Ludwig van Beethoven Die Ruinen von Athen, Op. 113 Video
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2024-04-16
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베토벤(Beethoven, Ludwig van +••.••(...)~1827.3.26 獨)) 서곡 "아테네의 폐허" G장조 op.113 Overture to “Die Ruinen von Athen” in G major, op. 113 1812년, 헝가리의 페스트에 독일 극장이 신축 낙성되었을 때 코째부 작 「아테네의 폐허」가 베토벤의 서곡과 더불어 상연되었다. “미네르바가 2000년의 잠에서 깨어 아테네로 돌아왔으며, 모든 것이 폐허로 되어버린 것을 슬퍼한다. 거기에 신의 사자(使者) 메르쿨은 신들이 페스트로 옮겨 갔다는 것을 알린다. 그리하여 미네르바는 이 새로운 전당을 방문하게 된다”는 줄거리로 서곡도 별로 뛰어나지 못했으며, 베토벤 자신도 별로 높게 평가하고 있지는 않았다.
Beethovens Deutsche Verleger Beethoven hatte auch in Deutschland einige Verleger. Die Aussage "... auch habe ich auf jede Sache 6, 7 Verleger und noch mehr, wenn ich mir's angelegen sein lassen will" zeigt, dass Ludwig van Beethoven sich über die Wichtigkeit des Konkurrenzdrucks im Zusammenhang mit dem Verkauf seiner Werke bewusst war. Bei der Missa Solemnis, die Beethoven als sein bedeutendstes Werk ansah, unternahm er komplexe Verkaufsbemühungen. Er bot das Werk mehreren Verlegern an und lies zusätzlich von seinen eigenen Kopisten Abschriften herstellen, die er europäischen Fürstenhöfen anbot. Letzendlich wurde die Komposition von der Mainzer Firma Schott & Söhne verlegt, die gleichzeitig mehrere Werke erwarb. Auch die Ouvertüre "Weihe des Hauses" wurde während diesen Verhandlungen vom Verlag gekauft. Das Werk entstand zur Wiedereröffnung des Josefstädter Theaters im Oktober 1822 und ist eine Adaption des früheren Werks "Die Ruinen von Athen". In der Wienbiblitohek im Rathaus wird das Originalmanuskript bewahrt. Thomas Aigner berichtet in dieser Folge über die deutschen Verleger und die Verkaufstaktiken Beethovens. Wienbibliothek ON AIR (www.wienbibliothek.at)
Beethoven Felix Weingartner London Symphony Orchestra 1770 1827 1940
Ludwig van Beethoven +••.••(...)) Die Ruinen von Athen Incidental Music op. 113 Overture Felix Weingartner, direttore London Symphony Orchestra London, 1940
Richard Strauss Neeme Järvi Franz Schalk Schumann François Couperin Beethoven Gluck Julius Korngold Korngold Hiroshi Wakasugi Detroit Symphony Orchestra Vienna State Opera Tokyo Metropolitan Symphony Orchestra Vienna Philharmonic 1880 1919 1921 1922 1923 1924 1929 1930 1932 1998 2017
Schlagobers Ballet Suite from Act 1 & 2 +••.••(...) Arr 1932) Act 1 1. (00:02) Vorspiel - Prelude - Introduction 2. (04:46) I- In der Konditorküche 3. (08:21) II- Tanz der Teeblüte 4. (13:11) III Tanz des Kaffees - Träumerei 5. (21:17) IV Schlagoberswaltzer Act 2 6. (27:00) V Tanz der Prinzessin 7. (34:03) VI Tanz der kleinen Pralinees - Springtanz der Knallbonbons - Galop 8. (38:41) VII Menuett und Pas de deux 9. (43:20) VIII Allgemeiner Tanz Finale Detroit Symphony Orchestra Neeme Järvi, conductor Chandos 1998 Schlagobers (Whipped Cream), Op. 70, is a ballet in two acts with a libretto and score by Richard Strauss. Composed in 1921–22, it was given its première at the Vienna State Opera on 9 May 1924. Background: While serving as co-director of the Vienna State Opera with Franz Schalk from 1919 until 1924, Strauss sought to revive the fortunes of the resident ballet company, struggling after the collapse of the Austro-Hungarian monarchy. He recruited choreographer Heinrich Kröller (1880–1930) from the Berlin State Opera and collaborated with him on a series of productions, restaging his earlier work for the Ballets Russes Josephslegende (1922), and rearranging the music of Schumann, François Couperin, Beethoven, and Gluck for, respectively, Karneval (1922), Ballettsoirée (1923), Die Ruinen von Athen (1924), and Don Juan (1924). Most ambitious was Schlagobers, premiered during the official celebrations for the composer's sixtieth birthday. Scenario: A group of children celebrate their confirmation in a Konditorei or Viennese cake shop, where many of the confections come alive, with marzipan marches and cocoa dances. Having overindulged, one boy falls ill and hallucinates, leading to the party of Princess Pralinée, a trio of amorous liquors, and a riot of cakes pacified by beer. The scenario is somewhat reminiscent of The Nutcracker, which remained unperformed in the West until 1929. Music: Strauss' score employs a thematic-developmental treatment of motifs and was, according to contemporary critic Julius Korngold, "too elaborately artistic, too massive and heavily developed, and not dancerly enough... The light whipped cream is whisked in a gaudy bowl." Premiere: Kröller's choreography may be partially reconstructed from surviving drawings and dance notation, while sketches of many of the 287 costumes and sets created by the house designers have survived. The extravagance of the production, costing some four billion Kronen – a contemporary new staging of Wagner's Rienzi cost by contrast only two hundred million – led to it being dubbed the Milliardenballett or "billionaire's ballet", and at a time of food-shortages and hyperinflation, may in part explain its troubled reception. Strauss observed, in response to the poor reviews, "I cannot bear the tragedy of the present time. I want to create joy." Political subtext: While in the final version the three amorous liquors are Marianne Chartreuse, Ladislaw Slivovitz, and Boris Wutki, representatives of France, Poland and Russia, the original intent was to have the German Michel Schnapps instead winning Marianne's hand, a symbol of political reconciliation or even resurgent German virility, written out after the Occupation of the Ruhr. Also in earlier sketches, red banners were waved amidst the riotous proletarian cakes, with the Revolution Polka conducted by matzos. Recordings: There is a recording of the full ballet by the Tokyo Metropolitan Symphony Orchestra, conducted by Hiroshi Wakasugi, on the Denon label. The composer also recorded the waltzes from the ballet with the Vienna Philharmonic. Other productions: The American Ballet Theatre mounted their first production of the ballet in 2017 at the Metropolitan Opera in New York City; Alexei Ratmansky provided the choreography and Mark Ryden designed set and costumes. That production was also shown at the Kennedy Center in Washington, DC, and at the Hong Kong Arts Festival.
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