George Bridgetower Video
musicista, compositore, violinista
- violino
- musica classica
- Regno Unito di Gran Bretagna e Irlanda
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2024-04-27
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Ludwig Van Beethoven Rodolphe Kreutzer Wolfgang Schneiderhan Wilhelm Kempff George Bridgetower 1770 1803 1827 1952 2021
Ludwig Van Beethoven +••.••(...)) - The 10 Violin Sonatas / Remastered. Qobuz (http•••) Tidal (http•••) Spotify (http•••) Youtube Music (http•••) Apple Music (http•••) Amazon Music (http•••) Deezer (http•••) Amazon Store (http•••) Napster (http•••) Soundcloud (http•••) LineMusic日本 (http•••) Awa日本 (http•••) 00:00 Violin Sonata No.9 in A Major, Op.47 ''Kreutzer'' - I. Adagio sostenuto, Presto 14:44 Violin Sonata No.9 in A Major, Op.47 ''Kreutzer'' - II. Andante con variazioni I-IV 32:16 Violin Sonata No.9 in A Major, Op.47 ''Kreutzer'' - III. Finale, Presto Violin Sonata No.9 in A Major, Op.47 ''Kreutzer'' Listen to our latest mastering update: (http•••) Violin: Wolfgang Schneiderhan Piano: Wilhlem Kempff Recorded in 1952, at Vienna New mastering in 2021 by AB for CMRR FOLLOW US on SPOTIFY (Profil: CMRR) : (http•••) Download CMRR's recordings in High fidelity audio (QOBUZ) : (http•••) ️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) (http•••) Almost forgotten version and yet magnificent (perhaps because of the bad sound restitution which is here of a quality superior to any other edition). The union of two great Beethovenians at the pinnacle of their art. The complete edition is available on youtube music and on all major music streaming platforms: (http•••) The recordings were made on Schneiderhan's home turf, in the excellent acoustic of the Mozart saal at the Konzerthaus, the artists tackling the sonatas in order of opus number. This cycle shows every sign of careful preparation — to the extent of using a new Urtextedition. One is struck by the aptness of the partnership, arising as much from the differences between the players as from their similarities. Kempff has sometimes been accused of taking a lightweight view of Beethoven and conversely Schneiderhan has been criticized on occasion for being too serious. By one of those lucky chances of chemistry, the two of them create a synergy which emphasizes their virtues and cancels out their negative points. The performances rest on a solid foundation of luminous piano and violin tone, generous phrasing and a mutual rhythm which seems to bubble up from within the music. Beethoven's 9th violin sonata, commonly known as the Kreutzer Sonata, was published as his Op. 47. It is known for its demanding violin part, unusual length (a typical rendition taking around 40 minutes), and emotional scope — while the first movement is predominantly furious, the second is meditative and the third joyous and exuberant. Originally dedicated to violinist George Bridgetower who performed it sight-reading with Beethoven at the 1803 premiere it was later rededicated to Rodolphe Kreutzer, widely considered the finest violinist of the day. The reason for the change was that, apparently, Bridgetower had insulted a woman cherished by Beethoven. Kreutzer, however never performed the work, considering it unintelligible. It is said that, in fact, he did not really care for Beethoven's music. The first movement is introduced adagio in the key of A major by the violin. After the entrance of the piano and a passage in minor begins a vehement presto, the framework of this movement which ends on an energetic coda after a brief recall of the theme of the adagio. The contrast is striking with the softness of the second movement, superb and ample variations in the key of F major. The calm is suddenly broken by the entry of the third movement, a virtuosic and exuberant piece in tarantella form, originally composed for the Sonata for Violin and Piano Op.30 No.13,6, which ends in a frantic rush, as if by exhaustion of both instruments. Rare are the duet sonatas where the duality of the instruments is so emphasized: the composer declared that he had written this sonata in the style of a concerto, and musicologist Chantavoine described the first and third movements as "a veritable corps à corps between the two instruments. Ludwig Van Beethoven PLAYLIST (reference recordings): (http•••)
Beethoven George Bridgetower Streit Rodolphe Kreutzer Louis Baron Weise Wdr Sinfonieorchester 1766 1798 1832 1842 2022
