Podcast appearances and mentions of louis spohr

Yaron Herman wollte eigentlich Basketball-Profi werden. Mit 16 Jahren hat er sich aber am Knie verletzt und vorbei war es mit dem Traum. Dafür entstand jetzt ein neuer: Jazzpianist werden! Er begann (sehr spät im Vergleich zu anderen) mit dem Klavierspiel – und ist heute ein weltweit gefragter Künstler. 01:10 – Aktuell 1 Vorschau Walpurgisnacht mit Macbeth und Louis Spohr. 05:30 – Aktuell 2 Nachruf auf den österreichischen Komponisten Peter Ablinger. 07:50 - Gespräch Jazzpianist Yaron Herman. (Fanny Opitz) 24:50 - Neuerscheinungen: Beethoven & Kreutzer: Septets. Mit Manz, Plath, Klieser, Hölscher, Lee, Ionita, Wagner. (CAvi) und: Northern Light. Echoes from 17th-Century Scandinavia. Lucile Richardot, Ensemble Correspondances, Sébastien Daucé. (harmonia mundi) (Elisabeth von Kalnein) 47:35 – Swiss Corner: Vorschau auf das Offbeat Jazzfestival Basel.

Louis Spohr - Symphony No. 9 "The Seasons" - WinterSlovak State Philharmonic Orchestra, Kosice Alfred Walter, conductorMore info about today's track: Naxos 8.555540Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Antonio Salieri havia alcançado uma elevada posição social, sendo frequentemente associado com outros celebrizados compositores, como Joseph Haydn ou Louis Spohr. Desempenhou um papel importante na música clássica do século XIX e ensinou compositores famosos como Ludwig Van Beethoven, Carl Czerny, Johann Nepomuk Hummel, Franz Liszt, Giacomo Meyerbeer, Ignaz Moscheles, Franz Schubert e Franz Xaver Süssmayr. Ensinou também ao filho mais novo de Mozart, Franz Xaver Apresentado por Aroldo Glomb com participação especial de Aarão Barreto, nosso padrinho! Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Ediney Giordani, Tramujas Jr, Brasa de Andrade Neto e Aldo França.

