Eugen von Sayn-Wittgenstein Video
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2024-04-30
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Rachmaninov Watanabe Akeo Watanabe Uusitalo Sibelius Abbey Simon Sayn Wittgenstein Wittgenstein 1525 1863 1913 1919 1920 1940 1966 1990 2019
Akeo Watanabe +••.••(...)) was a Japanese conductor of Finnish-Japanese parentage. Akeo's father Tadao was converted to Christianity in Japan by Finnish missionaries, Tadao then studied music in Helsinki where he married Siiri Uusitalo and the pair moved to Japan in 1913. Trivia: the first foreign-born member of the Japanese parliament was Marutei Tsurunen nee Martti Turunen (1940-) from Finland. Watanabe was the conductor/director of the Japan Philharmonic S.O, and apparently recorded two full cycles of the Sibelius symphonies in his lifetime, but from the little what I've heard they're not particularly noteworthy unfortunately. Abbey Simon +••.••(...)) was an American pianist. (http•••) 0:01 Allegro ma non tanto 15:25 Intermezzo: Adagio 25:30 Finale: Alla breve Art: F Winterhalter: Portrait of Leonilla, Princess of Sayn-Wittgenstein-Sayn, nee Baryatinsky (1863) (Yes I know I've used it before but it's such a great painting for great works)
Franz Liszt Nathan Milstein Georges Pludermacher Schoenberg Chopin Sayn Wittgenstein Wittgenstein Wagner 1830 1849
Franz Liszt: Consolation No. 3, Lento placido, 1849, Grove No. 172. The pianist here must be the child of Schoenberg, managing to turn a potentially sappy melody into a deeper inquisition into disjointed time which, in its rhythmic disfunction, acts as a deeper metaphor for our general alienation. In 1830, Charles-Augustin Sainte-Beuve published a book of poems, Consolations. He never felt secure as a poet, and eventually became a literary critic, moving in a circle that included de Vigny, Hugo, and the Abbé Lamennais, all friends of Liszt. Sainte-Beuve's overblown melancholic poetry, his musical language, and his pre-Symbolist use of concrete things to suggest the human soul appealed to Liszt, who was going spiritedly through a dispiriting period. Chopin had just died, and Liszt, who had never touched the forms which Chopin made immortal, now began to write his own versions in homage, perhaps to keep Chopin alive. Liszt's lover, Princess Carolyne Sayn-Wittgenstein, was chronically ill, suffering from hideous boils and cankers which covered her skin. In leaving her husband, she had forfeited her own enormous fortune, which was being pillaged by her vindictive ex-husband and the Russian crown, as a result of which no one in Weimar would speak to her. Liszt had to spirit Wagner into eleven years of exile to save his life, as Wagner had unwisely taken part in the unsuccessful Dresden Uprising. There was no money for the enormous concert schedule which Liszt nonetheless conducted in Weimar. He must have known somewhere in his unconscious how many enemies he had, many of them, like the Schumanns, exploiting his friendship. The book he was writing about Chopin was taken over by the Princess and turned into a mediocrity, causing many recriminations between them. Orchestras everywhere were schmaltzing up Liszt's compositions, assuring him of ignominy. In the midst of all of this, Liszt was a pillar of strength, proselytizing the Schumanns as they vilified him behind his back, conducting Wagner when all of Germany was terrified of being associated with the political exile, sticking with the bankrupt Weimar Court out of loyalty to his friend the Duke (until the Duke turned against him), and more or less forsaking the piano after he had invented the concept of the modern pianist. As the Duke said of Liszt, "The world usually judges wrongly what it cannot comprehend." So what Alan Walker calls the "secret sorrow" of this piece is no longer so secret from us, and its constant reference to Chopin's D flat Nocturne (track number 1) must have been a source of revitalization for Liszt. How blithely, how unbitterly Liszt coasted through tragedies which would have crushed anyone less sure of his immortality. Liszt's need for truth led him to become an Abbé later in life, and to simplify his compositions to the point that he is rightly the father, not only of modern music, but of minimalism, he who was its direct antithesis for much of his life. So it is a great consolation to me that if such a piece could console a genius with a searing vision of the world around him, who must have seen hypocrisy and tragedy so blindingly, then it must provide at least some comfort for those of us who face lesser problems. Paintings of Cole Thomas and Caspar David friedrich
Franz Liszt Schumann Debussy Bülow Michael Praetorius Weise Kornél Ábrányi Sayn Wittgenstein Wittgenstein Hasegawa
