Podcast appearances and mentions of heinrich ignaz franz

Heinrich Ignaz Franz von Biber (1644-1704) - Chaconne in re maggiore per viola e Continuo ACRONYM EnsembleAdriane Post, viola

Heinrich Ignaz Franz von Biber (1644-1704) - Partia VI in re major for two violins and basso continuo [00:05]From "Harmonia Artificioso-Ariosa: diversi mode accordata" (Salzburg, 1696) 1.       Praeludium: Adagio-Allegro. 2.       Aria: Variatio I-XIII. 3.       Finale: Adagio-Allegro.Musica Antiqua KölnReinhard Goebel, conductor *********Georg Muffat (1653-1704) - Concerto n. 1 in re "Bona nova" [17:46]From XII Concerti grossi from "Auserlesener mit Ernst und Lust gemengter Instrumental-Musik Erste Versamblung" (Passau 1701)1.       Sonata. Grave. Allegro2.       Ballo. Allegro3.       Grave4.       Aria5.       GigaMusica AeternaPeter Zajíček, conductor

SynopsisThe hills surrounding the Austrian town of Salzburg, according to Rogers and Hammerstein, are “alive with the sound of music.” Well, the same could have been said for the vast interior and multiple choir lofts of Salzburg Cathedral on today's date in 1682 when a lavish celebration of the 1100th anniversary of the Archbishopric of Salzburg culminated in a specially-composed mass setting, with performers placed above and all around the citizens assembled there for the occasion. The music was composed by one of Salzburg's most remarkable composers. No, not Mozart – he wouldn't be born for another six decades or so. We're talking about Heinrich Ignaz Franz von Biber, who lived from 1644 to 1704, and, while not a native son like Mozart, was similarly employed by one of the princely archbishops of Salzburg. Unlike Mozart, however, Biber was on much better terms with his employer. Biber's magnificent “Missa Salisburgensis” for 53 voices is now regarded as a masterpiece of the Baroque music – but was almost lost. Forgotten for two centuries, the manuscript score was rediscovered by a choir director in 1870 in the home of a Salzburg greengrocer, who planned to use the large sheets of music paper to wrap vegetables.Music Played in Today's ProgramHeinrich Ignaz Franz Biber (1644 - 1704) – Missa Salisburgensis (Musica Antiqua Köln; Reinhard Goebel, cond.) DG Archive 457 611

Valik muusikat albumilt, millele on jäädvustatud Heiki Mätliku seaded klassikalisele kitarrile Heinrich I. F. Biberi (1644-1704) Roosipärja sonaatidest, mis on pühendatud Jeesuse elule ja loole.

Biber at its best. Es müssen nicht immer die Rosenkranzsonaten sein. Heinrich Ignaz Franz von Bibers Sonatae tam Aris, quam Aulis servientes bieten Festlichkeit und Einkehr und jede Menge barocker Sinnlichkeit

Heinrich Ignaz Franz von Biber (1644-1704) - Partia VI in re major for two violins and basso continuo [00:05]From "Harmonia Artificioso-Ariosa: diversi mode accordata" (Salzburg, 1696) 1.       Praeludium: Adagio-Allegro. 2.       Aria: Variatio I-XIII. 3.       Finale: Adagio-Allegro.Musica Antiqua KölnReinhard Goebel, conductor *********Georg Muffat (1653-1704) - Concerto n. 1 in re "Bona nova" [17:46]From XII Concerti grossi from "Auserlesener mit Ernst und Lust gemengter Instrumental-Musik Erste Versamblung" (Passau 1701)1.       Sonata. Grave. Allegro2.       Ballo. Allegro3.       Grave4.       Aria5.       GigaMusica AeternaPeter Zajíček, conductor

Valik muusikat albumilt, millele on jäädvustatud Heiki Mätliku seaded klassikalisele kitarrile ühest kõige varajasemast programmilisest instrumentaalteosest Heinrich I. F. Biberi (1644-1704) sonaatidest, mis on pühendatud Jeesuse elule.

