Louis Plaidy Video
pianista, insegnante di musica
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2024-05-10
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Julius Röntgen Lachner Hauptmann Louis Plaidy Carl Reinecke Julius Stockhausen Stockhausen Liszt Coenen Daniël Daniël Lange Heinze Johannes Verhulst Pablo Casals Brahms Grieg Schumann Reger Debussy Niederrheinisches Musikfest Felix Meritis 1855 1869 1870 1877 1878 1884 1885 1891 1901 1912 1924 1925 1926 1930 1932
Julius Röntgen +••.••(...)) Sonate for piano and violoncello, Op. 41 (1901) Doris Hochscheid, violoncello Frans van Ruth, piano dedicated to Isaac Mossel The CD and more information on Dutch Cello Sonatas are available at: www.cellosonate.nl Julius Röntgen was a Dutch composer, conductor and pianist, son of Engelbert Röntgen. The most celebrated member of the family, he studied composition with Friedrich Lachner, harmony and counterpoint with Hauptmann and E.F. Richter and the piano with Louis Plaidy and Carl Reinecke. He began composing at the age of nine, and in 1869 he made his début as a composer at the Niederrheinisches Musikfest in Düsseldorf with a duo for two violins, performed by his father and Joseph Joachim. After giving concerts in Düsseldorf, Hamburg and Baden-Baden he settled in Cannstatt (18734) as accompanist to the baritone Julius Stockhausen. He visited Liszt in Weimar in 1870. From 1877 to 1925 Röntgen lived in Amsterdam, where he became a piano teacher at the music school in 1878 (the school acquired conservatory status in 1884). From 1912 to 1924 he was director of the Amsterdam Conservatory, succeeding Frans Coenen and Daniël de Lange, and he remained there as a piano teacher until 1926. He succeeded G.A. Heinze as conductor of the choral society Excelsior (18846) and Johannes Verhulst as conductor of the Amsterdam Toonkunstkoor +••.••(...)); he also directed the Felix Meritis concerts for some time. As a pianist, he gave many recitals, was accompanist to the Dutch baritone Johannes Messchaert and Pablo Casals and, with his sons Julius Röntgen and Engelbert Röntgen, formed the Röntgen Trio before World War I. During his stay in Amsterdam he became friendly with Brahms, who visited the Netherlands in 1884 and 1885; he was also friendly with Grieg, who dedicated his Lyrische Stücke op.54 to him (1891). In 1925 he retired to a villa in Bilthoven to spend the remaining years of his life composing and writing; after World War II the Gaudeamus Foundation was established in his house. A prolific composer, Röntgen belongs to the late Romantic school. His early works show the influence of Schumann (in the Serenade for Wind op.14) and Brahms (in the Toskanische Rispetti op.9); in other works a Scandinavian influence can be detected, even in some written before his acquaintance with Grieg. He was also attracted by the folk music of many countries, especially evident in his Boerenliedjes en contradansen. In later years the influence of Reger is apparent in his polyphonic works, and the bitonal Symphony of 1930 looks back to Debussy.
