Sigismund Thalberg Video
pianista e compositore austriaco
- pianoforte
- opera, musica classica, musica romantica
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- pianista, compositore
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2024-05-09
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Felix Gerald Swinstead Scriabin Sterndale Bennett Bennett Thalberg Tobias Matthay Domenico Scarlatti 1880 1959
A short prelude, from the late romantic period, by the largely forgotten English composer Felix Swinstead. This is a lovely piece, with some moments that are reminiscent of Scriabin, including descending chromatic lines, augmented intervals, and syncopated polyrhythms. Felix Gerald Swinstead ( 25 June 1880 – 14 August 1959 )was an English pianist, composer and music educator. Swinstead won a Sterndale Bennett Scholarship and a Thalberg Scholarship and studied piano with Tobias Matthay and composition with Frederick Corderat the Royal Academy of Music. Later he worked here as a professor of piano. As a pianist he performed not only in Great Britain but also in Canada, South Africa, Australia and the West Indies. He composed about 200 mostly small piano pieces, many of them as practice pieces for piano students. He partly summarized the pieces in collections such as Album Leaves, Fancies Grave and Gay and Idylls. In addition, he also composed more demanding pieces, which he performed at his concerts. In addition, Swinstead composed a sonata and some smaller pieces for violin and piano, a romance for cello and piano and the song cycle Sing-Song. His only known orchestral works are a Scarlatti Suite based on the harpsichord sonatas by Domenico Scarlatti (also for piano and string orchestra and for two pianos) and the piece Red Gauntlet, performed on the occasion of his death by the Orchestra of the Royal Academy of Music under the direction of Ernest Reed. Credit: Wikimedia Commons
Sigismund Thalberg Ignaz Moscheles Friedrich Kalkbrenner Johann Nepomuk Hummel Colloca Franz Liszt Luigi Lablache Bassini Wolfgang Amadeus Mozart Emanuel Schikaneder Antico Solare Poli Gaetano Braga Teramo Foggia 1812 1826 1835 1843 1855 1858 1871 1996 2012
- Il pianista Antonio Castagna esegue la trascrizione di Sigismund Thalberg dell'aria "La dove prende" dal Flauto magico di Mozart. - The pianist Antonio Castagna performs the transcription of Sigismund Thalberg of the aria "La dove prende" from Mozart's Magic Flute. www.antoniocastagna.it #antoniocastagna #ladoveprende #thalbergmozart Sigismund Fortuné François Thalberg (Ginevra, 8 gennaio 1812 – Napoli, 27 aprile 1871) è stato un pianista e compositore austriaco. Allievo di Ignaz Moscheles, Friedrich Kalkbrenner e Johann Nepomuk Hummel, tra i primi innovatori della tecnica pianistica del cosiddetto "Biedermeierzeit", che fecero del virtuosismo parossistico la ragione e l'essenza del loro suonare, si colloca in un contesto storico e musicale che lo vide gareggiare con Franz Liszt. Famoso per le sue trascrizioni brillanti di temi d'opera (soprattutto rossiniani), spesso caricate di effetti strabilianti, di grande effetto e tra i più teatrali e meglio riusciti della storia del loro genere, Thalberg è anche autore di composizioni originali come la Sonata in do minore, la Tarantella, lo Scherzo in do diesis minore, il Capriccio, le Variazioni e il Concerto per pianoforte e orchestra in fa minore op. 5 con cui quattordicenne debuttò. Figlio illegittimo del Principe Moritz von Dietrichstein e della baronessa von Wetzlar, entra all'età di 10 anni presso il Politecnico di Vienna. Nella capitale austriaca studia da Hummel e diventa un pianista già apprezzato nel 1826. Debutta a Londra dopo aver preso lezioni da Moscheles e nel 1835 si esibisce a Parigi. Thalberg tiene concerti sia in Europa, in