George Balanchine is one of the most revered and influential choreographers of the twentieth century. In this first major biography about his life Jennifer Homans offers an intimate portrait of the man who co-founded the New York City Ballet and brought the art form so spectacularly into the modern age. She explores his life and legacy, revealing a complicated genius who was inspired to choreograph dances from subjects as diverse as Spinoza's philosophy to Orthodox icons, disrupting the norms of ballet and pushing the dancers into creative worlds of abstraction. Wayne McGregor is a contemporary titan of the dance world. He has just returned from Toronto where his ballet based on Margaret Atwood's post-apocalyptic book, MADDADDAM, had its world premiere in a joint production for The Royal Ballet and the National Ballet of Canada. Wayne McGregor's own dance company is celebrating its thirtieth anniversary and since its inception has been the experimental and creative forum for Wayne's innovative choreographic style. Ballet Black was founded by Cassa Pancho just over twenty years ago in response to the lack of racial diversity in ballet and offers dancers of Black and Asian descent a platform to showcase their talents. The company has gone from strength to strength, continually overturning stereotypes and transforming the landscape of classical dance. In March 2023 the company will perform ‘Pioneers' at the Barbican, comprising new and original work by award-winning choreographers Will Tuckett and Mthuthuzeli November. Producer: Natalia Fernandez Music credits: Wayne McGregor's MADDADDAM, Act 1 (except), original score by Max Richter. A co-production between the National Ballet of Canada and The Royal Ballet, inspired by the trilogy by Margaret Atwood. ‘Then or Now'. (ballet choreographed by Will Tuckett. The poetry of Adrienne Rich with music by Heinrich Ignaz Franz von Biber, arranged by Daniel Pioro. The poetry reading is by Michael Shaeffer.) Simon Rattle / Berlin Philharmonic Orchestra - Stravinsky: Apollon Musagete (Second Tableau, variation of Calliope

Albumil kõlavad John Dowlandi, Giovanni Gieralomo Kapsbergeri, Alessandro Piccinini ja Heinrich Ignaz Franz von Biberi teosed lautole.

Heinrich Ignaz Franz von Biber deve la sua fama di compositore alle Sonate a violino solo del 1681 dedicate all'arcivescovo e ripubblicate da Guido Adler nei Denkmäler der Tonkunst in Österreich (V, 2), ma scrisse anche varie opere teatrali e molta musica sacra. Quale virtuoso, le sue opere lo rivelano padrone di tutte le difficoltà dell'epoca: le alte posizioni, la scordatura, le corde doppie e triple, gli arpeggi legati, staccati e balzellati, ecc. La sua musica offre pezzi graziosi e composizioni sentite, accanto ad altre che la mania del giuoco sonoro e del puro effetto rende piuttosto spiacevoli. Georg Muffat fu uno dei primi ad avvicinare, almeno in ambito musicale, i paesi europei, come egli stesso spiega in questa riflessione, posta in prefazione al Florilegium, Nobilis Juventus: “La mia professione è molto lontana dal tumulto delle armi e delle ragioni di Stato che le fanno impugnare. Mi occupo di note, di parole, e di suoni. Io mi esercito allo studio di una dolce Sinfonia: quando mischio delle arie francesi, o quelle dei tedeschi, o degli italiani, non è per invocare una guerra; ma piuttosto preludere forse all'armonia delle tante nazioni, all'amabile Pace.” Heinrich Ignaz Franz von Biber (1644-1704) - Partia VI in re major for two violins and basso continuo [00:05] From "Harmonia Artificioso-Ariosa: diversi mode accordata" (Salzburg, 1696) 1. Praeludium: Adagio-Allegro. 2. Aria: Variatio I-XIII. 3. Finale: Adagio-Allegro. Musica Antiqua Köln Reinhard Goebel, conductor ********* Georg Muffat (1653-1704) - Concerto n. 1 in re "Bona nova" [17:46] From XII Concerti grossi from "Auserlesener mit Ernst und Lust gemengter Instrumental-Musik Erste Versamblung" (Passau 1701) 1. Sonata. Grave. Allegro 2. Ballo. Allegro 3. Grave 4. Aria 5. Giga Musica Aeterna Peter Zajíček, conductor

