František Ondříček Video
compositore, insegnante di musica, violinista, docente
- violino
- musica classica
- Cisleitania
Ultimo aggiornamento
2024-05-02
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Sarasate Jan Kubelík Rafael Kubelík Weber Ondříček Otakar Ševčík Hans Richter Eugène Ysaÿe Jascha Heifetz Royal Philharmonic Czech Philharmonic Orchestra Hippodrome Theatre 1715 1880 1898 1900 1901 1902 1903 1907 1910 1911 1913 1920 1940
Jan Kubelik plays Sarasate's 'Spanish Dance,' recorded on 7 May 1913, with piano by Gabriel Lapierre. Jan Kubelík (5 July 1880 – 5 December 1940) was a Czech violinist and composer. He was born in Michle (now part of Prague). His father, a gardener by occupation, was an amateur violinist. He taught his two sons the violin and after discovering the talent of Jan, who was aged five at the time, arranged for him to study with Karel Weber and Karel Ondříček. Aged eight he studied at the Prague Conservatory with Otakar Ševčík, of whose technique he became the most famous representative. As a child, he used to practise 10 to 12 hours a day, or 'until my fingers started to bleed.' After 1898, he toured as a soloist, soon becoming renowned for his great virtuosity and flawless intonation, and his very full and noble tone. He played a Guarneri del Gesù and also two Stradivarius violins: he acquired the 1715 Stradivarius Emperor in 1910. After great success following his debut in Vienna, and in London (where he first appeared at a Hans Richter concert in 1900, Kubelík toured in the USA in 1901 for the first time. He made his first appearance for the Royal Philharmonic Society, London in the season of 1901–2, and in 1902 was awarded the Society's Gold Medal (in succession to Eugène Ysaÿe). In 1902 he brought the Czech Philharmonic Orchestra to London, having assisted it financially in the previous year. In 1903 he married Countess Anna Julie Marie Széll von Bessenyö (born 1 March 1880 in Budapest), niece of former Prime Minister of Hungary Kálmán Széll, with whom he had eight children, five violinist daughters and three sons, among them conductor Rafael Kubelík. Kubelík made a number of recordings; his acoustic recordings were made for The Gramophone Company, and for Fonotipia and Polydor... He wrote music, including six violin concertos, and continued to perform in public until his death, with a pause between the end of World War I and 1920, during which period he composed. In 1920 he resumed his concert career, but with the advent of Jascha Heifetz, his career dwindled somewhat... Jan Kubelík died in Prague in 1940, aged 60. In 1907, reviewing a concert by Kubelik at New York's massive Hippodrome Theatre, the New York Times wrote: 'Mr. Kubelik's artistry is of the most remarkable kind. He is not a deeply moving player; he has not the power of touching profoundly and immediately the hearts of his listeners nor of laying hold of the inner mystery of the greatest music. There is something aloof in him as he plays it; yet few have the power of so ravishing the senses with the sheer beauty of his tone, the charm of his cantilena, the elegance and ease with which he masters all the technical difficulties of what he is playing so that they no longer suggest themselves as difficulties. Octaves, thirds and sixths drop from his instrument in a tone of honeyed sweetness and oily smoothness; not a large tone, but one of indescribable roundness and purity; his runs and passages of all sorts are as pearls from his hands. There is something of feminine grace and charm in Mr. Kubelik's playing, and he seldom compels by its authority or stirs by its passion and virility, but in its way it is wholly delightful.' This recording was transferred by me from a 1920s English pressing of HMV DB 676. Interestingly, although both sides are in equivalent condition, the 1911 recording of 'Zapateado' on the reverse of the disc plays much better than this side.
František Ondříček Antonín Dvořák Pavel Šporcl Royal Philharmonic 1857 1891 1922
František Ondříček (29 April 1857 – 12 April 1922) was a Czech violinist and composer. He gave the first performance of the Violin Concerto by Antonín Dvořák, and his achievements were recognised by the rare award of honorary membership of the Philharmonic Society of London (now the Royal Philharmonic Society) in 1891. Performers: Violin: Pavel Šporcl Piano: Petr Jiríkovsky. Painting: Ippolito Caffi - Venice at Night.