Weihnachtsbaum (English: Christmas Tree; French: Arbre de Noël) is a suite of 12 pieces written by Franz Liszt in 1873–76, with revisions in 1881. The suite exists in versions for solo piano and piano four-hands. Weihnachtsbaum does not demand great virtuosity, and it has been described as a distant relation of Schumann's Kinderszenen and Debussy's Children's Corner. It occupies an unusual place in Liszt's output, and it may be for these reasons that it has received relatively little attention from performers. Liszt dedicated Weihnachtsbaum to his first grandchild Daniela von Bülow +••.••(...); daughter of Cosima and Hans von Bülow). Daniela had accompanied her grandfather to Rome due to his frail condition. The first performance was on Christmas Day 1881 in Daniela's Rome hotel room. This was the day on which her mother Cosima always celebrated her birthday, although she was actually born on Christmas Eve. A number of the pieces are based on Christmas carols. The individual pieces are: 1: Psallite; Altes Weihnachtslied (Psallite; Old Christmas Song; originally a choral work by Michael Praetorius) 2: O heilige Nacht!; Weihnachtslied Nach Einer Alten Weise (O Holy Night!; Christmas Song on an Old Theme) 3: In dulci jubilo: Die Hirten an der Krippe (In dulci jubilo: The Shepherds at the Manger) 4: Adeste fideles: Gleichsam als Marsch der heiligen drei Könige (Adeste Fideles: March of the Three Holy Kings) 5: Scherzoso: Man zündet die Kerzen des Baumes an (Scherzoso: Lighting the Candles on the Tree at Last) 6: Glockenspiel (Carillon) 7: Schlummerlied (Slumber Song) 8: Altes provençalisches Weihnachtslied (Old Provençal Christmas Song) 9: Abendglocken (Evening Bells) 10: Ehemals (variously trans. as In Days Gone By, Old Times, Long Ago, Formerly) 11: Ungarisch (Hungarian; this is separately dedicated to Liszt's friend Kornél Ábrányi. 12: Polnisch (Polish). The work is divided into three books of four pieces each. Not all of the pieces have a Christmas connection. In particular, the last three are believed to be autobiographical in nature, depicting Liszt's relationship with Princess Carolyne zu Sayn-Wittgenstein. Ehemals is said to depict their first meeting, and is similar in mood and spirit to the Valses oubliées. Ungarisch and Polnisch are said to represent Liszt and Carolyne individually. Source: (http•••) VST: Garritan CFX Midi was made by Koichi Hasegawa, but original site was taken down, so reuploading on December 12.
Franz Liszt Schumann Debussy Bülow Michael Praetorius Weise Kornél Ábrányi Sayn Wittgenstein Wittgenstein Hasegawa
Weihnachtsbaum (English: Christmas Tree; French: Arbre de Noël) is a suite of 12 pieces written by Franz Liszt in 1873–76, with revisions in 1881. The suite exists in versions for solo piano and piano four-hands. Weihnachtsbaum does not demand great virtuosity, and it has been described as a distant relation of Schumann's Kinderszenen and Debussy's Children's Corner. It occupies an unusual place in Liszt's output, and it may be for these reasons that it has received relatively little attention from performers. Liszt dedicated Weihnachtsbaum to his first grandchild Daniela von Bülow +••.••(...); daughter of Cosima and Hans von Bülow). Daniela had accompanied her grandfather to Rome due to his frail condition. The first performance was on Christmas Day 1881 in Daniela's Rome hotel room. This was the day on which her mother Cosima always celebrated her birthday, although she was actually born on Christmas Eve. A number of the pieces are based on Christmas carols. The individual pieces are: 1: Psallite; Altes Weihnachtslied (Psallite; Old Christmas Song; originally a choral work by Michael Praetorius) 2: O heilige Nacht!; Weihnachtslied Nach Einer Alten Weise (O Holy Night!; Christmas Song on an Old Theme) 3: In dulci jubilo: Die Hirten an der Krippe (In dulci jubilo: The Shepherds at the Manger) 4: Adeste fideles: Gleichsam als Marsch der heiligen drei Könige (Adeste Fideles: March of the Three Holy Kings) 5: Scherzoso: Man zündet die Kerzen des Baumes an (Scherzoso: Lighting the Candles on the Tree at Last) 6: Glockenspiel (Carillon) 7: Schlummerlied (Slumber Song) 8: Altes provençalisches Weihnachtslied (Old Provençal Christmas Song) 9: Abendglocken (Evening Bells) 10: Ehemals (variously trans. as In Days Gone By, Old Times, Long Ago, Formerly) 11: Ungarisch (Hungarian; this is separately dedicated to Liszt's friend Kornél Ábrányi. 12: Polnisch (Polish). The work is divided into three books of four pieces each. Not all of the pieces have a Christmas connection. In particular, the last three are believed to be autobiographical in nature, depicting Liszt's relationship with Princess Carolyne zu Sayn-Wittgenstein. Ehemals is said to depict their first meeting, and is similar in mood and spirit to the Valses oubliées. Ungarisch and Polnisch are said to represent Liszt and Carolyne individually. Source: (http•••) VST: Garritan CFX Midi was made by Koichi Hasegawa, but original site was taken down, so reuploading on December 12.
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- cronologia: Compositori (Europa).
- Indici (per ordine alfabetico): S...