Jenny Dingelstedt Video
cantante, cantante lirico
- soprano di coloratura
- Austria
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2024-05-02
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Joseph Merk Mauro Giuliani Johann Nepomuk Hummel Joseph Mayseder Franz Schubert Bohm Mendes Knecht Beethoven Bocklet Frédéric Chopin Fuchs Limmer Niccolò Paganini Sigismond Thalberg Giuditta Pasta Jenny Lutzer Friedrich August Kummer Kummer Franz Liszt 1753 1795 1808 1815 1816 1818 1822 1823 1825 1827 1829 1830 1834 1836 1837 1838 1848 1852
Joseph (or Josef) Merk was born in Vienna in 1795. He first studied singing, the guitar and the violin,[1] but at the age of 15[2] he was bitten so severely on his left arm by a dog, that he could no longer play the violin adequately even after the wound had healed. He then turned to the cello and had lessons with the principal cellist of the Vienna Court Opera, Philipp Schindlöker +••.••(...)),[3] making such rapid progress that after only a year he was engaged by a Hungarian aristocrat to play in his string quartet, where he remained for two years.[2][4] In 1815 the guitarist Mauro Giuliani appeared with Joseph Merk, Johann Nepomuk Hummel and the violinist Joseph Mayseder in a series of chamber concerts in the botanical gardens of Schönbrunn Palace (dubbed the "Dukaten Concerte", after the price of the ticket, which was a ducat). He frequently performed with Mayseder throughout his career, and was even dubbed "the Mayseder of the cello".[1][4][5] After touring the Austrian provinces, in 1816 or 1818 Merk was appointed to his teacher Schindlöker's old post of principal cellist at the Vienna Court Opera.[3][5] In 1822 Franz Schubert wrote a quartet for male voices, Geist der Liebe (D.747; Op. 11, No. 3), especially for a Joseph Merk concert.[6] Merk dedicated his 20 Études, Op. 11, to Schubert.[5] In 1823 Merk became professor at the Vienna Conservatory, remaining in that position until 1848.[4] His pupils included Karl Leopold Bohm, Anton Trag, Jacque Franco-Mendes and Franz Knecht.[2][4][6] He became associated with Ludwig van Beethoven's Triple Concerto, his performances of it helping to bring it out of the obscurity in which it had languished since its debut in 1808 (Beethoven himself having never played it in public, unlike his piano concertos[7]).[8] These include performances in 1825[9] or 1830[2][10] with Mayseder and the pianist Carl Maria von Bocklet. In 1829, the 19-year-old Frédéric Chopin visited Vienna, and dedicated his Introduction and Polonaise brillante, Op. 3, to Joseph Merk.[11] In a letter, Chopin wrote "On Thursday there was a soiree at Fuchs's, when Limmer introduced some of his own compositions for four violoncellos. Merk as usual made them more beautiful than they really were by his playing, which is so full of soul. He is the only violoncellist I really respect".[12] Chopin was also said to have played with Merk.[6] He was named k.k. Kammervirtuoso (translated as Imperial and Royal Chamber Virtuoso) to the Emperor in 1834.[4] Up to 1837-38, only five other musicians had ever been given this special title: the violinists Niccolò Paganini and Joseph Mayseder, the pianist Sigismond Thalberg, and the singers Giuditta Pasta and Jenny Lutzer.[13] In 1836 a reviewer wrote that Merk "would undoubtedly evoke admiration among those who give preference to singing instead of to difficulties alien to the nature of the instrument. Let all the cellists imitate his tone, taste, performance and abandon useless torments in conquering difficulties that never touch anybody's soul."[6] In 1836 Friedrich August Kummer dedicated his Souvenir de la Suisse, Concertino for cello and orchestra, Op. 30, to Joseph Merk.[14] On 19 April 1838 Merk played Beethoven's "Archduke" Trio with Mayseder and Franz Liszt. Liszt also played privately for Merk, and on 23 April the two took part in a performance of Hummel's Septet for piano, flute, oboe, horn, viola, cello and bass.[13] Joseph Merk's compositions include a Concerto, a Concertino, an Adagio and Rondo, a Polonaise, various sets of variations, études and similar works. His complete list of works can be found here. He died in Vienna's 19th district Döbling in 1852, aged 57 lessons through Skype 210-699-4914 John Stuart Here's my edited copy of the sheet music.. (http•••)
Toni Blankenheim Pressel Dingelstedt 1954
Pressel - Dingelstedt Polydor Made in Germany 17.02.1954 Abgespielt mit einem Horn-Grammophon was ursprünglich ein Tisch-Grammophon war Marke H.M.V. mit Stempel OEST. GG.214 REV. B. ( Vom früheren Besitzer umgebaut ) Alles Original Teile mit einem sehr schönen Trichter. MfG.
