Carl Maria von Weber 6 Chants, Opp. 66 Vidéos
Dernière mise à jour
2024-04-22
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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.
Vidal Bizet Aloysia Weber Weber Elisabeth Grümmer Opera Comique Paris 1960 1985 1990 1994 2000 2006
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. Elizabeth Vidal certainly qualifies for my "glass shatterer" series with a stratospheric range that she weaves into many of her operatic and recital programs. She appeared in several of my previous Aloysia Weber concert aria comparisons, but it is surely time for her to have a solo video, apropos as I shift my focus to French music for the soprano lèger colorature. THE SONGBIRD: I discovered Vidal in 1994 when I purchased her first CD recital "Romances et Chants D'oiseaux" when it was released (it is exquisite and HIGHLY RECOMMENDED!). Ms. Vidal was born in Nice in 1960. She entered École de Chant at the Paris Grand Opera and studied with Elisabeth Grümmer. In 1985, Vidal made her debut at the Opera Lyon and appeared at the Aix-en-Provence. She created a sensation in 1990 singing the demanding lead role in Auber's "Manon Lescaut" at the Opera-Comique in Paris and has since appeared in leading light and dramatic coloratura roles in many European opera houses and concert halls / with a specialty for unearthing long-forgotten works from French composers (especially if they wrote something for a high soprano, of course, which they often did). Here she sings Catherine's haunting ballade "Echo viens" from the end of Bizet's opera (she's gone bonkers / is this the shortest "mad scene" ever written?), easily suspending two pianissimo High Fs. This is from a concert in Paris in 2000. She also included this in a studio recording of French opera arias on the Talent label, released in 2006.
Weber Daveda Karanas 1939 1941
Three Songs 0:00 Ich wandre durch Theresienstadt 3:31 Und der Regen rinnt 4:55 Wiegala Please enjoy our performance of these three songs by Ilse Weber. Ilse was a Czech author, songwriter, and poet. When the Nazis occupied Czechoslovakia in 1939, the Webers were able to get their eldest son to safety in Sweden through Kindertransport. However, in 1941, Nazis began deporting Jews to the concentration camp in Theresienstadt. Unfortunately, Ilse, her husband, and their younger son Tommy were sent to Theresienstadt in February of the following year. She worked in the camp's children's hospital at night, doing all she could for the patients without the help of medicine, as it was forbidden for Jewish prisoners. She wrote many poems while there and set a good number of them to music. She would accompany herself on guitar as she sang her lullaby-like songs to children and the elderly. When her husband was deported to Auschwitz two years later, she and Tommy went with him so as not to break up their family. It is said that Ilse sang to her son and many other children as she accompanied them voluntarily into the gas chambers. We reflect on Ilse’s perseverance and fortitude and are honored to bring you this performance. mezzo-soprano Daveda Karanas pianist Michael Lewis Thumbnail photo: Barbara Face
Enns Specht Zucker Helfer Bao Albers Baier Erhardt Fischer Frey Fries Heer Katz Kunkel Nagel Neumann Pfeiffer Reusch Rieger Schäfer Schönfeld Elisabeth Schwarz Speidel Stadtfeld Staub Stein Christian Vogel Vogel Weber Wegner Weller Zimmermann Bunte 2017 2021
Checkt unsere umfangreichen Materialpackages zu all unseren Songs aus: (http•••)ine/#material - - - - - CREDITS Text: Götz von Sydow, Florence Joy, Thomas & Jonathan Enns, Marco Michalzik Musik: Götz von Sydow, Florence Joy, Thomas & Jonathan Enns Producer: Benjamin Burbulla Executive Producer & Chor-Arrangement: Benjamin Steinhoff Vocal-Recording, Mix & Master: Kilian Mohns Copyright: 2017 Verlag: Edition Koenige&Priester / dieKoalition Kamera & Schnitt: spechtperspektive (Tim-David Specht) Coverdesign (Fotomontage!): spechtperspektive (Tim-David Specht) Coverphotos: Lisa Rehorn Dekoration: Anni Lenz Chorleitung: Benjamin Steinhoff & Sebastian Heeß Projektleitung: Benjamin Steinhoff Projektmitarbeit: Sebastian Heeß, Isabelle