particolare in Germania ed in Spagna, che negli Stati Uniti d'America ed in Brasile. Nel 1843 sposa la figlia di Luigi Lablache. Nel 1855 avviene il successo della prima assoluta della sua opera Cristina di Svezia al Burgtheater di Vienna con Achille De Bassini. Si ritira nel quartiere Posillipo di Napoli nel 1858, in una villa di proprietà dei Lablache, dove morirà il 27 aprile 1871. l flauto magico (K 620), titolo originale Die Zauberflöte ascolta, è un Singspiel in due atti musicato da Wolfgang Amadeus Mozart, su libretto di Emanuel Schikaneder e con il contributo di Karl Ludwig Giesecke. La trama, densa di significati esoterici e massonici, si svolge in un antico Egitto immaginario; caratterizzata da un'alternanza di riferimenti al giorno e alla notte, si sviluppa lungo un graduale passaggio dalle tenebre dell'inganno e della superstizione, verso la luce della sapienza solare, al quale corrisponde un progressivo capovolgimento di prospettiva nel ruolo dei buoni e dei malvagi, i cui poli contrapposti sono rappresentati da Sarastro e dalla Regina della Notte, Astrifiammante. l flauto magico è stato interpretato utilizzando varie chiavi di lettura: oltre che come fiaba per bambini, è stato letto anche come racconto massonico o come storia a contenuto illuminista. Oltre al filone razionalista della cultura massonica del '700, l'opera documenta un filone caratterizzato dal misticismo e dall'attrazione per i misteriosi scenari dell'Oriente. Mozart vi affronta tematiche tipiche della cultura massonica, e a lui care: morte e rinascita, rapporto tra terreno e ultraterreno, iniziazione e prova come cammino per giungere all'amore universale. La Rivoluzione francese porterà a "politicizzare" i personaggi: la perfida Regina della Notte sarà associata all'odiato Ancien Régime, Sarastro all'Illuminismo. La vicenda racconta però anche lo sviluppo di un individuo che, da giovane, ignorante e debole che era, diventa saggio, sapiente e uomo attraverso la scoperta dell'amore e il superamento di varie prove iniziatiche. Durante questo percorso formativo, il giudizio di Tamino sui due Regni nemici si capovolge: il bene, inizialmente identificato con il Regno Lunare della Regina della notte in quanto vittima del rapimento della figlia perpetrato da Sarastro, finirà per essere identificato nel Regno Solare di quest'ultimo, dapprima giudicato come malvagio. Nel Regno di Sarastro Tamino troverà ragione e saggezza. Si scoprono così le buone intenzioni di Sarastro nel portare a sé Pamina, non togliendole libertà, ma sottraendola con intento protettivo alla malvagia madre, onde poterla destinare al giovane predestinato ed eroe della vicenda, ovvero lo stesso Tamino. Antonio Castagna ha tenuto concerti concerti e recitals in Italia e all’estero (GERMANIA, SVEZIA, BELGIO, OLANDA, EMIRATI ARABI UNITI, FRANCIA, SVIZZERA, BRASILE, USA, ARGENTINA, COREA DEL SUD, ) Ha partecipato più volte a programmi radio-televisivi RAI. E' stato Direttore, dal 1996 al 2012, dell’Istituto Superiore di Studi Musicali Gaetano BRAGA di Teramo. E' stato docente di Pianoforte nei Conservatori di Foggia e di Teramo.
Wishing all my subscribers a happy Christmastime! The theme and variations section from Thalberg's paraphrase on Moses in Egypt, performed at his 1837 piano duel with Liszt. Streaming playlist of my recordings here (three albums): (http•••) And you can find the full studio recording of this piece and many other paraphrases here! (http•••) "The demands this repertory places on technical wizardry, including interlocking and alternating and cross-voicing from hand to hand, extended passages using massive octaves, unending arpeggios, and its call for the stamina of a sportsman are beyond the reach of any but the most valiant of pianists." - Rafael de Acha, Rafael's Music Notes.
