time the capital of the Hungarian kingdom. Its cultural life was dominated by the nearby imperial city of Vienna, and became acquainted with the great works of Viennese masters and resolved to devote himself to music. He earned a living by teaching calligraphy, copying music, and working as a newsboy, later and typesetter for a printing firm, while he studied the piano and music theory with Károly Turányi, who later became Kapellmeister in Aachen. Turányi and another patron, Count Károly Keglevich, obtained for Mosonyi a position as a piano teacher at the residence of Count Péter Pejachevich in the Slavonian village of Rétfalu. There he spent seven years +••.••(...)), becoming an accomplished pianist and, with the help of Reicha's theoretical works, a composer. The compositions he finished in Rétfalu reveal a diligent pupil of the Classical style. In 1842 he moved to Pest, where he worked until his death. He never held a public, municipal or ecclesiastical position, nor was he in the service of a theatre, teaching institute or aristocratic household. One of the first independent musicians in Hungary to earn a living by teaching the piano and composition, his most famous pupils were Kornél Ábrányi (the elder), Gyula and Sándor Erkel (sons of Ferenc), Sándor Bertha, and the future director of the Budapest Academy of Music, Ödön Mihalovich. He was encouraged to compose by the stimulating intellectual atmosphere in Pest in the decade before the Hungarian War of Independence +••.••(...)). On 3 October 1846 he married Paulina Weber, sister of the famous portrait painter Henrik Weber. In the same year he began writing his Second Symphony, which was not performed until ten years later. He took part in the War of Independence as a member of the National Guard. In 1849 he wrote a mass (his third) in memory of his benefactor and godfather Peter Piller. The early death of his wife (13 July 1851) brought on an emotional crisis, making it impossible for him to compose for two years. The elegiac autumnal lyricism of the German songs +••.••(...)), which were published by Breitkopf & Härtel, reflect his grief and show him a fully fledged Romantic. In 1857, on the occasion of the first visit to Hungary by the Empress (later Queen) Elisabeth, he composed a piano piece in Hungarian style, Pusztai élet (‘Puszta Life’). A whole year of compositional activity followed its favourable reception, and from about 1859 he wrote a series of new works in the national style. To give an outward gesture of his stylistic transformation, he took the Hungarian name of Mosonyi in 1859, after his place of birth (the county of Moson). In 1865 he went to Munich to attend the first performance of Tristan und Isolde. In the same year he played the double bass in the first performance in Pest of Liszt's Legende der heiligen Elisabeth. In his last years he composed noteworthy Hungarian art songs and ballads, and a series of choral works and cantatas of less importance. In 1870, a few months before his death, he was appointed to the programme selection committee of the Pest National Theatre and was also a member of the committee to prepare the Hungarian Beethoven centenary festival. He died with many ambitious hopes for a Hungarian national music.
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