Louis Spohr - Clarinet Concerto No. 2: RondoErnst Ottensamer, clarinetSlovak Radio Symphony OrchestraJohannes Wildner, conductorMore info about today's track: Naxos 8.550689Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   TRANSCRIPT   Kathleen Parlow Part 1  Welcome to this very first episode of the Historical Strings Recording Podcast.  A show that gives you a chance to hear rare and early recordings of great masters and their stories.  Hello, my name is Linda Lespets. I'm a violin maker and restorer in Sydney, Australia, and I'm also the host of another podcast called ‘The Violin Chronicles',  a show about the lives of historically important violin makers and their instruments. But today we have a different podcast and telling this incredible story with me is my co-host Eric Wen. Hello, my name is Eric Wen, and I'm the producer at Biddulph Recordings, which is a label that focuses upon reissuing historic recordings, particularly those by famous string players of the past.  I also teach at the Curtis Institute of Music in Philadelphia, where I've been for the past 24 years. In this first episode, we will be looking at an incredibly talented violinist called Kathleen Parlow, who, in her time, took Europe and the world by storm, giving even Fritz Kreisler a run for his money in the popularity department. She was described in the media as being ‘One of the phenomena of the musical world' on par with Mischa Elman, or the ‘greatest lady violinist in the world', and ‘the girl with the golden bow'.  She was treated with superstar status wherever she went, which begs the question as to why she is so little known today? Well, join us to discover her incredible story, the events of her career and her violin. A violin which would eventually financially ruin one man and divide his family. We will take a closer look at high hat kicking breakdancers, militant fascists, scandalous theatre directors, impossible love, a score ripping composer, and all this revolving around one of the world's most expensive violins and the incredible means one man went to get it into his hot little hands and then give it away. This is the story of Kathleen Parlow.  And all of the pieces you will be hearing in this podcast are of Kathleen Parlow playing her violin. Kathleen Parlow was born into a modest family in Calgary on the Canadian prairies in 1890.  Her mother, Minnie, was a violinist. So, at a young age at four, she gave her daughter a violin and started teaching her. When she was six years old, the family, Kathleen, Minnie, and her father, Charlie, they moved to San Francisco where her talent was immediately recognized. And well, this is probably because of the, the mom. And she was having lessons with her cousin called Conrad Coward in San Francisco.  Very soon, still aged six, she gave her first recital in San Francisco.  So is six, is six a reasonable age for a child to give a recital? What do you think? It's extremely young. In fact, that is truly prodigious. I mean, people don't even begin the violin till six and that's an early beginning of an instrument. Most people start around seven or eight, but to begin much earlier and to even be playing a concert at the age of six. That's really quite phenomenal. So with her burgeoning talent, she now started having lessons with Henry Holmes, who was a pupil of Louis Spohr, the well-known German composer and violinist. And he's a conductor and who he's the man who apparently invented the chin rest.  So where would we be without the chin rest, really? He's attributed with inventing it.  Well, Spohr was a fine violinist, German violinist. He was also a quite prominent composer. He was quite a conservative composer. So, I believe he wasn't that fond of the music of Beethoven. In other words, there were people like Spohr, Von Weber, and they represented a much more conservative branch of the sort of German composition.  of the German composers. And basically, they looked upon Beethoven as such a wild revolutionary in his music, so daring that I think they were almost a little offended by it. So Spohr, if you could say, is primarily a kind of conservative, very well-schooled, excellent composer. He wrote many, many violin concertos, the most famous of which is No. 8 in A minor, which is written in the form of an operatic scene. Full of violin solo recitatives and arias for the violin. Oh, wow. Yeah, that's interesting. So they were, there was like very shocked by Beethoven. They were, apparently. Was he a contemporary of Beethoven? Because I, because sometimes you go back pretty quickly, don't you? Like the teacher of the teacher of and all of a sudden you're in like the Well, Spohr was born 14, he's 14 years younger than Beethoven. Oh, okay. So, he was born in 1784, but he lived a lot longer. He lived over 20 years longer than Beethoven. Oh, wow. And that's fascinating. So, Henry Holmes, Kathleen Parlow's teacher, was taught by this guy who would have known Beethoven? Yes, absolutely. And objected to Beethoven.  Was shocked by his music. Well, I mean, I think sort of the, you might say the more mature Beethoven or the more daring Beethoven. But I think, you know, I'm sure maybe some of Beethoven's early works were much more acceptable. They were more normative, so to speak. Oh, okay.  So Kathleen's in San Francisco and her parents' marriage is breaking down. Her father, Charlie, moves back to Calgary where he dies of tuberculosis the year after. But Kathleen, she rockets on and is becoming more and more well known. Her new teacher sees real talent in the girl, and this teacher, Henry Holmes, he has contacts to make things happen. And he helps arrange a tour for her and playing engagements in England. So for this to happen, Kathleen's mum, she's, she's I'm getting stage mum vibes. Yes.  Because she's still very, still very young. Oh, yeah. I mean, I can't believe she wasn't playing with dolls.  And this would have been a conversation between Minnie, Kathleen's mum, and the teacher. It probably wouldn't have been a conversation with her as a child. No, probably not.  You don't really choose much when you're six, seven. No, that's true. So the problem they have is that they have no money. So, so what do you do, Eric? You have no money, you have a prodigy. You exploit the prodigy by having them play and make an income for you, which is something that happens unfortunately to many, many talented musicians coming from, you might say, less well-off families. They end up becoming the breadwinner. All their focus gets put upon these, these kids. And so not only do they have the added burden of playing and making sure they keep up They're playing well, but they also have the burden of making sure that they play well enough to make an income so that their families can survive. I mean, that's a very familiar story, and it's a story that has more failures than winners, I'm afraid, because you do hear about the winners. You do hear about the Misha Elmans or the Yasha. Well, Heifetz is a little different because he had a more middle-class family, but you do hear of Oskar Shumsky, for example, who I know I knew personally, he says, don't believe that these violence that you hear about having normal childhood behind every great violence, there's always a mama or a papa. And I think he himself endured that kind of pressure, the pressure to somehow become. The breadwinner, or let's say the some, the pressure to become a great violinist, primarily because he would serve as the breadwinner for the family. Well, if you think about it, you could say that.  Violin playing in the early 20th century was very dominated by Russians, particularly Russian Jews. And one of the reasons for that was that in Russia, all the Jews were confined to an area known as the Pale of Settlement.  In other words, a designated area that they could live in, but they could not leave that particular area. And basically, some very gifted young students could get into university or could go into a conservatory, and one of the big examples was Misha Elman, and Misha Elman, you might say left the Pale of Settlement to go study with Leopold Auer in St Petersburg. And they had to get all sorts of permission to do that. Well, the success of Misha Elman, the global success, the international success, I think resonated so well. with the people in the ghetto that they sort of saw, wow, this is one of our boys and look what he's done. He's now playing for the crowned heads of Europe. So I think for them, they felt this was a way out. And if you think about it, the film, Fiddler on the Roof,  which is a famous musical and it was adapted as a famous film. And basically, that film, just the very title, talks about the Fiddler on the Roof. And the setting is in the Pale of Settlement, the Jewish ghetto in Russia. They're often subjected to random attacks by the Cossacks and all sorts of difficulties. But here, despite all that, you know they manage to survive. And of course the image of the Fiddler on the Roof. The violinist is exemplified, you might say, by Misha Elman, who literally grew up in the Russian ghetto. Yeah, and Misha Elman, he'll, he'll become, he He'll become important in our story, yeah. The money. This is not a problem. There is a wealthy admirer called Harriet Pullman, Carolan, in San Francisco. And she pays for Kathleen and her mother to take the trip to England. And in 1904, at the age of 14, Kathleen plays for King Edward VII at Buckingham Palace. And then in the next year in 1905, she and her mother, they come back to England. This tour marks the beginning of a life that she would lead for years to come of performing and playing. And so by the time she was 15, she was touring and playing with the London Symphony. And it was in a concert at the Wigmore Hall in London that she really shoots to fame.  So is the Wigmore Hall, is that, is that still today an important place to play? Oh, extremely so. It's funny because the Wigmore Hall was originally called the Bechstein Hall, and obviously during the wars, it became a much more the name was more neutralized to become less dramatic, and it became named after the street it's on, which is Wigmore Street. It was always a very important venue, but around the sort of 60s In the 70s it had declined a bit in its status because the South Bank had been built and so the Wigmore Hall was a little bit relegated to a sort of a little second class status. But in the past 20 years or so the Wigmore Hall has catapulted to  fame again and it's today one of the most distinguished halls. In London. All right. Okay. And this is, this is pre war. So it's, it would have been called? Bechstein. Okay. So it would have been called the Bechstein Hall when she played? Probably. Oh yeah, definitely. So the Bechstein Hall was, I think first opened in 1901 and it was built by the piano manufacturers, the German manufacturers Bechstein, hence the name. And after the First World War, I believe it was changed to a more neutral sounding, less Germanic name, and it adopted the name of the street that it's currently on, which is Wigmore Street. Incidentally, the first concert at Wigmore Hall was actually performed, was a violin and piano recital, performed by Eugene Ysaye and Federico Busoni.  And then one night in London, Kathleen and her mother went to another concert of another child prodigy called Mischa Elman. And he was, so he's the fiddler on the roof guy, and he was almost exactly the same age as Kathleen. He was just a few months there's just a few months difference between them. And she, she hears him playing this concert and she's, she's just blown away. Blown away, and after the concert, she and her mother decide that Kathleen, she just has to go and have lessons from the same teacher as this, as this, as Mischa. So the only thing, only little thing about Mischa Elman's teacher is that he is in Russia. And as far as anyone knows, no foreigners study in the St. Petersburg Conservatorium, but that is about to change. Definitely no ladies. So, Kathleen and her mother had arrived in England with 300 raised by their church in San Francisco and this was, it just wasn't enough to get them to Russia and to the conservatorium where the famed Leopold Auer was a professor, but get there they would because Kathleen's mum, Minnie, still had a few tricks up her sleeve. She went and petitioned the Canadian High Commissioner.  So she must have been, I feel like Minnie, she must have been very persuasive. Like there was nothing was getting in between, you know, her daughter and this career. Forceful, a task to be reckoned with, certainly. Yeah. She's like we'll get to England, we have no money. Not a problem. We're gonna, we're gonna get this teacher. He's in Russia. Not a problem. No foreigners. It, you know, it doesn't, it doesn't seem to be a problem for her, no girls. Not a problem. No foreigner has ever studied in this St. Petersburg conservatorium. Not daunted. They're off. They go. So to pay the cost travel, Minnie managed to get a loan from Lord Strathconia, the Canadian high commissioner.  And from there, mother and daughter travelled to Russia. And in October of 1906, Kathleen becomes the first foreigner to attend the St. Petersburg Conservatorium. And in her class are 45 Students and she's the only girl. And we have to remember this is pre-revolutionary Russia. So there's still the Tsar Nicholas the second at this point. Yeah. She's mixing in, in that set. So it's an interesting place to be as a musician. Cause you're frequenting the sort of the upper classes but you can come from, from nothing and arrive there. Her professor was the famed teacher, Leopold Auer, who had a knack of discovering talent. Leopold Auer was actually a Hungarian violinist, and he was trained in Vienna, and he also studied with Joachim.  