Antonín Dvořák František Ondříček 1878 1879 1883
Antonín Dvořák Concerto for Violin & Orchestra in A, Op 53 Adagio ma non troppo (2 of 3) The Violin Concerto in A minor, Op. 53 (B.108), is a concerto for violin and orchestra composed by Antonín Dvořák in 1879. It was premiered in Prague in 1883 by František Ondříček, who also gave the Vienna and London premieres. Today it remains an important work in the violin repertoire. The concerto is scored for solo violin and an orchestra consisting of 2 flutes, 2 oboes 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Dvořák was inspired to write the concerto after meeting Joseph Joachim in 1878, and composed the work with the intention of dedicating it to him. However, when he finished the concerto in 1879, Joachim became skeptical about it. Joachim was a strict classicist and objected, inter alia, to Dvořák's abrupt truncation of the first movement's orchestral tutti. Joachim also didn't like the fact that the recapitulation was cut short and that it led directly to the slow second movement. It is also assumed that he was upset with the persistent repetition found in the third movement. However, Joachim never said anything outright and instead claimed to be editing the solo part. He never actually performed the piece in public. Listen to our live classical music online radio stream: (http•••) #Dvořák #MusicForStudying #ClassicalMusic #Masterpiece #Beautiful #MusicLover #CreativeMusic #WorkMusic #StudyMusic #MusicForStudying #GoodMusic #RevisionMusic #DrivingMusic
Antonín Dvořák Pietari Inkinen Simrock Streicher František Ondříček Brahms Stark Congresshalle 1882 2021
Antonín Dvořák ∙ Violinkonzert a-Moll op. 53 00:24 - Allegro ma non troppo 11:44 - Adagio ma non troppo 22:04 - Finale. Allegro giocoso ma non troppo Deutsche Radio Philharmonie Pietari Inkinen, Dirigent Josef Spaček, Violine Congresshalle Saarbrücken ∙ Sonntag, 12. Dezember 2021 / „Recht originell, kantilenenreich und für gute Geiger“ Das Violinkonzert in a-Moll schrieb Antonín Dvořák auf eine Anregung durch seinen Verleger Simrock: Wollen Sie mir ein Violinkonzert schreiben? Recht originell, kantilenenreich und für gute Geiger? Bitte ein Wort! Der Komponist hatte in seiner Zeit während und nach des Studiums seinen Lebensunterhalt als Streicher bestritten und war so mit dem Instrument vertraut. Im selben Jahr lernte er den damaligen Star-Geiger und Direktor der Berliner Musikhochschule Joseph Joachim kennen, und schnell verband die beiden Musiker eine Freundschaft. Dvořák schickte Joachim eine erste Fassung des Violinkonzerts, welcher umfassende Änderungsvorschläge im Bereich des formalen Aufbaus und der Instrumentaltechnik anmerkte. Daraufhin arbeitete der Komponist das Werk um und schrieb an seinen Verleger, er habe das ganze Concert umgearbeitet, nicht einen einzigen Takt habe ich behalten. Die neue Fassung schickte er ebenfalls an Joachim, der ihm allerdings erst 1882 darauf antwortete. Wieder hatte er verschiedene Anmerkungen, was die Instrumentation anging. Zudem kürzte er das Werk. Bei der nichtöffentlichen Uraufführung an der Berliner Musikhochschule stand Joachim dann selbst als Solist auf dem Podium. Die erste öffentliche Aufführung fand in Wien mit dem Orchester des Prager Nationaltheaters mit František Ondříček an der Violine statt und wurde vom Publikum begeistert aufgenommen. Hier wurde der Grundstein für einen Siegeszug gelegt, der bis heute anhält: Dvořáks Violinkonzert wird in einem Atemzug mit denen Schumanns, Mendelssohns, Brahms und Tschaikowskis als eines der bedeutendsten des 19. Jahrhunderts genannt. Formal gestaltete Dvořák das Werk ungewöhnlich: So ist der erste Satz Sonatensatz und Rondo zugleich. Das Hauptthema ist klar slawischen Ursprungs, wobei das Seitenthema kantabel kontrastiert. In der Durchführung werden die Themen nach der Variationstechnik verarbeitet bevor es atacca in das Adagio geht. Dieses kontrastiert die Stimmung im ersten Satz durch einen melancholischen Ton. Formal nimmt Dvořák das Konzept des ersten Satzes im Finalsatz wieder auf und übernimmt im Hauptthema die stark synkopierten Rhythmen des slawischen Furiants.
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