Then or Now - the episode featuring the poetry of Adrienne Rich and our collaboration with Ballet Black is no longer available, since we hope to be able to announce details soon of the full dance production! More news soon! ********* We are delighted to share a special edition of The Poetry Exchange podcast featuring the score from Ballet Black's new piece, Then or Now, choreographed by William Tuckett, which would have had its world premiere at The Barbican, London, on March 26th. The score features poems by Adrienne Rich and the music of Heinrich Ignaz Franz von Biber (1644-1704), played by solo violinist Daniel Pioro. Poetry Direction is by The Poetry Exchange's Founder and Director, Fiona Bennett and poems are voiced by Natasha Gordon, Michael Shaeffer and Hafsah Annela Bashir. It is with great thanks to the Adrienne Rich Estate and all the artists involved that we are able to share this unique collaboration between Ballet Black and The Poetry Exchange with you as a prelude to the full experience, once the ballet can be performed. Adrienne Rich is one of the greatest modern poets of our time. She was a tireless activist and ambassador for human rights and social justice. She was an active force in the Civil Rights Movement, a leading voice in the Feminist Movement and spoke out against all forms of oppression and injustice. Her exemplary approach to political activism, her scholarly and artistic integrity make her a highly relevant and vital source of inspiration for our time. She died in 2012 and her legacy is a defining force in the ongoing development of poetry. You can find out more about the life and work of Adrienne Rich through the Adrienne Rich Literary Trust here: www.adriennerich.net We are grateful to The Adrienne Rich Literary Trust and W.W. Norton and Company, Inc. for granting us permission to feature poems from Dark Fields of the Republic. Dark Fields of the Republic is published by W.W. Norton and available here: www.wwnorton.co.uk/books/9780393313987-dark-fields-of-the-republic. Many thanks to the wonderful Ballet Black and The Barbican. Find out more about their work below, and to stay updated with rescheduled ‘Then or Now' performance dates: www.balletblack.co.uk www.barbican.org.uk The extraordinary work of violinist, Daniel Pioro can also be found here: www.danielpioro.com/ Below is ‘What Kind of Times Are These' by Adrienne Rich - the opening poem from 'Dark Fields' of the Republic, and this episode. Photo credit: Camilla Greenwell and Ballet Black ***** What Kind of Times Are These By Adrienne Rich There's a place between two stands of trees where the grass grows uphill and the old revolutionary road breaks off into shadows near a meeting-house abandoned by the persecuted who disappeared into those shadows. I've walked there picking mushrooms at the edge of dread, but don't be fooled this isn't a Russian poem, this is not somewhere else but here, our country moving closer to its own truth and dread, its own ways of making people disappear. I won't tell you where the place is, the dark mesh of the woods meeting the unmarked strip of light— ghost-ridden crossroads, leafmold paradise: I already know who wants to buy it, sell it, make it disappear. And I won't tell you where it is, so why do I tell you anything? Because you still listen, because in times like these to have you listen at all, it's necessary to talk about trees.

Böömi päritolu Austria helilooja oli oma aja üks väljapaistvamaid viiulivirtuoose. Ta kirjutas nii instrumentaal- kui vokaalmuusikat, nii ilmalikku kui vaimulikku.

Böömi päritolu Austria helilooja oli oma aja üks väljapaistvamaid viiulivirtuoose. Ta kirjutas nii instrumentaal- kui vokaalmuusikat, nii ilmalikku kui vaimulikku.

Die Rosenkranz-Sonaten sind das bekannte Meisterwerk von Heinrich Ignaz Franz von Biber. Aber er hat noch viel mehr zu bieten. Harmonie Universelle präsentiert Bibers Sonatensammlung Fidicinium Sacro-Profanum in einer gelungenen, schwungvollen Einspielung.

