Hermann Hirschfeld Video
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2024-05-21
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Franz Adolf Berwald Bernhard Crusell Hirschfeld Liszt 1440 1796 1819 1821 1850 1868
Franz Adolf Berwald (23 July 1796 – 3 April 1868) was a Swedish Romantic composer. He made his living as an orthopedist and later as the manager of a saw mill and glass factory, and became more appreciated as a composer after his death than he had been in his lifetime. Please support my channel: (http•••) Quartet for Piano, clarinet, horn and bassoon in E-flat major, Op. 1 (1819) 1. Adagio: Allegro ma non troppo - Allegro assai - Tempo I (0:00) 2. Adagio (11:28) 3. Allegro - Più Allegro (14:40) Joakim Kallhed, piano and the Arion Wind Quintet Details by Edition Silvertrust: Berwald's three movement Quartet for Piano, Clarinet, horn and Bassoon dates from 1819. It was premiered in Stockholm in 1821 with three virtuoso wind players--Bernhard Crusell on clarinet, Johann Hirschfeld on Horn and Franz Preumayer on Bassoon. It was not well received and in fact was attacked by the Swedish critics who could not understand what they considered an unnecessarily original style. Though fairly typical of the emerging German Romantic style, it was considered avant garde cacophony in conservative Sweden which was far behind musical tastes in Germany and Austria. The Quartet is one of the few works for this combination from the early 19th century. It opens with a short Adagio introduction which leads to an upbeat and bustling Allegro ma non troppo. The middle movement, an Adagio is rather sedate. The finale, Allegro, begins attacca begins as a light hearted rondo but is interspersed with march–like episodes. Sometime during the 1850’s, a German music critic is reputed to have asked Franz Berwald +••.••(...)) if he was still a composer. Berwald stared at him coldly and replied, “No, I am a glass blower.” This was neither a joke nor a sarcastic put-down of the critic by a bitter man whose music had been spurned in his own country and whose career in music had met with failure after failure. Berwald had in fact, at that time, actually been a glass blower! He had become involved with this successful business, and not his first, in order to make a living, something he could not do as a musician. Liszt, whom Berwald befriended in the 1850’s, told him, “You have true originality, but you will not be a success in your own lifetime.” Sadly, this prediction proved true. Berwald’s music remained unplayed and for the most part—especially in his native Sweden—unappreciated. Now, nearly a century and half after his death, he has been hailed by critics all over the world as a great Swedish composer. Born in Stockholm in 1796, Berwald was taught the violin by his father, a German who had settled in Sweden and was a member of the court orchestra. Berwald followed in his footsteps.
Klangart Heinrich Schütz John Cage Hirschfeld 2022
Das Ensemble Junge Musik Sachsen-Anhalt präsentiert 350 Jahre Musikgeschichte – Klassiker treffen auf die Gegenwart: Heinrich Schütz und John Cage feiern beide historische Jubiläen – C. René Hirschfeld und Thomas Buchholz hingegen stehen für eine zeitgenössische Musiksprache aus Sachsen-Anhalt. Mehr zu KlangART: (http•••)
Hastings Hirschfeld Jörn Indy Linke Olsson 1914 1918 2000 2004 2008 2013 2014 2016
On this day 100 years ago, Emperor Franz Joseph I of Austria-Hungary died after 66 years on the throne. He became emperor in a turbulent time and some say that only his reign held the empire together when the minorities demanded more and more independence. » HOW CAN I SUPPORT YOUR CHANNEL? You can support us by sharing our videos with your friends and spreading the word about our work.You can also support us financially on Patreon: (http•••) You can also buy our merchandise in our online shop: (http•••) Patreon is a platform for creators like us, that enables us to get monthly financial support from the community in exchange for cool perks. » WHERE CAN I GET MORE INFORMATION ABOUT WORLD WAR I AND WHERE ELSE CAN I FIND YOU? We’re offering background knowledge, news, a glimpse behind the scenes and much more on: reddit: (http•••) Facebook: (http•••) Twitter: (http•••) Instagram: (http•••) » CAN I EMBED YOUR VIDEOS ON MY WEBSITE? Of course, you can embed our videos on your website. We are happy if you show our channel to your friends, fellow students, classmates, professors, teachers or neighbours. Or just share our videos on Facebook, Twitter, Reddit etc. We are also happy to get your feedback, criticism or ideas in the comments. If you have interesting historical questions, just post them and we will answer in our OUT OF THE TRENCHES videos. You can find a selection of answers to the most frequently asked questions here: (http•••) » CAN I SHOW YOUR VIDEOS IN CLASS? Of course! Tell your teachers or professors about our channel and our videos. We’re happy if we can contribute with our videos. If you are a teacher and have questions about our show, you can get in contact with us on one of our social media presences. » WHAT ARE YOUR SOURCES? Videos: British Pathé Pictures: Mostly Picture Alliance Background Map: (http•••) Literature (excerpt): Gilbert, Martin. The First World War. A Complete History, Holt Paperbacks, 2004. Hart, Peter. The Great War. A Combat History of the First World War, Oxford University Press, 2013. Hart, Peter. The Great War. 1914-1918, Profile Books, 2013. Stone, Norman. World War One. A Short History, Penguin, 2008. Keegan, John. The First World War, Vintage, 2000. Hastings, Max. Catastrophe 1914. Europe Goes To War, Knopf, 2013. Hirschfeld, Gerhard. Enzyklopädie Erster Weltkrieg, Schöningh Paderborn, 2004 Michalka, Wolfgang. Der Erste Weltkrieg. Wirkung, Wahrnehmung, Analyse, Seehamer Verlag