Edvard Hagerup Grieg Weber Chopin Ole Bull Carl Reinecke Louis Plaidy Ignaz Moscheles Clara Schumann Robert Schumann Niels Gade Rikard Nordraak Félix Mendelssohn Tornar Esteve Percy Grainger Franz Liszt 1843 1857 1863 1864 1865 1871 1906 1907
Edvard Hagerup Grieg (Bergen, 15 de Junho de 1843 — Bergen, 4 de Setembro de 1907) é o mais célebre compositor norueguês, um dos mais célebres do período romântico e do mundo. As suas peças mais conhecidas são a suíte sinfónica Holberg, o concerto para piano e a suíte Peer Gynt. Como outros grandes compositores, Edvard Grieg demonstrara desde muito novo um excepcional talento musical. Começou a sua aprendizagem com a mãe, sobretudo no piano, aos seis anos de idade. Na adolescência, foi influenciado por Mozart, Weber e Chopin. Suas primeiras composições datam de 1857. O célebre violinista norueguês Ole Bull apercebeu-se dos dotes do jovem Edvard e este foi enviado para o conservatório de Leipzig. Aí teve uma rica e proveitosa experiência no meio musical. Trabalhava com importantes músicos como Carl Reinecke, Louis Plaidy, Ernst Ferdinand Wenzel e Ignaz Moscheles e ouvia música como a interpretação de Clara Schumann do concerto para piano de seu marido, Robert Schumann. Porém, Edvard Grieg sentia-se insatisfeito com o que aprendera. Em 1863 parte para Copenhaga para estudar com o maior representante da música escandinava, o compositor Niels Gade, continuando ainda assim a duvidar do que aprendera. Em 1864, após conhecer o nacionalista norueguês Rikard Nordraak, compositor do atual hino nacional da Noruega, seguiu uma nova corrente estilística de inspiração folclórica. As fontes folclóricas norueguesas passaram a ser parte essencial de sua obra, tornando-se Grieg um dos grandes expoentes da música nacionalista, sempre lutando contra o domínio da música alemã, cujos principais representantes eram Robert Schumann e Félix Mendelssohn. Como compositor reconhecido, Grieg promoveu a música norueguesa através de concertos e aulas. Em 1865 compõe a primeira sonata para piano e as célebres Peças Líricas entre muitas outras obras. Tornou-se regente da Harmoniske Seleskab e foi um dos fundadores da Christiania Musikforening (1871). Tanto a qualidade como a quantidade de obras que compõe levam-no a uma posição de destaque no contexto musical. Grieg acabaria por se tornar no mais forte expoente da cultura musical escandinava. Em 1906, quando esteve em Londres quis conhecer o pianista e compositor australiano Percy Grainger. Grainger era um grande admirador de Grieg, uma enorme empatia estabeleceu-se entre ambos os músicos. Pioneiro na utilização impressionista da harmonia e da sonoridade ao piano, recebeu apoio de Franz Liszt, seu grande amigo e incentivador. Falece em sua cidade natal, Bergen, em 4 de Setembro de 1907, em decorrência de uma doença pulmonar que o acompanhou desde a juventude.
Julius Röntgen Grosz Lachner Hauptmann Louis Plaidy Carl Reinecke Julius Stockhausen Stockhausen Liszt Coenen Daniël Daniël Lange Heinze Johannes Verhulst Pablo Casals Brahms Grieg Schumann Reger Debussy Niederrheinisches Musikfest Felix Meritis 1855 1869 1870 1877 1878 1884 1885 1891 1901 1912 1924 1925 1926 1930 1932
Julius Röntgen +••.••(...)) Sonate for piano and violoncello, Op. 41 (1901) Godfried Hoogeveen, violoncello Edith Grosz, piano dedicated to Isaac Mossel Composer, conductor and pianist, son of Engelbert Röntgen. The most celebrated member of the family, he studied composition with Friedrich Lachner, harmony and counterpoint with Hauptmann and E.F. Richter and the piano with Louis Plaidy and Carl Reinecke. He began composing at the age of nine, and in 1869 he made his début as a composer at the Niederrheinisches Musikfest in Düsseldorf with a duo for two violins, performed by his father and Joseph Joachim. After giving concerts in Düsseldorf, Hamburg and Baden-Baden he settled in Cannstatt (18734) as accompanist to the baritone Julius Stockhausen. He visited Liszt in Weimar in 1870. From 1877 to 1925 Röntgen lived in Amsterdam, where he became a piano teacher at the music school in 1878 (the school acquired conservatory status in 1884). From 1912 to 1924 he was director of the Amsterdam Conservatory, succeeding Frans Coenen and Daniël de Lange, and he remained there as a piano teacher until 1926. He succeeded G.A. Heinze as conductor of the choral society Excelsior (18846) and Johannes Verhulst as conductor of the Amsterdam Toonkunstkoor +••.••(...)); he also directed the Felix Meritis concerts for some time. As a pianist, he gave many recitals, was accompanist to the Dutch baritone Johannes Messchaert and Pablo Casals and, with his sons Julius Röntgen and Engelbert Röntgen, formed the Röntgen Trio before World War I. During his stay in Amsterdam he became friendly with Brahms, who visited the Netherlands in 1884 and 1885; he was also friendly with Grieg, who dedicated his Lyrische Stücke op.54 to him (1891). In 1925 he retired to a villa in Bilthoven to spend the remaining years of his life composing and writing; after World War II the Gaudeamus Foundation was established in his house. A prolific composer, Röntgen belongs to the late Romantic school. His early works show the influence of Schumann (in the Serenade for Wind op.14) and Brahms (in the Toskanische Rispetti op.9); in other works a Scandinavian influence can be detected, even in some written before his acquaintance with Grieg. He was also attracted by the folk music of many countries, especially evident in his Boerenliedjes en contradansen. In later years the influence of Reger is apparent in his polyphonic works, and the bitonal Symphony of 1930 looks back to Debussy.