Donald Macleod explores the music, and what little is known of the life, of Baroque master Heinrich Ignaz Franz von Biber. Biber’s first appearance in the historical records is in his early 20s, when we find him in the service of Karl Liechtenstein, prince-bishop of Olomouc in central Moravia. In this week’s episode, we meet Biber as he runs an errand for his boss, but mysteriously absconds en route, trading in his old employer for a new and even more illustrious one, Prince-Archbishop Maximilian Gandolph von Küenburg. In Salzburg, Biber put down roots, married the daughter of a wealthy local businessman, fathered eleven children and gradually rose through the court ranks to become Kapellmeister. His risky career-gamble had paid off. Donald introduces us to the musical legacy the elusive composer left behind, playing Biber’s best-known work (his Mystery, or Rosary, Sonatas) as well as his music for church and stage. We also learn about his close relationships with the violin and his home of Salzburg, and the five remarkable printed collections of instrumental music that spread his name across Europe. Music featured: Missa Alleluia (Kyrie) Sonata ‘La pastorella’ Battalia a 10 (Sonata di marche) Sonata violino solo representativa Partita VI in D (Harmonia Artificioso-Ariosa) The Rosary Sonatas: The Five Joyful Mysteries Passacaglia in G minor for unaccompanied violin Vesperae longiores ac breviores, 1693 Arminio, or Chi la dura la vince (extracts) Litaniae Sancto Josepho Sonata No 11 in A (Sonatae tam Aris, quam Aulis servientes) Partita No 3 in A minor (Mensa sonoris, seu Musica instrumentalis) Sonata No 3 in F (Sonatae violino solo) Sonata No 12 in A major (Fidicinium sacro-profanum) Partita No 1 in D minor (Harmonia artificioso-ariosa) Balletti a 6 (1. Sonata) Missa Salisburgensis Sonata a 7 Sonata Sancti Polycarpi Presented by Donald Macleod Produced by Chris Barstow for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Heinrich Ignaz Franz von Biber https://www.bbc.co.uk/programmes/m0003rq6 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