Louis Spohr Eberhard Büchner Büchner Wilhelm Speyer Winters Mozart Dingelstedt Susan Owen Leinert Dohr 1814 1824 1837 1839 1888 1937
Louis Spohr "Das heimliche Lied" op. 103 No. 5 (first verse). Eberhard Büchner, tenor / Michael Simm, clarinet / Norman Shetler, piano. The Lieder with clarinet, op. 103 were written in Kassel in 1837. The contract for the commission of these songs was most probably negotiated by Johann Simon Hermstedt, because he was as of 1824, in addition to his solo career (clarinet), the Music Director in Sondershausen and in 1839 promoted to the rank of a Hofkapellmeister. "Sechs deutsche Lieder" op. 103 were commissioned by the princess Mathilde zu Schwarzburg-Sondershausen +••.••(...)) and this Liederheft is dedicated to her. Spohr composed the Lied No. 5 in November 1937. The composer wrote to his friend Wilhelm Speyer " [...] After sending my new Symphony No. 5, op. 102 to Vienna, I have written songs accompanied by clarinet and piano for the Fürstin von Sondershausen. This genre has its difficulties because so much has to be considered. If one has a voice that can rival the clarinet in its melodiousness, then the interaction between the two has a ravishing effect [...]." One year later Speyer reported to the composer: "Your Lieder with clarinet accompaniment were sung yesterday [on January 4, 1839] due to my recommendation at the museum concert in Frankfurt with extraordinary applause and will be soon repeated." Because all six Lieder in op. 103 are without exception composed in "flat keys", the assumption can be made that a musically conceived cycle was intended. In addition to four concerti for clarinet and orchestra, Louis Spohr's own list of works cites two other orchestral works with this solo instrument: the 'Potpourri über Themen aus Winters Oper "Das unterbrochene Opferfest"' op. 80 and "Variationen über ein Thema aus der Oper Alruna" WoO 15. The clarinet is also featured as a solo instrument in five chamber music works. Just like his inspiring model Mozart, Spohr also incorporated the clarinet as an obbligato solo instrument in an opera aria: "Der Zweikampf mit der Geliebten" WoO 504. Later he adopted this aria with clarinet, with only a few text changes, into the revised "recitative version" of his opera "Faust" WoO 51a. Louis Spohr took the poem "Das heimliche Lied" by Ernst Koch from the "Hessisches Album für Literatur und Kunst". Within this volume edited by Franz Dingelstedt, the poem is found on page 177 under the main title "Reliquie von einem Verschollenen" (trans. Relic from one who is missing). The subtitle "Das heimliche Lied" was chosen by the composer as the title for this song. See also: The first complete and critical Edition of Louis Spohr's Lieder in 12 vols., edited by Prof. Susan Owen-Leinert and Michael Leinert with the German Publisher Christoph Dohr, Cologne. "Das heimliche Lied": in volume 6, E.D. 29956.Also available: the edition of Op. 103 for violin (instead of the clarinet).
Dingelstedt Gustav Pressel Mund Holden Schwer Himmel Nem
Anmerkung: ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ Verseschmied: Franz von Dingelstedt Tondichter: Gustav Pressel Weitere Musikinterpreten: ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ -leer- Lyrik: ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ ̿ Hier hab' ich so manches liebe Mal mit meiner Laute gesessen, hinunterblickend ins weite Tal, mein selbst und der Welt vergessen. //Kehrreim: Und um mich klang es so froh und hehr, und über mir tagt es so helle; und unten brauste das ferne Wehr und der Weser blitzende Welle. Wie liebender Sang aus geliebtem Mund, so flüstert es rings durch die Bäume; und aus des Tales off'nem Grund begrüßten mich nickende Träume. //Kehrreim// Da sitz' ich aufs neue und spähe umher und lausche hinauf und hernieder; die holden Weisen rauschen nicht mehr, die Träume kehren nicht wieder. Die süßen Bilder, wie weit, wie weit! Wie schwer der Himmel, wie trübe! Fahr wohl, fahr wohl, du selige Zeit! Fahrt wohl, ihr Träume der Liebe.
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- cronologia: Cantanti lirici (Europa).
- Indici (per ordine alfabetico): D...