Johann Strauss Dolci Jetty Treffz Carl Haslinger Haslinger Sigismund Thalberg Verdi Zimmermann Blatt 1818 1862 1863 1864
Very sweet and romantic ! WONDERFUL ! "Dolci pianti", Lied (Romanze) ("Sweet Tears", Song (Romance)) o. op. Feigning illness, Johann Strauss interrupted his summer 1862 concert season at Pavlovsk, near St. Petersburg, and returned to Vienna. His "illness" was short-lived: once back in his native city his motives became apparent when, on 27 August 1862, he married Henrietta Carolina Josepha Chalupetzky +••.••(...)). 'Jetty Treffz', as the 44-year-old Frau Strauss was known to the musical world, was an internationally acclaimed mezzo-soprano. Although no longer at the peak of her career, she was still sufficiently admired to perform before the Russian Imperial Court when she accompanied her husband to Pavlovsk in the summer of 1863. During the course of a long letter, written to Johann's Viennese publisher, Carl Haslinger, on 8 July 1863 (= 26 June, Russian calendar), Jetty announced: "My dear, dear Jeany-boy [= Johann] was seduced by me into writing a song for me in the Italian style, but good Italian style, and it came off so splendidly that it is my cheval de bataille [= current fad]. [Sigismund] Thalberg has also set the same text to music, only Jeany's composition is far, far better, more beautiful and more rewarding. It is written with cello and harp, and was sung exquisitely well (naturally!) by my humble self. Would you like to have absolute ownership of this composition, possibly dedicated to the Emperor of all the Russias and graciously accepted by him? If so, I request that you inform Jeany immediately and specify how many hundreds you are prepared to give for it. The song is for mezzo-soprano and will sell as quickly as hot rolls after a famine". In the event, Haslinger declined to publish the song, entitled "Dolci pianti" (Sweet Tears), and regrettably the original version sung by Jetty has been lost. However, an arrangement of the piece for cello and piano is extant: bearing a dedication to Jetty Treffz, it survived among the papers of Strauss's estate and is now housed in the collection of the Wiener Stadt- und Landesbibliothek in Vienna. Johann himself had referred to the same piece of music during June 1863, adding in a postscript to Haslinger: "You'll be getting a little song from me which, fashioned in Verdi's style, is a disgrace". In a subsequent letter, written from Pavlovsk on 16 August that year, the composer again mentioned the piece: "The song will very shortly be in your possession. I am playing it for the first time in my benefit concert on Tuesday (arranged for cello and harp) ...". The first performance of the work in the version for cello and harp (with orchestral accompaniment) took place, as Johann announced, at his second benefit concert held at the Vauxhall Pavilion in Pavlovsk on 18 August 1863 (= 6 August, Russian calendar). The enthusiastic audience at once demanded a repetition of the work, which the orchestra's diarist, F.A. Zimmermann, entered in his programme details under the title Neue Romanze (New Romance). Commenting on this benefit concert, Jetty wrote to Haslinger on 24 August (= 12 August) that "a new polka-mazurka (Invitation à la Polka Mazurka) caused a furore, and so did my song, which Johann has written for cello and harp and orchestra; it always has to be repeated and sounds absolutely delightful". Between its première and the final concert of the 1863 Pavlovsk season on 27 September (= 15 September), Strauss conducted the piece a further sixteen times - most notably on 11 September (= 30 August) during a ball given by the Russian Emperor, Alexander II, at his palace in Tsarskoye-Selo (= Pushkin), situated some 3 miles/5 km from Pavlovsk. Zimmermann's records for this, and several other performances, entitle the work: "lied [Song] Süsse Thränen" - the German translation of the title "Dolci pianti" - while further entries refer to it as a "Romanze". Regrettably it has proved impossible to determine which, if any, of these aforementioned performances were sung by Jetty, rather than being purely instrumental renditions. Viennese audiences heard the new composition for the first time on 10 January 1864 at a concert in the Volksgarten given by Josef and Eduard Strauss, "with the participation of Hofball-Musikdirektor Johann Strauss". The press announcements for the event (for example, in the Fremden-Blatt of 6 January) drew particular attention to the performance of the novelty, arranged as an instrumental romance: "Note: 'Dolci pianti', song in the Italian style for cello and physharmonica [a large harmonium] by Johann Strauss, accompanied by him on the physharmonica". The version for cello, harp and small orchestra used in this present recording was prepared by a long-standing member of the Strauss Orchestra. paintings by William Bouguerau
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