V oddaji bo zvenela stara glasba, in sicer bomo poslušali posnetek koncerta, na katerem so konec januarja nastopile tri glasbenice: flavtistka Eva Erjavec, violinistka Mojca Jerman in pianistka – čembalistka Eva Dolinšek. Zadnja je na koncertu nastopila kot korepetitorka, flavtistka in violinistka pa sta izvedli vsaka svoj del koncerta, ki ju bomo v oddaji Nove glasbene generacije nekoliko prepletli. Fray Bartolomé de Selma y Salaverde: Kancona št. 3 François Couperin: Kraljevi koncert št. 4 Heinrich Ignaz Franz von Biber: Passacaglia za violino solo v g-molu Francesco Geminiani: Violinska sonata op. 1, št. 3 (izvedena na kljunasto flavto) Johann Sebastian Bach: Violinska sonata št. 4 v c-molu, BWV 1017 Lojze Lebič: Od blizu in daleč: sedem podob za kljunaste flavte (3 stavki) Eva Erjavec, rojena leta 1996 v Ljubljani, se je s kljunasto flavto seznanila pri sedmih letih, ko se je na Glasbeni šoli Trbovlje vpisala v prvi razred pri prof. Vilmi Lučič, kasneje pa se je učila pri Barbari Černe in Antonu Šemrovu. Na Konservatoriju za glasbo in balet v Ljubljani je bil njen glavni predmet kljunasta flavta, pri prof. Mateji Bajt. Po glasbeni maturi, ki jo je opravila z odliko, je bila junija 2015 sprejeta na Akademijo za glasbo v Ljubljani pri isti profesorici, kjer je letos vpisana v 1. letnik magistrskega študija. Redno se udeležuje seminarjev in izobraževanj za kljunasto flavto (Festival stare glasbe Musica Locopolitana, Festival Radovljica, mojstrski tečaj pri prof. Katharini Lugmayr v okviru Festivala Emona). Prejela je več priznanj na državnem tekmovanju TEMSIG: leta 2013 kot solistka zlato priznanje in prvo nagrado, leta 2015 kot članica komorne zasedbe La Dolce Fiamma zlato plaketo ter leta 2016 prvo nagrado ter zlato plaketo. Mojca Jerman je študentka baročne violine v razredu Enrica Gattija na glasbenem konservatoriju v Bologni. Pred tem je zaključila študij na ljubljanski akademiji za glasbo v razredu Vasilija Meljnikova. V času študija se je eno leto izobraževala na Univerzi za glasbo in upodabljajočo umetnost v Gradcu pri Priyi Mitchell. Leta 2014 je kot solistka nastopila s Simfoničnim orkestrom SNG Maribor, s katerim je izvedla Bruchov Koncert za violino in orkester št.1. Za umetniške dosežke med študijem je prejela študentsko Prešernovo nagrado. Njeno zanimanje za baročno glasbo se je začelo že v času študija na ljubljanski akademiji, kjer je bila dve leti tudi koncertna mojstrica baročnega orkestra. V teh letih je bil njen mentor za baročno glasbo predvsem Egon Mihajlović. Od lani je študentka baročne violine pri Enricu Gattiju v Bologni, hkrati pa redno nastopa z ansamblom Antiphonus iz Zagreba, nastopila je tudi v okviru Festivala stare glasbe Harmonia Concertans Domna Marinčiča v Ljubljani. Septembra 2018 je sodelovala v mladinskem orkestru Cuban-European Youth Academy, ki ga organizira Balthasar Neumann Ensemble iz Hamburga. S klavirskim triom Rêverie je nastopala po vsej Sloveniji, Evropi in Argentini. Junija 2017 so kot solistke s Simfoničnim orkestrom RTV izvedle noviteto Leona Firšta. Eva Dolinšek je študirala čembalo na Akademiji za glasbo v Ljubljani na Oddelku za staro glasbo pri profesorju Egonu Mihajloviću. Leta 2015 je prejela diplomo summa cum laude in postala magistrica akademska glasbenica čembalistka. Njena aktivnost oživljanja in raziskovanja stare glasbe se nadaljuje v obliki solističnih in komornih koncertov v okviru abonmajev, strokovnih predavanj, pisanju strokovnih člankov, večkratnem sodelovanju na mednarodnih dnevih stare glasbe Malborghetto, na mednarodnem festivalu stare glasbe Academia Musicae Antiquae Labacensis v Ljubljani. Leta 2016 je izdala prvo zgoščenko Barok. Na zaključnem koncertu International Capmpus Musica Udine 2016 je prejela prvo nagrado. Na mednarodnem tekmovanju Svirel pa je leta 2017 kot solistka osvojila zlato priznanje, posebno nagrado in se uvrstila v finale. Pred kratkim se je udeležila mednarodnega tekmovanja Musica Antiqua Brugge (Belgija). V okviru projekta Carpaccio 500 je kot umetniška in idejna vodja zasnovala in izvedla dva koncerta baročne in renesančne glasbe v Kopru. Od leta 2011 je umetniška vodja baročne komorne skupine Musica nucis, s katero je na mednarodnem tekmovanju Svirel leta 2017 prejela srebrno priznanje. Redno se izobražuje na seminarjih in poletnih šolah pri profesorjih Michaelu Hellu, Lucii Rizzello, Federicu Maria Sardelliju, Robertu Loreggianu, Albertu Bussettiniju, Gilbertu Martinezu, Milku Lazarju, Rolfu Lislevandu, Jean-Yvesu Haymozu, Christophu Roussetu. Z letom 2018 je postala asistentka za področje čembala na Akademiji za glasbo v Ljubljani.