Julius Röntgen Lachner Hauptmann Louis Plaidy Carl Reinecke Julius Stockhausen Stockhausen Liszt Coenen Daniël Daniël Lange Heinze Johannes Verhulst Pablo Casals Brahms Grieg Schumann Reger Debussy Niederrheinisches Musikfest Felix Meritis 1742 1855 1869 1870 1873 1874 1877 1878 1884 1885 1886 1891 1898 1912 1924 1925 1926 1930 1932
Julius Röntgen +••.••(...)) Strijkkwartet in a-klein (1874) 1. Allegro - 00:00 2. Andante, con mote - 07:02 3. Intermezzo. Allegretto - 11:47 4. Finale. Allegro molto - 17:42 Raphael Quartet Julius Röntgen was a Dutch composer, conductor and pianist, son of Engelbert Röntgen. The most celebrated member of the family, he studied composition with Friedrich Lachner, harmony and counterpoint with Hauptmann and E.F. Richter and the piano with Louis Plaidy and Carl Reinecke. He began composing at the age of nine, and in 1869 he made his début as a composer at the Niederrheinisches Musikfest in Düsseldorf with a duo for two violins, performed by his father and Joseph Joachim. After giving concerts in Düsseldorf, Hamburg and Baden-Baden he settled in Cannstatt +••.••(...)) as accompanist to the baritone Julius Stockhausen. He visited Liszt in Weimar in 1870. From 1877 to 1925 Röntgen lived in Amsterdam, where he became a piano teacher at the music school in 1878 (the school acquired conservatory status in 1884). From 1912 to 1924 he was director of the Amsterdam Conservatory, succeeding Frans Coenen and Daniël de Lange, and he remained there as a piano teacher until 1926. He succeeded G.A. Heinze as conductor of the choral society Excelsior +••.••(...)) and Johannes Verhulst as conductor of the Amsterdam Toonkunstkoor +••.••(...)); he also directed the Felix Meritis concerts for some time. As a pianist, he gave many recitals, was accompanist to the Dutch baritone Johannes Messchaert and Pablo Casals and, with his sons Julius Röntgen and Engelbert Röntgen, formed the Röntgen Trio before World War I. During his stay in Amsterdam he became friendly with Brahms, who visited the Netherlands in 1884 and 1885; he was also friendly with Grieg, who dedicated his Lyrische Stücke op.54 to him (1891). In 1925 he retired to a villa in Bilthoven to spend the remaining years of his life composing and writing; after World War II the Gaudeamus Foundation was established in his house. A prolific composer, Röntgen belongs to the late Romantic school. His early works show the influence of Schumann (in the Serenade for Wind op.14) and Brahms (in the Toskanische Rispetti op.9); in other works a Scandinavian influence can be detected, even in some written before his acquaintance with Grieg. He was also attracted by the folk music of many countries, especially evident in his Boerenliedjes en contradansen. In later years the influence of Reger is apparent in his polyphonic works, and the bitonal Symphony of 1930 looks back to Debussy.
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