And what happened was Russia has always had a sort of love for the violin, and they employed many people to teach at the conservatory, because they really embraced Western culture. They had A number of important French violinists come, but their big, you might say, catch was to get Vieuxtemps, Henri Vieuxtemps,  to teach for a number of years at, in St. Petersburg. And after Henry Vieuxtemps, they actually got Henry Wieniawski to teach at the conservatory. And when Wieniawski decided to go back to Europe, they employed Leopold Auer to take his place at St Petersburg. Right. So he's up there with the big names. Well, they were a little bit let down. I mean, that's what they were, I think, a little bit disappointed to replace Wieniawski with Leopold Auer because Wieniawski was such a major violinist. So he had initially a little rough time, but he was adored by Tchaikovsky and Tchaikovsky loved Auer's playing, dedicated a number of works for him, including the famous serenade melancholic, and wrote a lot number of ballet scores, which Leopold Auer played the solos for. But of course, they had a big rift when Tchaikovsky wrote his violin concerto for Auer, because Auer said it was unplayable.  And that really hurt Tchaikovsky's feelings. And it laid dormant for several years before another Russian violinist. Brodsky took it up, learned it, and. Premiered it in Europe first, and only after its success in Europe did he bring it back to Russia, where it became a big success, and Auer felt very bad about that, and in fact, just before Tchaikovsky died, a few months before Tchaikovsky died, story has it that Auer went to Tchaikovsky and apologized to Tchaikovsky for his initial mistrust of the concerto. In fact, by that time, Auer himself had actually performed the concerto, championed it, and taught it to many of his students.  Yeah, and we'll see in this story how sensitive composers are, and how easy it is to hurt their feelings and really create. Like a lot of emotional turmoil. That's coming up. So Auer, like he might not have been their first choice for replacing, but he did have a knack of finding star pupils. That is something that we see, that I see in the conservatorium. Every now and then you have a teacher who's very talented at finding talent. Absolutely. And I know in Australia you have one very distinguished teacher who I think now has been poached by the Menuhin School in, in England. Yes. And we're not going to talk about that. Yes, we won't.  Because it's Must be a sore point.  But we do see, we do see him every now and then when he comes back. So along with Elman and Efren Zimbalist, Parlow becomes one of Auer's star pupils and Auer was so taken with her playing that he often called her Elman in a skirt, which I think is supposed to be a compliment. And in Auer's biography, he writes, he says, “It was during this year that my first London pupil came to me, Kathleen Parlow, who has since become one of the first, if not the first, of women violinists”.  And that, he says that in his biography, My Long Life in Music.  So, Every year, Auer had a summer school in Kristiana, which is Oslo today. And Parlow spent her summers there and became a great favourite in Norway, which leads us to the next and perhaps one of the most marking events in her career and life. At 17, having spent a year at the conservatory in Russia, Kathleen begins to put on public performances she gives solo performances in both St. Petersburg and Helsinki. So these are two places she knows quite well by now. And these concerts were, they were very important as Kathleen's mother really had no money to support them. And so, with but you know, Minnie doesn't bother her, she just ploughs on. And so with the money from these concerts this would have to tide her over.  From letters that I've read, they were living in like this small apartment and then another friend writes, you know this other person, they've been saying you live in a tiny little place, but I'm not going to spread that rumor. And, and so it was a, it was a thing on the radar that they didn't have much money and they were scraping by and they were like frequenting people of much more wealthier than they were, so they were sort of on the fringes of society, but with her talent that was sort of pushing, people wanted to know her. So she makes her professional debut in Berlin and then began, she begins a tour of Germany and the Netherlands and Norway. And in Norway, she performs for the King Hakon and Queen Maud. Of whom she'll become a favorite. And, and her touring schedule was phenomenal. It was just like nonstop. So, yeah. For a 17-year-old that's, you know, she's going all over the world. And you were saying that Auer knew . Do Tchaikovsky do you think Auer, was he was giving her these pieces that did, that influenced him? Yes.  I mean, Tchaikovsky  wrote a number of violin, solo violin works before the concerto, the most famous of which is, of course, the Waltz Scherzo and the Serenade  Melancholique. One is a fast, virtuoso piece, the other is a slow, soulful piece. And I know that Auer was the dedicatee of certainly the Serenade Melancholique, which she did play. So, so Auer's giving her stuff from, you know, his friend Tchaikovsky to play. Now she's 17 and she's touring to support herself and her mother and she has an amazing teacher who probably understands her circumstances all too well because Auer growing up also found himself in her position, supporting his father in his youth with his playing. So she's studying in St. Petersburg, which is an incredible feat in itself. So she must have had quite a strong character and her mother, Minnie, also appears to be very ambitious for her daughter. We're talking about her mother being ambitious, but for Kathleen to, you know, she's her daughter, she, she must've had quite a strong wheel as well. Yes. Well, she certainly did.  I wish we knew more about her because maybe she was very subservient, you know, we have no idea. Maybe she didn't have, I mean, it's a speculation, of course. Yeah. We do have like hundreds of letters from Kathleen and there's a lot between her and Auer, and there's a real sort of paternal, he really sort of  cared for her like a daughter almost and she looked up to him like a father and he was always very correct about it, you know, he would always write the letter to her. To Minnie, her mother the correspondents, it was, and it was always very, everything was very above board, but a very, they were very close. Kathleen later says that after expenses, her Berlin debut netted her exactly 10 pounds.  She didn't know it at the time, but this was an indication of what her future would be like, and she would be sort of financially in a precarious state most of her life, and she would so her routine was she studies with Auer every summer in order to prepare, like they were preparing her repertoire for the next season of touring. So now she has a tour  in 1908, so she's still 17, almost 18. It's in Norway, and to understand just a little bit of the political climate in the country, We can see that Norway, only three years earlier, had become independent of Sweden and had basically become its own country. So there's this this great sense of nationalism and pride in being Norwegian. And they have a newly minted king, King Hakon, who she's played for, and his queen, who was, He was in fact a Danish prince. And then when Norway, the Norwegian parliament asked him if he would like to become the king of Norway when they had their independence. And he said, why not? As part of this great sense of nationalism Norwegian musicians, composers, writers, and poets, they were celebrated and became superstars. And, oh gosh, yes, We can sort of understand. Poets have sort of dropped off the list, but back then poets, they were a big deal.  So you add to this a young, fresh faced, talented Canadian girl who knows and understands their country. She arrives in Oslo to play in the National Theatre, where Norway's very own Johan Halvorsen who's conductor and composer and violinist, he's conducting the country's largest professional orchestra. And that night for Kathleen's concert, she plays Brahms and some of  Halvorsen's compositions and the two, Kathleen Parloe and Halvorsen, they would go on to become quite good friends and Halvorsen regarded her very highly in saying, he said that her playing was superior almost to all the other famous soloists who made guest appearances in the city. So, I mean, a lot of people went through Oslo, so that was, you know, high praise.  And Kathleen quickly Becomes a admirer of his and she would become a driving factor in him finishing his violin concerto that he'd been dithering over for a very long time.  And this is Kathleen playing one of Halvorsen's compositions. It's not his concerto, it's Mosaic No. 4. So back to the theatre. And it was a magical night with the romantic music of Brahms to make you fall in love. And everyone did, just some more than others. And to finish off, there's music from their very own Johan Halvorsen to celebrate you know, a Norwegian talent. So Kathleen plays her heart out and when the concert ended, the crowd goes wild and the 17 year old soaks up the thunderous applause. She's holding on tight to her violin as she bows to adoring fans. Tonight she is the darling of Oslo.  In the uproarious crowd stands a man unable to take his eyes off this young woman. Her playing has moved him and her talent is unbelievable.  This man makes a decision that will change both their lives forever. So, Einar Bjornsson had fallen head over heels for the 17 year old Canadian there and then. She would turn 18 in a few months. And in that moment, he decided to give her the most beautiful gift she would ever receive.  So, who is Einar Bjornsson?  So what we were saying, poets, poets are less of a, you know, a hot shot today, but Einar was the son of a very, very famous poet. A Norwegian businessman and son of one of the most prominent public figures of the day, Bjørnstan Bjørnsson. He was a poet, a dramatist, a novelist, a journalist, an editor, a public speaker, and a theatre director. Five years earlier, in 1903, he was awarded the Nobel Prize for Literature, and one of his poems, called ‘Yes, We Love This Land', was put to music and is the Norwegian national anthem up to this day. So, you could say he was kind of famous in these parts, and his personality alone would have easily filled. A concert hall, that one in Oslo.  Einar's father here, we're talking about Einar's father, he's the poet. Einar himself doesn't appear to have written any poetry. And this, so this situation could have been just fine the whole infatuation, love at first sight thing, except for a few things that put a spanner in the works. To begin with, Einar Björnsson is somewhat older than the youthful Kathleen he's 26 years older.  Then her, in fact, and for a 17 year old, that is a big age gap. So he's 45, but that aside, there is a problem that he's also married and has two children. His daughter is actually almost the same age as Kathleen she's 16, but he doesn't really seem to  see that. All he can see is this violinist and her talent. And he's been just, he's besotted and he's going to make a grand gesture. So obviously, one way to support the arts is to, what patrons do is they will buy, a lovely instrument and lend it to someone. So that's your normal affair. Obviously, one way to show his devotion to her is to find her a better violin. Hers is absolutely not good enough for someone of her talent. And he has to find her something amazing because she is amazing. He's determined to give her the most wonderful gift she has ever received.  So he goes out and he's a businessman. And so he goes to his businessman contacts. And Kathleen would have spoken to her entourage. I imagine, and I now finally finds a violin worthy of Kathleen's virtuosity, and it happens to be one of the most expensive violins on the market in 1908, and it's a 1735 Giuseppe Guarneri Del Gesu violin. It had previously belonged to great violinists  such as Giovanni Battista Viotti and Pierre Baillot. So just to clarify in the violin making world Antonio Stradivari and Guarneri del Gesù are the two top makers. If you're comparing two instruments, if one was owned by no one not anyone that you know. And then another one was owned by Viotti and Pierre Baillot . The one that's owned by Viotti and Pierre Baillot is probably going to be worth more. Yeah. So Viotti, he was just huge. He had a lot of instruments. I think he did a little bit of teaching and dealing on the side, Viotti. Like with the number of instruments named after him, or he just went through a lot of instruments. So she buys this violin, and it's not all smooth sailing to get the violin. Because she, there's this, there's a big correspondence between her and Auer, and we see that actually there's this letter where it says from Auer saying, I saw Hamming very cross.  