Edward Elgar Allegro de Concert, Op. 46 Vidéos
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2024-04-27
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Robert Schumann Ritter Beethoven Brahms Debussy Scriabin Carl Reinecke Clara Schumann Thomas Beecham Mozart Schonberg Leonard Borwick Harry Plunket Greene Greene Edward Elgar Gewandhaus Wigmore Hall Gewandhaus Leipzig Vienna Philharmonic Royal Philharmonic 1810 1838 1856 1861 1885 1886 1887 1888 1889 1891 1893 1895 1902 1904 1905 1911 1915 1920 1921 1922 1923 1929 1934
Part I Robert Schumann +••.••(...)): Kinderszenen ("Scenes From Childhood"), Opus 15, a set of thirteen pieces of music for piano written in 1838. 1. Of Foreign Lands and Peoples (Von fremden Ländern und Menschen), G major 2. A Curious Story (Kuriose Geschichte), D major 3. Blind Man's Bluff (Hasche-Mann), B minor 4. Pleading Child (Bittendes Kind), D major 5. Happiness (Glückes genug), D major 6. An Important Event (Wichtige Begebenheit), A major 7. Reverie (Träumerei), F major 8. At the Fireside (Am Kamin), F major 9. Knight of the Hobbyhorse (Ritter vom Steckenpferd), C major 10. Almost Too Serious (Fast zu ernst), G-sharp minor Fanny Davies, piano Recorded in 1929. Fanny Davies (Guernsey, 27 June 1861-London, 1 September 1934) was an English pianist who was particularly admired in Beethoven, Schumann, Brahms, and the early schools, but was also a very early London performer of the works of Debussy and Scriabin. In England, she was regarded as the 'successor' of Arabella Goddard, though her style and technique differed from Goddard's considerably. Her first public performances were in Birmingham at the age of six. She studied privately in Birmingham, then at Leipzig Conservatory under Carl Reinecke and Oscar Paul: she then studied under Clara Schumann at Frankfurt. Her concert career began with the Saturday and Monday popular concerts in 1885; with the Philharmonic concerts 1886; Berlin, 1887; Gewandhaus, Leipzig, 1888; Rome, 1889; Beethoven Festival at Bonn, 1893; Vienna Philharmonic, 1895; Milan, 1895 and 1904; Paris, 1902, 1904 and 1905; Holland, 1920 and 1921; Prague, 1920 and 1922; and Spain 1923. She was frequently engaged by the Royal Philharmonic Society, making her last appearance in its Society programme on 15 November 1915 under the baton of Thomas Beecham in Mozart's G major Concerto K. 453. She had appeared in a Mozart concerto at Beecham's London debut at the Bechstein (Wigmore) Hall on 5 June 1905. Her work in the large concert works was admired by many for its lyrical projection, warmth and clarity of inner lines and musicianly authority Her once-popular late 1920s recording of Schumann's Piano Concerto in A minor represents a direct tradition from the composer. Harold Schonberg observed, 'behind her neat, controlled, tasteful playing one can see the specter of Clara'. Yet, despite an old recorded sound, the performance is not without its fire and drama. Like Leonard Borwick (another Clara Schumann pupil and accompanist in lieder to Harry Plunket Greene), she 'embodied in a remarkable degree the unique qualities of the romantic school of which ... Clara Schumann was admittedly the most spontaneous and finished exponent. The success of these two native artists was destined to afford great encouragement to rising students both in England and on the continent. It also helped to create among the general mass of amateurs a taste for pianoforte playing of a more warm-blooded type than had hitherto satisfied them', wrote Hermann Klein in c. 1891. Davies also published musicological articles (e.g. on Schumann's music, Musical Times August 1911, and on Brahms's own playing and tempi in the C minor Piano Trio, Op. 101, in Cobbett's Cyclopedic Survey of Chamber Music) and gave musical lectures. An article about her appeared in the Musical Times for June 1905. Fanny Davies was the first person to give a piano recital in Westminster Abbey. She also gave the premiere performance of Edward Elgar's Concert Allegro.
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Allegro de Concert, Op. 46 ? Nous n'avons pas encore rassemblé beaucoup de contenu sur ce sujet, mais nous continuons à chercher.
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