Aad van Nieuwkerk verkent iedere zaterdag en zondag tussen 23.00 en 24.00 uur de grenzen van de klassieke muziek. Met nieuwe releases, concerttips, reportages, actuele ontwikkelingen in de muziekwereld, een vaste plek voor jong talent, en natuurlijk: adembenemende muziek! Gemaakt in nauwe samenwerking met het televisieprogramma Vrije Geluiden. Met vanavond muziek van Thomas Tallis, Heinrich Ignaz Franz von Biber, Gioacchino Rossini, Charles Koechlin, Michael Finnissy, en Jacob Adler.

Tom Klaassen verkent iedere zaterdag en zondag tussen 23.00 en 24.00 uur de grenzen van de klassieke muziek. Met nieuwe releases, concerttips, reportages, actuele ontwikkelingen in de muziekwereld, een vaste plek voor jong talent, en natuurlijk: adembenemende muziek! Gemaakt in nauwe samenwerking met het televisieprogramma Vrije Geluiden. Speellijst: Apres un reve, op.7/1 - Gabriel Faure Peter Moore, trombone - James Baillieu - piano cd: Life Force 2'45” Cello sonata in G minor op. 19, deel 3 - Andante - Sergei Rachmaninov O Tod, wie bitter bist du uit de Vier ernste gesaenge - Johannes Brahms Peter Moore, trombone - James Baillieu - piano cd: Life Force 5'43” en 3'28” opname ORF (Oostenrijkse omroep) Johann Heinrich Schmelzer (1620/23-1680): Sonata Quarta Fantasticus Ensemble Rie Kimura (viool), Robert Smith (viola da gamba), Guillermo Brachetta (klavecimbel) 8'50” opname ORF (Oostenrijkse omroep) Heinrich Ignaz Franz von Biber (1644-1704): Sonate nr III in F Fantasticus Ensemble Rie Kimura (viool), Robert Smith (viola da gamba), Guillermo Brachetta (klavecimbel) 12'52” Rondo, Allegro gracioso uit Concerto for clarinet and string orchestra op. 31 - Gerald Finzi door Roeland Hendrikx (klarinet) en het London Philharmonic Orchestra cd: Dedications Evil Penguin Records eprc0026 8'46” Sonata a 8 viole con una tromba in D Major - Allessandro Stradella cd: Un viaggio a Roma door Concerto Italiano olv Rinaldo Alessandrini Label: Naive

Böömi päritolu Austria helilooja oli ühtlasi oma aja üks väljapaistvamaid viiulivirtuoose.

Böömi päritolu Austria helilooja oli ühtlasi oma aja üks väljapaistvamaid viiulivirtuoose.

En clave de Dios (I): Sonatas del Rosario (Biber). Programa inaugural de 'En clave de Dios' dedicado a las 'Sonatas del Rosario' del compositor barroco alemán Heinrich Ignaz Franz von Biber. Escuchamos una pequeña selección de estas sonatas, una serie de virtuosísticas y expresivas piezas para violín con acompañamiento instrumental que siguen fielmente la colección de los 15 misterios del Santo Rosario. En el apartado dedicado a Ave Marias, escuchamos la composición dedicada a la Virgen atribuida al compositor renacentista italiano Giulio Caccini pero compuesta realmente por el músico ruso del siglo XX, Vladimir Vavilov, en la década de los ochenta.

Egy zeneszerzőről egy órában.

On this podcast: Sonata Secondo by Dario Castello, Sonata "in due corde" by Biagio Marini, Divisions on "Io son ferito" by Palestrina/Rognoni, Prelude and Divisions on "John come kisse me now" by Thomas Baltzar and Sonata No. 5 in E Minor by Heinrich Ignaz Franz von Biber.

  On 29.30.2008 at Ossolineum Hall - this evening’s concert was organized with the heading: “Early German Harpsichord.” In this video, you will see the fragments of a performance of the compositions by Georg Bochm (1661-1733) & Heinrich Ignaz Franz von Biber (1644-1704). Performing are Urszula Danielewicz (harpsichord), John Ma (violin) & Myriam [...]