Ludwig van Beethovens Violinsonate Nr. 9 A-Dur op. 47 ("Kreutzersonate") in der Bearbeitung für Streichinstrumente, gespielt von Mitgliedern des WDR Sinfonieorchesters am 06.03.2022 im Kölner WDR Funkhaus. Ludwig van Beethoven - Sonate A-Dur für Violine und Klavier op. 47 "Kreutzersonate" in einer Bearbeitung für zwei Violinen, Viola und zwei Violoncelli (anonym, veröffentlicht 1832) 00:00:00 I. Adagio sostenuto – Presto 00:11:12 II. Andante con variazione 00:23:14 III. Presto Sara Etelävuori, Violine Pierre-Alain Chamot, Violine Sophie Beckers, Viola Juliana Przybyl, Violoncello Gudula Finkentey-Chamot, Violoncello ► Mehr zum Sinfonieorchester, zu Konzerten und aktuellen Livestreams gibt es bei (http•••) ► Das WDR Sinfonieorchester bei Facebook (http•••) ○ Werkeinführung In der Zeit, als Ludwig van Beethoven innerlich mit den Klangfluten seiner "Eroica" rang, hörte er das Violinspiel eines hochbegabten Mannes, der aus London nach Wien gereist war, um sich auch dort einen Namen zu machen: George Bridgetower. Beethoven war so angetan, dass er dem jungen Geiger kurzerhand eine Sonate in die Finger komponierte. Voll freundschaftlichen Überschwangs schrieb er eine Widmung auf sein Manuskript, die heute irritiert: "Sonata mulattica Composta per il Mulatto Brischdauer – gran pazzo e compositore mulattico" (mulattische Sonate, komponiert für den Mulatten Bridgetower, großer Narr und mulattischer Komponist). Aber ähnlich, wie Beethoven die Widmung seiner "Eroica" an Napoleon ausradierte, rückte er auch von Bridgetower ab. Der Grund war hier jedoch keine Selbstkrönung, sondern ein nicht zu kittender Streit – wenn man dem Klatsch Glauben schenkt – wegen einer von Beethoven umschwärmten Herzensdame. Und so war der Komponist gezwungen, einen alternativen Widmungsträger zu finden. Naheliegend erschien ihm ein Franzose, mit dem er bereits 1798 erstmals zusammen musiziert hatte und der als einer der besten seines Fachs galt: Rodolphe Kreutzer (1766 – 1842). Über ihn meinte Beethoven: "dieser Kreutzer ist ein guter lieber Mensch, der mir … sehr viel Vergnügen gemacht, seine Anspruchslosigkeit und Natürlichkeit ist mir lieber als alles Exterieur ohne Interieur der meisten Virtuosen". Und so ging das Opus 47 als "Kreutzersonate" in die Geschichte ein. Laut Louis Baron de Trémont, einem gemeinsamen Bekannten von Komponist und Geiger, kam das Stück dem Stil des Franzosen in keiner Weise entgegen: "Kreutzer spielte stets mit geläufigem Bogen, den er stets auf der Saite hatte. Doch hier ist das gesamte Stück in getüpfelten und springenden Tönen; deswegen hat Kreutzer es nie gespielt". In der Zeit, als man noch selbst zum Instrument greifen musste, um in den eigenen vier Wänden Musik zu erleben, wurden zahllose Bearbeitungen gedruckt, um die unterschiedlichsten Besetzungen von Hausmusik abzudecken. Fünf Jahre nach Beethovens Tod erschien die "Kreutzersonate" – neben der "Frühlingssonate" schon damals seine bekannteste Violinsonate – in einer anonymen Streichquintett- Fassung, die wir im Konzert präsentieren. (Text: Otto Hagedorn)
Beethoven Bridgetower Kreutzer
Parlance Chamber Concerts’s Artistic Director, Michael Parloff, tells the story of George Polgreen Bridgetower, the Afro-European violin virtuoso who inspired Beethoven's “Bridgetower-Kreutzer" Sonata in A Major, Op. 47. Violinist Kristin Lee and pianist Gilles Vonsattel's performance of the “Bridgetower-Kreutzer" Sonata at Parlance Chamber Concerts on can be watched at (http•••) Parlance Chamber Concerts (Michael Parloff, Artistic Director) presents 8 to 10 concerts per season featuring world-class performers. Tickets and information at (http•••) Video produced by Darryl Kubian A/V Production by Indigo Fox Media 2020Parlance Chamber Concerts
Classical music's power as a catalyst for love and forgiveness plays a starring role in the upcoming documentary film Sonata Mulattica, produced by Spark Media with support from the Fetzer Institute. The film weaves the stories and contrasting fortunes of two gifted musicians of African heritage, one contemporary and one historical.Along with contemporary violinist Joshua Coyne, the film examines the obscure legacy of George Polgreen Bridgetower, a 19th century violin prodigy revived for history by former U.S. Poet Laureate Rita Dove. Coyne, severely abused as a toddler and adopted by a loving mother, discovers his gift for classical music; Bridgetower, a virtuoso violinist, rose from obscurity to a brief run of European fame in the 18th century.
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