GmbH, 2000 Leonhard, Jörn. Die Büchse der Pandora: Geschichte des Ersten Weltkrieges, C.H. Beck, 2014 If you want to buy some of the books we use or recommend during our show, check out our Amazon Store: (http•••) NOTE: This store uses affiliate links which grant us a commission if you buy a product there. » WHAT IS “THE GREAT WAR” PROJECT? THE GREAT WAR covers the events exactly 100 years ago: The story of World War I in realtime. Featuring: The unique archive material of British Pathé. Indy Neidell takes you on a journey into the past to show you what really happened and how it all could spiral into more than four years of dire war. Subscribe to our channel and don’t miss our new episodes every Thursday. » WHO IS REPLYING TO MY COMMENTS? AND WHO IS BEHIND THIS PROJECT? Most of the comments are written by our social media manager Florian. He is posting links, facts and backstage material on our social media channels. But from time to time, Indy reads and answers comments with his personal account, too. The Team responsible for THE GREAT WAR is even bigger: - CREDITS - Presented by : Indiana Neidell Written by: Indiana Neidell Director: Toni Steller & Florian Wittig Director of Photography: Toni Steller Sound: Toni Steller Sound Design: Marc Glücks Editing: Toni Steller Motion Design: Philipp Appelt Research by: Indiana Neidell Fact checking: Markus Linke The Great War Theme composed by Karim Theilgaard: (http•••) A Mediakraft Networks Original Channel Based on a concept by Spartacus Olsson Author: Indiana Neidell Visual Concept: Astrid Deinhard-Olsson & David van Stephold Executive Producer: Spartacus Olsson Producer: Toni Steller & Florian Wittig Social Media Manager: Florian Wittig Contains licenced Material by British Pathé All rights reserved - Mediakraft Networks GmbH, 2016
Johann Strauss II Hirschfeld Alfred Zamara Lewy Blatt Richard Wagner Theater Wien 1669 1827 1836 1850 1858 1863 1883 1887 1888 1894 1904 1918 1928 1940 1963
In mid February 1887 Vienna's press broke the news that Johann Strauss had chosen a libretto by Victor Léon (the nom de plume of Viktor Hirschfeld, 1858-1940) as the subject for his next operetta project. The young, and at that time relatively untried, Viennese writer later recalled in an article for the Wiener Tagblatt +••.••(...)) that Strauss's friend and billiard-partner, Josef Priester +••.••(...)), had been the first to propose he write a book for Johann Strauss. Understandably taken aback by this unexpected approach, the librettist of the successful operetta Der Doppelgiinger (The Double, 1887) for Alfred Zamara +••.••(...)) responded to the challenge by offering Strauss the libretto for Simplicius Simplizissimus. Although Johann had made no secret of his desire to compose a stage work "with a German subject" and considered Léon's adaptation of H.J.C. von Grimmelshausen's novel, Der abenteuerliche Simplicissimus (Adventurous simplicissimus, 1669), "the most outstanding of all books of modern times" (letter to Gustav Lewy , circa 1.07.1887), the resulting operetta, called Simplicius, was not crowned by the success which his best efforts - nor the presence of Alexander Girardi +••.••(...)) in the rôle of the hero, simplicius - really deserved. It hardly helped that on the night of the première, 17 December 1887, the audience at the Theater an der Wien was unsettled by a minor alarm on stage when an actor's feather plume touched a gas flame, and instantly re-awoke memories of the fire that had raged through Vienna's Ring-Theater six years earlier, claiming 386 lives. Once the capacity house had again settled, there was little light relief to be gained from this ponderous tale set at the time of the Thirty Years War, and even Johann Strauss's exquisite score could not secure for the work a run of more than 29 performances. (Two subsequent revivals of Simplicius, in 1888 and 1894, fared even less well.) The 'gentlemen of the press' were, for once, generally united in recognising the shift in emphasis in the new Strauss stage work towards a more serious musical style. "Opera or operetta?" was the question posed by Oskar Teuber in the Fremden-Blatt on 18 December 1887, his uncertainty echoed by the reviewer for the Allgemeine Zeitung +••.••(...)) who observed that the music "varies between operetta and opera: the composer has somewhat too hastily burned behind him the bridge which took him out of the realm of operetta, and because he lacks the ability to throw a bridge across to opera, he sits between the two stools - neither flesh nor fish". Simplicius was to prove the last of Johann Strauss's stage work premières to be conducted by the composer himself. A capacity house, which included Archduke Wilhelm +••.••(...)) and Archduchess Elisabeth Marie +••.••(...), daughter of Crown Prince Rudolf and Crown Princess Stephanie) in the Imperial box, greeted the Viennese maestro enthusiastically upon his appearance at the conductor's desk. Referring to the score of the new work, the Wiener Tagblatt +••.••(...)) considered that "the music of our worthy Strauss constitutes an impressive climax to his creative powers". Yet, for all the many fine musical moments the stage work possesses, its overture lacks the unity of other Strauss operetta overtures. With its quiet, almost gloomy opening, it evokes a mood which is more to be expected in the opera house than in the Theater an der Wien. (After the first performance of Simplicius, the composer was accused of obvious 'Wagnerisms'. Such claims by, for example, the Illustrirtes Wiener Extrablatt +••.••(...)), were indeed justifiable, for the stage works of Richard Wagner always had a special significance for Johann Strauss.)
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- cronologia: Compositori (Europa).
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