He says that the violin is compromised if he takes it back. So at one point, I think she may have changed her mind about this violin, but Hamming the dealer was not okay with this. All the I'm just trying to read his writing, it's not that easy. All the papers brought the news That Kathleen bought it so the newspapers have already, so the, you've got Hamming, that's annoyed, the papers have already said they've bought this violin and he could not, it says he could not sell it soon and repeat the sale, waiting till he finds something equal to the Guarneri. He showed me a Strad, indeed wonderful, asking 60, 000 livres, which must be pounds, right?  A nice fellow, isn't he?  And now, goodbye, write to me.  Love, Auer.  They do end up getting the violin. They, they don't get the 60, 000 Strad that Hamming Gets all upset about and offers, which I think he might have been exaggerating the price just to make him calm down about and to keep the del Gesu. Then Einar gives this to Kathleen. So this is a very kind of strange situation because normally you don't, you don't actually give, the patrons don't actually give their instrument to the No, absolutely. That's a remarkable gift. Just in terms of, I mean, the gesture is very magnanimous, but in terms of financial, there's just a financial cost or value of the gift is quite enormous. And  so really after only knowing her for a month, Einar transfers this money into her account and she travels, Kathleen travels to Germany to the Hamming workshop and purchases her del Gesu violin for two thousand pounds  and in today's money  according to an inflation calculator, that is three hundred thousand pounds. Almost four hundred thousand US dollars. More than half a million Australian dollars, which at the time was a lot for a violin as well. So we're not I mean, I, today you'd be kind of happy to buy a Del Gesu for half a million, but then it was, it'd be a bargain. So, it's interesting this, like, he buys this, this young violinist this very expensive present and it's a, and it's a grey area and it's fraught with debate ethically, really. And I feel like today musicians find themselves sometimes in this position where they're sort of indebted to the, to a benefactor. It's almost feudal. I I feel cause at the same time you're very happy that they're lending it to you, but got to keep an eye on if it's a healthy relationship to. To get the money he had to get, you know, half a million pounds pretty quickly. If you remember, Ina's father was a very famous poet who'd won a Nobel Prize in literature and part of the prize is that you win a large sum of money. And so, what does Einar do? He goes and asks Dad. So he asks, he borrows, he borrows most of the money actually. Goodness knows how he convinced him, but you know, he's a businessman. And also for the remaining, he's married, remember, and he's married to, actually, to an heiress, and he takes a bunch of her, her dowry money and transfers this to essentially a teenager he met a month ago. The purchase of this incredibly expensive violin attracted, it attracted the attention of the press internationally, but journalists It's never really questioned the fact that this, this gift was given to a young woman by a, by an established family man. So everyone was just like, Oh, isn't it amazing? Because normally in this circumstance, people don't often give the instrument. You buy it as an investment and you'll lend it to someone. I think I've heard of like very few, very few cases of things being gifted, but actually normally your standard practice is to, to lend it to people. And most people playing on strads, that's, that's what it is, someone's lent it to them. How would you feel about someone giving a 300, 000 instrument to your daughter, who's a teenager? Well, I'd be, I mean, I'd just hate the sort of obligation that would involve, because On one hand, it is a very wonderful gift if it is a gift, but you almost expect that  there is some expectation in return, don't you? Yeah. It's like he's bought her almost.  Kind of.  So, Einar, as, as I mentioned, he's, he's from a well known Norwegian family. They're very patriotic. His father's writings really established a sense of pride and meaning to what it was to be Norwegian. And he was. Like his father was this beloved figure in the country and he was quite frankly a hard act to follow. But his children gave it a good shot.  You have Einar was one of five children. His father Bjornstein Bjornsson was the poet and public figure. He worked in a theatre. His mother was an actress when he'd met her. Which is a little bit risque also for the time. So they're a bit more of sort of an acting bohemian theatre family. His older brother Bjorn Bjornsson, just to be complicated here, his brother's called Bjorn Bjornsson.  And not to be confused with Bjornstein Bjornsson, his father. So he was a stage actor and a theatre director.  Like his dad. He was a playwright and he was the first theatre director of the National Theatre. And that was the big theatre in Oslo where Kathleen played. He was also quite busy in his personal life, because his first wife was Jenny Bjornsson. I mean, another Bjornsson. Boarding house owner. So he married her for four years. So this is Einars older brother. He married her for four years, then he divorced her, then he married an opera singer. Called Gina Oselio for 16 years, but then he, they, they got divorced, and then he married in 1909 Aileen Bendix, who was actually Jewish, and that's an important point, that she was Jewish, because at this time, things are kind of soon things will start heating up in Europe. And then he was, then there was Einar's younger brother called Erling Bjørnson, and he was a farmer and a politician for the Norwegian Far Right Party. So he was extreme right. Bit of a fascist. The other brother. So he was elected to the parliament of Norway and he was very active during World War II. So his two brothers have very, like, polarized opinions. Einar himself, he was a passive member of the far right party, but during the war years at that time that was the only party that people were allowed to be part of, so you can't, it's hard to tell his political leanings from that. Then he has a younger sister.  Bergliot Bjornson, and she was a singer and a mezzo soprano, and she was married to a left wing politician Sigurd Ibsen, who was, he was the son of a playwright, and he becomes the Norwegian Prime Minister, so he plays a central role in Norway getting its independence. He met Einar's sister because he's a big patriot. Einar's father is a big patriot and that's how they were kind of family friends. It's not bad, you know, having your husband as the prime minister. Then he has another little sister called Dagny Bjornson and she was 19 when she marries a German publisher called Albert Langdon and so they're sort of like leftish as well. So Einar, he marries the sister of Albert Langdon. So they have this joint brother sister wedding. On the same day, the Bjornson brothers sisters marry the Langdon brothers sisters. But, the important thing to know is that the Langdons are very, very wealthy. They're orphans and they, they've inherited a lot of money. And so, but then Dagny, she ends up leaving her husband. Goes to Paris and works at another newspaper. And this is all in the, you know, the early 1900s.  So she had this amazing life and then and then she marries another man, a French literate called Georges Sartreau well he comes also from a very wealthy family. Then you have Einar, who's a businessman, and he marries Elizabeth and they have two children, and his life is like not that remarkable. I think the most exciting thing he does is fall in love with Kathleen, I suppose, and sort of runs after her and her violin. From Kathleen's diaries, we can see the day after this concert in Oslo on the 10th of January, it's written 10th January, Mr Bjornson, 11;30am She meets with him the day after skiing and tobogganing with the Bjornsons. She has a concert the next day, but the day after that it's dinner with the Bjornsons, then another concert. And then she plays for the King. Then she goes to dinner with the Bjornsons. So this is just an excerpt from her diary for those weeks. And the next day, it's just Mr. Bjornson. That's just her meeting him not with the family. And maybe this is where he says, you know, I'll get you a violin. Maybe that was that meeting. And then on the 28th of February, she's in Germany and, and he's there. Einar is there. He goes to see her. Then on the 6th of March, she's in Amsterdam and in her diaries, you know, Mr Bjornson, he's there. He's kind of like, I don't know if this is creepy. He's following her around and then, and it's around about this time that he buys the violin for her. So she finishes her tour and she goes back to England and a month later in her diary, who rocks up?  I know, he's there.  In England, and she's still only 17 there. It's like he's kind of shadowing her a bit. Yes, it's that next level patronage.  And then there's the, the aesthetic at the time, the, the pre-Raphaelite willowy type woman, which she fits perfectly into. And Kathleen, if you, if you see Kathleen, it's kind of like. John William Waterhouse, his paintings. There's women in these long flowy robes with flowers in their hair and long willowy postures and, they're often like, you know, they're flopping about on something like a chair or there's this one holding this pot of basil. And there's that famous painting, The Lady of Shalott, where you've got this woman float, is she, is she dead? She's floating in the water with her hair and, and all this fabric and flowers and.  In a promotional article, there was this quote from a review in the Evening Sun. “Kathleen Parlow, tall, straight, slim, and swaying as the white birch sapling of her native Canada, but a spring vision, but a spring vision all in pink from her French heels to her fiddle chin rest and crowned with parted chestnut hair of a deeper auburn than any Stradivarius violin made an astonishing impression of masterful ease”. I don't know if men were described like this, but they loved her. She's like a white birch.  Well she's very slender, she had beautiful long hair she was very thin, very fragile, and I think she sort of exemplified this pre Raphaelite beauty basically and that was so enchanting to have someone who  was almost from another world playing the violin divinely. I think she must have cut an incredibly attractive image  for the day. Absolutely. Yeah. And then she would have been like playing these like incredible romantic pieces. It would be juxtaposed with her playing. Yeah. And yeah. Yes. So she was this real William Waterhouse figure with her violin.  So she's lithe and willowy, and she has her touring schedule, which was phenomenal. She, so she tours England, Finland, Belgium, Germany, Poland, Denmark, Sweden, Norway. Just to name a few. It just kind of stopped after that. It was just never ending. And you have to remember it's the beginning of the 20th century,  and traveling, it's not like it is today. It was much more. Uncomfortable. I mean, it's incredible. You see one day she's in one country, the next day in another country. So this must have been quite fatiguing. And she's just playing night after night. Her mother, Minnie, she's her, she's, they're quite close. She's, and often like with these, with prodigies, often their parents. They're best friends, like they're the only constant in their life. So in the summers, she returns to Oslo every year for the summer school hour that's helping her for the next concerts. She spends quite a lot of time with Halverson, going to lunches and teas and rehearsals with him. You can see this in her diaries.  But is this, is this kind of the life of a musician as well? Like you have to, you have to go to a lot of teas and lunches with people to please patrons and so on. Yes, I think you do because musicians don't normally have much money and so to ingratiate themselves to patrons and sponsors they really had to coax them into help Yeah, because she's living this life sort of beyond her means, going to the theater, going to concerts and things, and sort of a balancing act. Back in Norway, and a week after she turns 18, there's an entry in her diary, play for Mr. Bjornson, and the next month her entries, they change slightly, and she'll now just call him E. B. For Einar Bjornson and the entries will say things like E. B. arriving and then often like a week later It's E. B. leaving and in her diaries, it's intermittently always though he'll be there for a week wherever she is often in England or and every few months He'll just pop up, you know in London in Germany in the Netherlands And he just always happens to be happens to be there and what's interesting is she has these hundreds of letters archived Of her writing to friends, to family, to her pianist. And it's really interesting that there's zero letters to Einar. There's no correspondence between them, which I think is maybe on purpose, they may be, they have to have been removed because she just writes letters to everyone, but we don't have these, any letters from them, so it just leaves things up to speculation. This brings us to the end of part one in the story of Kathleen Parlow. I would encourage you to keep listening to the music of Kathleen. To do this, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify, or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version. I hope you have enjoyed her story so far, but stick around for part two to find out what will happen with her career, the violin, the man who gave it to her, and the mystery behind a missing concerto that Kathleen would, in part, help solve after her death.  Goodbye for now.   ​ 