Kraft, Klaus Schmiegel & Toby Zucker Helfer/innen: Anni, Christine & Ulrich Lenz, Lisa Rehorn, Lena Schiller, Pauline Stickel, Ulrich Weible & Maren Zipperlen Ein Kooperationsprojekt zwischen… …dem Evangelischen Jugendwerk in Württemberg, dem Bund der Deutschen Katholischen Jugend (Diözese Rottenburg-Stuttgart), dem Kinder- und Jugendwerk der Evangelisch-methodistischen Kirche sowie Internationalen Gemeinden des Internationalen Konvents christlicher Gemeinden in Württemberg Solist/innen: Felix Riek & Sarah-Maria Fengler Sprecher/innen „Vaterunser“: Diana Osawe (Englisch), Tsinjo Deralazantsoa (Madagassisch), Jessica Boateng (Twi), Koorosh Ahmadi (Farsi), Sarina Eichoue (Arabisch), Tabea Ahmed (Spanisch), Ivo Kurniadi (Indonesisch), Sara Smith (Finnisch), Bao Hiep Tran (Vietnamesisch) & Isabelle Kraft (Französisch) Sänger/innen: Fiona Aberle, Tabea Ahmed, Malena Albers, Lionel Amarteifio, Miriam Baier, Judith Blank, Milena Blessing, Kezia Blieske, Leonie Büchle, Jael Diether, Michal Diether, Tom-Luca Dogaru, Simon Doubleday, Pia Elsässer, Johanna-Pauline Erhardt, Sarah-Maria Fengler, Amrei Fischer, Lena Frey, Lotta Frey, Luise Frey, Jennifer Fries, Laura Fritschi, Laura Gerold, Jana Göhler, Lea Häcker, Anna Häuser, Lisa Heer, Sarah Högerle, Felisa Jakob, Liv Kailbach, Elisa Katz, Mathias Katz, Hannah Katzenmeier, Friedens Emmanuel Kisalu, Marcella Knorpp, Sara Kunkel, Martha Küstermann, Judith Laidig, Marilena Lauerer, Loni Lila, Graciella Lustika Bawole, David Maisenbacher, Immanuel Mauz, Julija Miljkovic, Jonathan Müller, Kim Müller, Ria Müller, Carolina Nagel, Finja Neumann, Heike Ostertag, Jan-Philipp Pfeiffer, Julia Pinneger, Juliana Esther Pipiorke, Sydney Placktor, Anna Reischl, Kim-André Reusch, Jenny Rieger, Felix Riek, Katharina Riek, Joel Schäfer, Ann-Kathrin Schilling, Debora Schönfeld, Lisa Schoone, Annikka Schray, Elisabeth Schwarz, Anna-Lena Schweizer, Jana Speidel, Hanna Sperrer, Judith Stadtfeld, Jael Staub, Vanessa Steidl, Romy Stein, Benjamin Steinhoff, Hannah Strick, Emily Trabitzsch, Christian Vogel, Salomé Vogel, Chiara Wagner, Rebecca Walter, Anna-Sophia Weber, Julia Weber, Jasmin Wegner, Johannes Weller, Rebecca Weller, Anna-Lena Wiblishauer, Rebecca Zimmermann & Maren Zipperlen Es waren Jugendliche dabei… ...aus diversen Evangelischen und Katholischen Kirchengemeinden in ganz Deutschland, aus verschiedenen Internationalen Gemeinden aus dem Internationalen Konvent christlicher Gemeinden in Württemberg, aus Neuapostolischen Kirchen sowie aus verschiedenen Evangelischen Freikirchen und Vereinen. Alle Aufnahmen fanden unter den zum Aufnahmezeitpunkt gültigen Coronavorschriften und mit einem dem Gesundheits- und Ordnungsamt bekannten Schutz- und Hygienekonzept statt. Der Song „Warum feiern wir nicht“ ist auch im neuen „DAS LIEDERBUCH 2“ zu finden, das am 23. Juli 2021 erscheint und ebenfalls in Kooperation zwischen dem Evangelischen Jugendwerk in Württemberg, dem Bischöfliches Jugendamt der Diözese Rottenburg-Stuttgart und dem Kinder- und Jugendwerk der Evangelisch-methodistischen Kirche entstanden ist. Jetzt vorbestellen unter: (http•••) - - - - - “YOU/C – Sing-Community”, die neue Arbeit im Rahmen von “musikplus” beim Evangelischen Jugendwerk Württemberg (EJW) und der Evangelischen Landeskirche Württemberg, will Jugendliche für das (gemeinsame) Singen begeistern und in einer Community miteinander vernetzen. Bestehende Teenie- und Jugendchöre will YOU/C unterstützen und dabei helfen, dass neue Chöre entstehen oder einfach Jugendliche zum Singen finden. Dafür wird jeden Monat ein großes Materialpackage mit Tutorials und innovativen Zusatzmaterialien zu einem attraktiven Song als freshes, zwei- bis dreistimmiges Chorarrangement – eine bunte Mischung aus modernen und älteren Songs in Remixversionen – online bei YouTube veröffentlicht, das Interesse weckt, Spaß vermittelt, Gottes Liebe spürbar macht und beim Singen und Üben der Songs unterstützt. (http•••)ine (http•••) (http•••) (http•••) (http•••)
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- Les plus grands chants classiques et lieder
- Oeuvres incontournables: période classique • période romantique
- Index (par ordre alphabétique): 6...