durée : 01:28:38 - En pistes ! du vendredi 09 février 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce vendredi matin, Emilie et Rodolphe vous invitent à parcourir les œuvres de Louis Spohr, Claude Debussy, Ludwig van Beethoven, mais également celles de Xavier Montsalvatge, Villa Lobos, Karol Szymanowski et George Jeffreys. En pistes !

Friedrich Lux (1820–95) was one of those musicians who formed the fabric of musical life in nineteenth-century Germany: though he worked away from the major cities, as a conductor, teacher, organist, organizer, and composer, he was an indispensable element of the communities in which he worked. His large body of organ music, as good as unknown before now, brings together elements of the musical language of Bach, Mendelssohn, and Schumann, in works that range from the intimate to the grandiose. This second volume brings some of his many transcriptions to the fore.TracksFantasie pastorale, Concertstück, Op. 64 (publ. 1881) (15:54) I. Allegro moderato (5:50) II. Andantino – Poco più mosso – Tempo I (5:07) III. Allegretto fugato (4:57) Lied ohne Worte (publ. 1877)* (4:46) Variationen aus Kaiserquartett von Haydn (publ. 1879)* (11:27) Poco adagio (1:28) 1. Variation (1:38) 2. Variation (1:41) 3a. Variation (1:32) 3b. Variation (1:29) 4. Variation (3:39) Drei Stücke aus Händel's Messias in Form einer Sonate (publ. 1877) (11:55) No. 1 Chor: Ehre sei Gott (Allegro) (2:19) No. 2 Arie: Er weidet seine Heerde (Larghetto) (5:27) No. 3 Chor: Halleluja (Allegro moderato) (4:09) Andante über die Choralmelodie Wie schön leucht' uns der Morgenstern, Op. 60 for horn and organ (publ. 1878)* (7:12) Adagio aus einem Nocturno von Louis Spohr (publ. 1878)* (5:52) Romance de l'opéra Casilda, Op. 32 (publ. 1863)* (6:28) Die Meistersinger von Nürnberg: Einleitung zum 3. Akt von Richard Wagner (publ. 1875)* (7:45) Marche célèbre de la 1ère Suite de F. Lachner, Op. 113 (publ. 1873)* (6:08) *First RecordingsHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. De Duitse violist en componist Louis Spohr raakte door zijn huwelijk met een harpiste geïnteresseerd in het componeren voor harp. Zo schreef hij een reeks variaties voor harp op het lied Je suis encore dans mon printemps. In het Nederlands is dat letterlijk vertaald: 'ik zit nog in mijn lente'. Beter gezegd: 'ik zit nog in de bloei van mijn leven', oftewel, 'ik ben nog jong'. Hoe zie jij jouw leven voor je? Ab vindt eigenlijk dat er altijd ruimte voor bloei is in het leven, hoe jong of oud je ook bent!

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Natuurlijk hebben we deze week weer een nieuw thema, en dat is: 'Kamermuziek'; muziek die makkelijk in de huiskamer kan worden gespeeld, vanwege de kleine bezetting. Als specifiek genre komt deze muziek voor vanaf de Barok. Vanwege het intieme karakter wordt kamermuziek ook wel omschreven als 'de muziek van vrienden'. Om eens goed de week te beginnen heeft Ab voor vandaag een nonet uitgezocht, oftewel kamermuziek voor negen instrumenten. Dat is in de klassieke muziek de grootste bezetting die nog tot de kamermuziek gerekend wordt. Louis Spohr schreef een nonet voor vier strijkers, fluit, hobo, klarinet, fagot en hoorn. Het was aan Spohr om het nonet zo te schrijven dat elk instrument in zijn ware karakter zou verschijnen. Sluit je ogen, zak onderuit en luister mee...

14th-20th CenturiesWe hear works by Guillaume de Machaut, François Andrieu, John Plummer, Mateo Flecha el Viejo, Claudio Monteverdi, Giovanni Viviani, Giovanni Battista Martini, Louis Spohr, George Whitefield Chadwick, and Leonardo Balada.147 Minutes – Week of 2022 October 31

Louis Spohr - Violin Concerto No. 8 "in modo di scena cantante": 3rd movement Simone Lamsma, violin Sinfonia Finlandia Jyvaskyla Patrick Gallois, conductor More info about today's track: Naxos 8.570528 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Louis Spohr isn't one of those composers who fell into complete obscurity. But for better or for worse the majority of his works remain unknown to modern audiences.

Neste programa, o maestro João Mauricio Galindo responde perguntas sobre o compositor Louis Spohr, os pianos do século XVIII , a ópera Turandot de Giacomo Puccini, a música gótica e muito mais.

durée : 01:59:09 - Été Classique Matin du mardi 12 juillet 2022 - par : Jean-Baptiste Urbain - Mais aussi, entre autres, Claude Debussy, André Caplet, John Dowland, Isobel Waller-Bridge, Francis Poulenc, Antonio Vivaldi, Louis Spohr, Elena Kats-Chernin, Frederic Chopin.... - réalisé par : Arnaud Chappatte

Louis SPOHR - Le premier mouvement du Concerto en la mineur pour violon et orchestre op 47 . Hilary Hahn & L'orchestre symphonique de la radio suédoise sous la direction d'Eiji Oui . DG 4776232 . Louis SPOHR - Des extraits de la Sonate pour violon et harpe en mi bémol majeur op 113. Shigenori Kudo et Naoko Yoshino. Sony 48033 . Ludwig van BEETHOVEN - Le troisième mouvement du Concerto pour piano n°3 en ut mineur opus 37 . Alfred Brendel & Wiener Philharmoniker sous la direction de Simon Rattle. Philips 4627812..

In der achten Episode geht es um eine geheime Klangformel, die es irgendwie und irgendwo schon gab. Der Fall scheint klar. Der Tristan-Akkord? Der stammt von Richard Wagner! Wie aber kann er dann in abgewandelter Form zuvor schon bei Mozart, Beethoven, Spohr und Liszt auftauchen? Wir machen uns wieder auf Spurensuche, erfahren, dass Wagner zeitweise steckbrieflich gesucht wurde, ihn in Wien eine Gefängnisstrafe erwartete und er immer wieder Geld, Geld, Geld brauchte. Wir hören, dass eine enthusiastische Wagnerianerin in ihrer Begeisterung auf einen völlig banalen E-Moll-Akkord verfiel und bekommen Lust, das großartige Werk Wagners wieder und wieder zu hören. Bei den Ermittlungen mit dabei unser Experte, Cornelius Meister, Generalmusikdirektor der Staatsoper und Staatsorchester Stuttgart. Er hilft uns mit seinem besonderen Blick auf Wagner, das Auftauchen der geheimen Klangformel zu entschlüsseln. Ein Podcast von CRESCENDO in Kooperation mit der Deutschen Welle.

Neste programa, o maestro João Mauricio Galindo responde perguntas sobre o Cravo bem temperado de Bach, o Santos Football Music de Gilberto Mendes, Louis Spohr e Carlos Gomes.

Louis Spohr - Symphony No. 9 "The Seasons": Summer Slovak State Philharmonic Orchestra, Kosice Alfred Walter, conductor More info about today's track: Naxos 8.555540 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording ArkivMusic Amazon

Today, most orchestral performances begin with the grand entrance of the maestro, as he/she takes their place on the podium and then emphatically points their baton at the musicians to indicate everyone (including the audience) should pay attention.But the use of the baton wasn't always this elegant and didn't always convey the musical subtleties of conductor to musician. In this episode, I hopscotch through history to see how the modern-day baton came to be.About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions. Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)

Liya Petrova est née en 1990 en Bulgarie, dans une famille de musiciens. Au violon dès l'âge de 4 ans, la petite Liya aurait aussi pu être pianiste, c'est en effet l'instrument dont sa maman rêvait pour elle. Mais la petite fille qu'elle était, savait déjà parfaitement qu'elle voulait être violoniste et non pianiste. La suite de son parcours est à l'avenant de ses débuts précoces : 1ers concerts avec orchestre dès l'âge de 5 ans. Ses études se poursuivent à Rostock en Allemagne, dès 11 ans, en tant que "Junge Studentin" auprès de Petru Munteanu. Suivront la Chapelle Musicale Reine Elisabeth, avec Augustin Dumay; la Haute école de Musique de Lausanne avec Renaud Capuçon, et enfin la Hochschule für Musik ¿Hans Eisler¿ de Berlin, où elle travaillera avec Antje Weithaas. " J'ai eu beaucoup de chance ", nous confiera Liya Petrova, " parce que toutes ces personnalités musicales très différentes m'ont toujours encouragée à trouver ma voie, sans imposer leur vision. C'est avec un grand nombre d'informations musicales, et ces différents points de vue, issus de traditions multiples, que je me suis construite ma propre identité musicale ". Travailleuse acharnée et opiniâtre, et forte de ce parcours de haut vol, Liya Petrova a déjà remporté plusieurs prix à de prestigieux concours internationaux. En 2016, elle gagnait le 1er Prix au Concours Carl Nielsen, mais elle s'est aussi illustrée aux concours Concours International Tibor Varga, et Louis Spohr. En février 2021, son 3e disque paraissait chez MIRARE. Il sera au coeur de notre émission aujourd'hui. Elle consacre cette nouvelle production au Concerto pour violon de Beethoven, et au 7e Concerto pour violon de Mozart. Une oeuvre magnifique, et qui titille la curiosité des mélomanes, puisque Mozart n'a composé, -a priori- que 5 Concertos pour violon. Ses 6e et 7e Concertos, auraient quant à eux été retouchés par des tiers. Depuis une vingtaine d'années maintenant, il est avéré que ce 7e Concerto pour violon n'a pas été exclusivement composé par Mozart. Une découverte qui a, -semble-t-il-, éloigné bon nombre de violonistes de la partition, qu'on ne joue presque plus, alors que David Oistrakh, par exemple jouait volontiers ce Concerto au 20e siècle. Liya Petrova, elle, ne s'est pas laissée influencée par ces débats musicologiques, et s'est laissée guider par la musique, qui est d'une élégance et d'une grâce toute mozartiennes. Accompagnée par le Sinfonia Varsovia, qu'elle connaît bien, sous la baguette de Jean-Jacques Kantorow, lui-même violoniste, Liya Petrova signe un disque excessivement sensible, inspiré et maîtrisé. Mozart et Beethoven se développent dans toute leurs richesses, et leurs finesses : deux oeuvres lumineuses, servies par une sonorité au timbre particulièrement velouté et chatoyant. Un optimisme musical qu'elle a ardemment souhaité, puisque ce disque a été enregistré entre la 1ère et la 2e vague de la pandémie que nous vivons. Liya Petrova varie les vibratos, et les couleurs, et elle a acquis ce qui fait l'étoffe des grands : déployer une sonorité riche et dense, même dans les nuances les plus délicates. La jeune violoniste joue un violon Carlo Bergonzi de 1737, généreusement prêté par Xavier et Joséphine Moreno. Sa sonorité, et son intelligence musicale sont un régal, de même que la direction et le jeu du "Sinfonia Varsovia", qui ne font que décupler les intentions de la jeune artiste bulgare. Nous écouterons également des extraits de son disque précédent, publié en janvier 2020, avec le pianiste russe Boris Kusnezow. Les 7e et 8e Sonates pour piano et violon de Beethoven y sont au programme, de même que la Suite pour violon de Britten, ainsi qu'une pièce de Samuel Barber. Enfin, nous entendrons aussi notre invitée dans un extrait du Concerto pour violon de Carl Nielsen (1911). Une oeuvre qu'elle a enregistré en même temps que le 1er Concerto pour violon de Prokofiev, en compagnie de l'Orchestre symphonique d'Odense, dirigée par...

durée : 00:58:38 - Louis Spohr ne comprend pas Beethoven - par : Aurélie Moreau - réalisé par : Louise Loubrieu, Céline Parfenoff

Case ########-21Preparation and recuperation.Audio recorded by the Archivist, in situ.Content warnings:DissociationMemory loss / Mental deteriorationSchadenfreude / Vicarious embarrassmentMentions of: suicide, alcohol, excessive drinkingThanks to this week's Patrons: L Lunovick, Clay Cameron, Krisp Dreemurr, Robert Hubert, Zoe Dapore, Lindy McLosin' It, Moriah Day, Shay Topaz, Ida Karoliussen, Patrick Lusk, Frood, Bella Choy, Daniela, Johnathan, Lauren Smithwick, Gill, Taro, Desiree Certain, Maggie Benson, Mundetiam, Ruth Harris, Abel Strictly, Neeley, Chiara Di Filippo, Beau, Molly Bushby-Medlen, Bee Murray, Van Bedard, Harrison Regan, space-gh0sts, M Whalen, seven goblins in a trench coat, escherzo, Kiah Benedict, Destiny Rivers, Dani Urbina, lare Nick Gilbert, pj bradley, cinderrain, Eliot Bonetto, Amanda Boltz, Monica, Rhys Whittemore, levee!, Cliffe, Sarah Bensch, Ellen Mcloughlin, Sirka, Leah, Allie, and JekaraIf you'd like to join them visit www.patreon.com/rustyquillEdited this week by Nico Vettese, Elizabeth Moffatt, Brock Winstead & Alexander J NewallWritten by Jonathan Sims and directed by Alexander J NewallProduced by Lowri Ann DaviesPerformances:- "Martin Blackwood" - Alexander J. Newall- "The Archivist" - Jonathan Sims - "Annabelle Cane" - Chioma Nwalioba- "Mikaele Salesa" - Ray Chong NeeSound effects this week by koraps, VithorMoraes, Timmeh515, j1987, vckhaze, klankbeeld, Omar Alvarado, kyles, o_ciz, MAJ061785, Iamgiorgio, mlsulli, 190042, davethetech , megashroom, shall555, Handfan, 13GPanska_Gorbusinova_Anna, gpag1, AlfredHitch, Clearwavsound, mrh4hn, oddmonolithsound, ultradust, sethlind , altfuture, dynamique, sacredmatt, straget, huskpodcast.com, sturmankin, 3bagbrew, & previously credited artists via freesound.orgAdditional sound effects from https://www.zapsplat.com Music - "Sechs Deutsche Lieder - Zwiegesang" by Louis Spohr, performed by Alavedra, McColl, Levine and provided under a Attribution-ShareAlike licence https://freemusicarchive.org/music/Alavedra_McColl_Levine/Voice_Clarinet_Fortepiano/Montserrat_Alavedra_William_McColl_Joseph_Levine_-_Voice_Clarinet_Fortepiano_-_05_-_Spohr_-_Sechs_Deutsche_Lieder_-_Zwiegesang- "9th Symphony, Finale" by Beethoven, available in the Youtube Audio Library https://www.youtube.com/audiolibrary_download?vid=e7853bc4b28058df Check out our merchandise at https://www.redbubble.com/people/rustyquill/collections/708982-the-magnus-archives-s1You can subscribe to this podcast using your podcast software of choice, or by visiting www.rustyquill.com/subscribePlease rate and review on your software of... See acast.com/privacy for privacy and opt-out information.

Das Bläserensemble „Les Vents français“ tritt auf seiner jüngsten CD mit einer geballten Ladung raren Romantiker-Repertoires an. Die „französischen Winde“, das sind Bläser, die sich alle um den ebenfalls solistisch sehr aktiven Emmanuel Pahud scharren, dem Starflötisten der Warner wie der Berliner Philharmoniker. Sie alle sind allesamt Einzelkünstler erster Güte. Das hört man sofort, wenn Flötist Emmanuel Pahud, Klarinettist Paul Meyer, François Leleux an der Oboe, Fagottist Gilbert Audin, Radovan Vlatkovic am Horn und Eric Le Sage am Klavier Quintette von George Onslow, August Klughardt und Louis Spohr interpretieren. SWR2-Musikkritiker Manuel Brug: „Dafür gibt es Höchstpunktzahl!“

Il 5 aprile 1784 nasce a Braunschweig Louis Spohr. Guido Zaccagnini lo racconta a WikiMusic

The premiere of Beethoven’s Symphony No. 7 was perhaps his greatest rock-star moment. Buoyed by the excited troops in whose honor the concert was being performed, Beethoven “tore his arms with a great vehemence asunder ... at the entrance of a forte he jumped in the air” (according to orchestra violinist and composer Louis Spohr). The work’s explosive energy and Beethoven’s expansion of symphonic structures to emphasize certain key areas make Symphony No. 7 an important stepping stone on his path towards Romanticism.

This coffee break continues the discussion of how the greats of classical music made a living. We discuss how the the size and complexity of the new compositions made the creation of the conductor a necessity--a new job was formed. Louis Spohr, a composer and violinist, became so frustrated with musicians' confusion with the Beethoven Symphony #9 that he helped create the the modern concept of the conductor and became one of the first. Mendelssohn, Berlioz, and Mahler followed suit and conducted their own pieces. Berlioz also became a tremendous marketer of his own works. And, we take the time to give a tribute to the great Jessye Norman, an American opera singer and recitalist. Here's the book about first night that Mr. Somers referred, First Nights: Five Musical Premiers by Thomas Forrest Kelly. Contact the show at yccb@mauriceriverpress.com

durée : 00:58:57 - Une statue pour Beethoven - par : Aurélie Moreau - Beethoven, mais pas que ! Franz Liszt, Louis Spohr et Robert Schumann sont également à bord du van Beethoven. - réalisé par : Bruno Riou-Maillard

All of the latest opera news. Don’t forget to rate, review and subscribe on your favourite podcast platform. Episode content 0.41 – Royal Opera 19/20 season – http://bit.ly/2VUEUcd 14.29 – Glyndebourne 2020 season – http://bit.ly/2VXTLCx 16.03 – Grange Park 2020 season – http://bit.ly/2VKiuWa 18.25 – International Opera Awards winners - http://bit.ly/2DjqdmW 21.05 - SWAP’ra and Julie Fuchs – http://bit.ly/2X8cB6R 47.30 – By Voice Alone – http://bit.ly/2JZEGtk Katie Bray at Blackheath Halls - http://bit.ly/2JYTmsq 54.40 – TV, Radio, Film, Online round-up https://bbc.in/2JzL0rS 57.45 – Coughing at the opera - http://bit.ly/2YGbRWF 59.44 – Adam Sandler: Opera Man - http://bit.ly/2K0MT07 1.00.35 - Hidden Gem – Jessonda by Louis Spohr - http://bit.ly/2JAA25j 1.03.23 - Opera Quiz - http://bit.ly/2WnOcgd Spotify playlist to accompany the episode - https://spoti.fi/2wl22RL Recorded at Chapel FM, Leeds, on Wednesday 22 May 2019 Produced by Northern Opera Group Host – David Ward Guests – Ben Crick and Sophie Gilpin

Vorsicht: Nicht überall, wo Faust draufsteht, muss Goethe drin sein. Die Oper "Faust" wurde von Louis Spohr im Jahr 1813 komponiert. Da lag Goethes Tragödie zwar schon im Druck vor, hatte aber noch keine Theaterbühne gesehen.

선곡표 1. Satie -Je te veux(그대를 원해요) 2..Puccini -E lucevan le stelle (별은 빛나건만) from 토스카 3 Weber -Nein, Länger Trag' Ich Nicht Die Qualen (숲을 지나 들을 넘어서) from 마탄의 사수 4. Louis Spohr - 바이올린 2중주 Duo For Two Violins In D Major Op.67-2 - 1악장 Allegro 5. Fritz Kreisler -전주곡과 알레그로 6. Brahms -Violin sonata No 3 D minor Op 108 1. Allegro 2. Adagio 3. un poco proesto e con sentimento 4. Presto Agitato 7. Francis Poulenc -오르간 협주곡 Poulenc - Concerto for Organ, Strings and Timpani in g minor FP 93 - 1. Andante 8. Dvorak -Symphony No 8 3. Allegro Grazioso-molto vivace 4. Allegro ma non troppo 9. Bach -골드베르크 변주곡 중 아리아- 제3변주 10. 죽은시인의 사회 ost 모리스 자르

For our final coffee break about sunrises, we revisit Hadyn's The Creation and the Big Bang, just because it's so amazing. We listen to how the human voice recreates the sunrise in a contemporary work, Dazzle of Day. Then we step back in time to Charles Ives' Decoration Day to hear the melancholy, layered sound of memory, then listen to the mystery of the first Easter morning. For our last sunrise, we hear Louis Spohr's invocation of the dawn after the Apocalypse. Contact the show at YCCB@mauriceriverpress.com

The premiere of Symphony No. 7 was perhaps Beethoven’s greatest rock-star moment. Buoyed by the excited troops in whose honor the concert was being performed, he “tore his arms with a great vehemence asunder ... at the entrance of a forte he jumped in the air” (according to orchestra violinist and composer Louis Spohr).

George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia