Podcasts about mauro giuliani

Martin Haselböck präsentiert seine Aufnahmen als Organist und Dirigent und die Aufnahmen seines Orchesters Wiener Akademie. Produktionen aus den Jahren 1976 bis 2024. Musik im Klang ihrer Zeit - gespielt auf den Instrumenten der Epoche. ACHTUNG - PROGRAMMÄNDERUNG Die Sommerzeit hat die Planung durcheinander gebracht, daher gibt es schon im August die Sendung mit Musik von Mauro Giuliani und Franz Schubert. Zu hören gibt es das 3. Gitarrenkonzert für die kleinere, höher gestimmte "Terzina", Variazionen über eine Cavatina aus dem Otello von Gioacchino Rossini sowie Ausschnitte aus Schuberts "Fünfter". Im September gibt es dann die für August angekündigten Orgelduette - gespielt von Hans und Martin Haselböck.

durée : 00:25:28 - Emilia Giuliani, une vie dédiée à la guitare - par : Anne-Charlotte Rémond - Si vous connaissez le prénom de Mauro Giuliani, grand maître de la guitare, vous n'avez peut-être pas entendu celui d'Emilia, sa fille. Elle aussi a été une virtuose de la guitare, et c'est son histoire que voici dans Musicopolis. - réalisé par : Max James

durée : 00:59:09 - La guitare à travers le répertoire de musique de chambre - par : Sébastien Llinares - "De la musique de chambre de différentes époques, de différentes esthétiques, comment la guitare et les cordes pincées sont utilisés dans ces contextes." Sébastien Llinarès - réalisé par : Patrick Lérisset

Ein Italiener in Wien: Mauro Giuliani feierte Anfang des 19. Jahrhunderts an der Donau Triumphe als glanzvoller Gitarrenvirtuose. Mit seiner einzigen Sonate schuf der Komponist aus Apulien einen Klassiker der Gitarrenliteratur voller Esprit und Leichtigkeit. Von Murat Kayi.

En este episodio descubriremos la música de uno de los grandes compositores para guitarra clásica, Don Mauricio Guiliani. Si quieres tomar clases de guitarra clásica escríbeme + 57 3106953965

Die Gitarre ist ein noch recht junges Instrument: ihre erste Blütezeit erlebte sie zu Beginn des 19. Jahrhunderts. Aus diesen "Anfangstagen" stammt das Gitarrenkonzert Nr. 1 von Mauro Giuliani. Es zählt zu den absoluten Highlights seines Genres und reißt das Publikum stets zu Begeisterungsstürmen hin.

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Deze week is het thema 'Leven'. Heb jij eigenlijk het idee dat je goed in het moment kunt leven? Of ben je vaak in gedachten alweer een stap verder? Ab helpt je in deze aflevering om echt even in het moment te zijn.  Soms kunnen jouw to-do's heus wel even wachten namelijk. Ondertussen laat Ab je rustige muziek van gitaarvirtuoos Mauro Giuliani horen...

Mauro Giuliani - Grand Overture Dale Kavanagh, guitar More info about today's track: Hanssler CD98.400 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

Bienvenida y bienvenido a La música desde el atril, el espacio que te ofrece la mejor música de concierto de diversos compositores, bajo la compañía de Magda Rey. Te esperamos cada domingo de 17:00 a 20:00 horas. En esta emisión disfruta de piezas musicales de compositores como Antonio de Salazar; Arcangelo Corelli; Jean-Féry Rebel; Tomaso Giovanni Albinoni; Antonio Lucio Vivaldi; Johannes Chrysostomus Wolfgangus Theophilus Mozart​; Mauro Giuliani; Ludwig van Beethoven​; César Franck; Johannes Brahms; Robert Schumann​; Edvard Hagerup Grieg; Claude Debussy​; entre otros. Henry Purcell fue un compositor británico del periodo Barroco que incorporó elementos estilísticos franceses e italianos y generó un nuevo estilo musical para su época.  Escuchemos "Se equivoco la paloma", composición de Carlos Gustavino, interpretado por el coro de Cámara de la Universidad Autónoma de Puebla   bajo la dirección de la maestra Gisela Crespo.

Se admiten recomendaciones escríbeme al correo…laguitarraenbraille@gmail.com Sígueme en Facebook… Telegram… Twitter… Publicados en ivoox …y otros gestores de Podcast…

Mauro Giuliani - Guitar Concerto No. 1: Alla polacca Dagoberto Linhares, guitar Camerata Cassovia Johannes Wildner, conductor More info about today's track: Naxos 8.550483 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

Hosted by (ig and youtube) @guitar arrangers  @The Music Thief   @Donitalia  Guest  @Pepe Romero  Special thanks to Matt Denman and Bryan Hays for making this interview possible. https://www.romero-institute.com/ https://peperomero.com/ Pepe Romero Biography There are very few true living legends in the world of classical music, few who have sustained greatness and grown throughout their lives. Pepe Romero is such an artist. He has been honored by kings, heads of state, and major institutions-the encomiums continue to pour in. But to Romero, his most important contribution has been reaching the common man. He has communicated the richness and beauty of the classical guitar to millions of people throughout the world. He has, indeed, become an ambassador of classical music, and, correspondingly, of the classical guitar. But this gift did not just appear out of nowhere. Pepe is the second son of one of the greatest guitarists that ever lived—Celedonio Romero. And he is brother to two more musical phenoms—Celin and Angel Romero.  Pepe Romero has premiered works by some of the finest composers of the twentieth and twenty-first centuries. Joaquín Rodrigo, Federico Moreno Torroba, Lorenzo Palomo, Padre Francisco de Madina, Paul Chihara, Enrique Diemecke, Ernesto Cordero, and, most poignantly, Celedonio Romero, have written compositions for Pepe. Always a champion of music by composers in earlier periods of music history, he has also delved into rare archives to re-explore lost pieces by Fernando Sor, (world premiere and recording of Fantasie in d minor), Mauro Giuliani (world premiere recordings of Concerto no.2 in A major and Concerto no.3 in F major and Variations and Polonaise, Op.65), Francesco Molino (world premier recording of Guitar Concerto in E minor, Op.56), Ferdinando Carulli (world premiere recording of Guitar Concerto in E minor, Op.140), Johann Kaspar Mertz, Luigi Boccherini, (world premiere recording of all 8 guitar quintets) and others. Maestro Romero's many accomplishments include: world premieres of Rodrigo´s Concierto andaluz (with the Romero Guitar Quartet), Concierto madrigal (with Angel Romero), and Concierto para una fiesta (written for Pepe Romero); Federico Moreno Torroba's Diálogos entre guitarra y orquesta (Pepe was personally chosen by Torroba and Andrés Segovia for the world recording premiere of this work dedicated to Segovia with an extended guitar cadenza written especially for Pepe), Concierto Ibérico by Torroba (written for and performed by the Romeros), Concierto en flamenco by Torroba was premiered in Málaga (performed by Pepe with Angel Romero conducting); and Lorenzo Palomo's Concierto de Cienfuegos (with the Romero Quartet) and Nocturnos de Andalucía (both released on the Naxos label). Of the many guitar concertos by his father, Celedonio Romero, Pepe has performed the world premieres of Concierto de Málaga, Fiesta Andaluza and El Cortijo de Don Sancho. Other premieres include Troubadour Music for four guitars and orchestra by Morton Gould, Concierto vasco and Concierto flamenco by Francisco de Madina, Concierto festivo by Ernesto Cordero, Christmas Suite for four guitars and chamber orchestra by Massimo Paris, Concierto a Celedonio by Enrique Diemecke, Concierto Mariachi by Michael Zearott and the guitar concerto, Zareh, by Loris Tjeknavorian. He also revived the great orchestral work Metamorfosi de concert by Xavier Montsalvatge, with Gianandrea Noseda, and premiered as well as recorded the Concerto for Guitar and Orchestra with Trumpet Obbligato by Paul Chihara, with Neville Marriner and the London Symphony. In April 2014 Pepe Romero performed the German premiere in the Berlin Philharmonic of a new work by Lorenzo Palomo – Fulgores - for violin, guitar and orchestra. Pepe Romero has always felt, along with his father and brothers, that the sharing of one's art is a personal responsibility. Mr. Romero has served as Professor of Guitar at the University of Southern California, University of California at San Diego, Southern Methodist University, and the University of San Diego. Every summer at the Celedonio Romero Guitar Institute, currently held at Oklahoma City University, the Romeros conduct an intensive guitar workshop including master classes, private lessons, student concerts and a final concert featuring the students performing with the Romeros. Pepe has conducted master classes at the Salzburg Summer Academy, Córdoba Guitar Festival, and the Schleswig-Holstein Festival. In 2004 he was appointed Distinguished Artist in Residence at the University of Southern California's Thornton School of Music. His newly revised guitar method “La Guitarra” was published and released by Tuscany Publications in 2012. Currently he is finalizing a teaching video that discloses the principles of the Pepe Romero guitar technique.

Mauro Giuliani - Variazioni Concertanti Amadeus Guitar Duo More info about today's track: Naxos 8.573592 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

1980ndate vinüüli taasväljaanne CD-l. Jürgen Schöllmann mängib klassikalisel kitarril Mauro Giuliani, Fernando Sori, Johann Sebastian Bachi ja Niccolo Paganini loomingut.

Nicolo Paganini and Mauro Giuliani and the competition winner!

durée : 00:25:28 - Emilia Giuliani, une vie dédiée à la guitare - par : Anne-Charlotte Rémond - Si vous connaissez le prénom de Mauro Giuliani, grand maître de la guitare, vous n'avez peut-être pas entendu celui d'Emilia, sa fille. Elle aussi a été une virtuose de la guitare, et c'est son histoire que voici dans Musicopolis. - réalisé par : Max James

Ana Vidović is a popular Croatian classical guitarist who was born on 8 November 1980. Considering her date of birth, Ana's age is 40 years old as of 2020. Known for being one of the world's youngest virtuoso guitarists, she has earned numerous prizes all over the world. She is the receiver of the Albert Augustine International Competition, the Francisco Tárrega competition, the Fernando Sor competition, the Eurovision Competition for Young Artists, the Printemps de la Guitare, the Young Concert Artists International Auditions, the Mauro Giuliani competition and many more.Vidović was born in 1980 and her place of birth is in Karlovac near Zagreb, Croatia. Born to Croatian parents, she started playing guitar from the young age of five. First, she was inspired by her brother named Viktor Vidović (born 1973) who is also a famous classical guitarist. Her sister Silvije Vidovic is also in the musical field known for being a concert pianist. Ana's father used to be an electric guitar player.At the age of 8, Ana started performing and by the time she was 11, she was an international performer. She attended the prestigious Academy of Music in Zagreb as the youngest student where Ana learned with Professor Istvan Romer at the age of 13. She earned the invitation from the Peabody Conservatory in Baltimore, the United States to study. She completed her graduation from there in May 2005. Since then, she has been residing there where Ana is working as a private tutor as well.

Synopsis Stephen Sondheim was 32 years old when his musical “A Funny Thing Happened on the Way to the Forum” opened on Broadway on today’s date in 1962. The best seats would have cost you $8.60, but decent tickets were available for three bucks in those days–and, much to Sondheim’s relief, New Yorkers snapped them up in short order. The trial run of “Forum” in Washington had been a near disaster, and, as this was the first major musical for which Sondheim wrote both the lyrics and the music, he had a lot riding on the show’s success. Audiences and critics alike loved the over-the-top fusion of an ancient Roman comedy by Plautus with the kick-in-the-pants conventions of American Vaudeville, spiced up with a liberal dash of Burlesque beauties in skimpy Roman costumes. As the NY Times review put it, the cast included six courtesans who “are not obliged to do much, but have a great deal to show.” “Forum” won several Tony Awards in 1962, including “Best Musical.” Even so, while Sondheim’s lyrics were praised, his music was barely mentioned: Sondheim’s skill as a composer not yet fully appreciated. that would occur several years, and several shows, later. Music Played in Today's Program Stephen Sondheim (b. 1930) A Funny Thing Happened on the way to the Forum 1996 Broadway Cast Angel 52223 On This Day Births 1745 - Baptismal date of Bohemian violinist and composer Carl Philipp Stamitz, in Mannheim; He was the son of the composer JohannWenzel Anton Stamitz (b. 1717), and the brother of composer Johann Anton Stamitz (b. 1750); 1829 - American pianist and composer Louis Moreau Gottschalk, in New Orleans; 1945 - American pianist and composer Keith Jarrett, in Allentown, Pa.; Deaths 1829 - Italian composer and guitar virtuoso Mauro Giuliani, age 47, in Naples; 1944 - British composer and women's rights advocate Dame Ethel Smyth, age 86, in Woking; 1960 - Swedish composer Hugo Alfvén, age 88, in Falun; Premieres 1720 - Handel: opera "Radamisto" (1st version) (Julian date: April 27); 1736 - Handel: anthem "Sing unto God" (Julian date: April 27); 1749 - Handel: "Music for the Royal Fireworks" (Julian date: April 27); 1924 - Honegger: "Pacific 231," in Paris at a Koussevitzky Concert; 1938 - Stravinsky: "Dumbarton Oaks" Concerto, at Dumbarton Oaks, conducted by Nadia Boulanger; 1939 - Persichetti: Piano Sonata No. 1, at Philadelphia Conservatory, composer performing; 1946 - Menotti: "The Medium," at Columbia University in New York City; 1958 - Ligeti: String Quartet No. 1 ("Metamorphoses nocturnes"), in Vienna, by the Ramor Quartet; 1962 - Sondheim: Broadway premiere of musical "A Funny Thing Happened on the Way to the Forum"; Near-disasterous trial run performances in Washington DC and other cities preceded the show's Broadway premiere; This was the first major musical for which Sondheim wrote both the lyrics and the music; It won several Tony Awards in 1962, including "Best Musical"; 1965 - Rochberg: "Zodiac" (orchestral version), by Cincinnati Symphony, Max Rudolf conducting; 1970 - Gunther Schuller: children's opera "The Fisherman and His Wife," in Boston; 1973 - Rochberg: "Imago Mundi," by Baltimore Symphony, Sergiu Commisiona conducting; 1979 - Andrew Lloyd-Webber: musical "Evita," in Los Angeles; The musical opened on Broadway on September 25, 1979; 1985 - Frank Zappa: "Time's Beach" for winds, at Alice Tully Hall in New York, by the Aspen Wind Quintet; 1996 - Lowell Liebermann: opera "The Picture of Dorian Gray," at the Monte Carlo Opera, with tenor Jeffrey Lentz in the title role and Steuart Bedford conducting; The American premiere of this opera was staged in Milwaukee, Wis., by the Florentine Opera in Feb. of 1999; 1998 - Saariaho: Cello Octet, at the Beauvais Cello Festival in Beavais, France; Others 1747 - J.S. Bach performs an organ recital at the Heiligeistkirche in Potsdam; 1821 - Earliest documented American performance Beethoven's Symphony No. 2, in Philadelphia at Washington Hall, by the Musical Fund Society, Charles Hupfeld conducting; The finale only was performed by the Philharmonic Society in New York on December 16, 1824 and repeated at Castle Garden on April 21, 1825; The first complete performance in New York was apparently given on April 22, 1843, at the Apollo Room during the first season of the New York Philharmonic with George Loder conducting; 1874 - American premiere of J.S. Bach's "St. Matthew Passion," at the Music Hall in Boston, by the Handel and Haydn Society, Carl Zerrahn conducting; The performing forces included a chorus of 600, and orchestra of 90, and a 60-voice boy's choir; For this performance, the first 12 numbers of Part II were omitted; The complete Passion was not performed by the Society until 1879; About half of Bach's Passion was given its New York City premiere at St. George's Church on March 17, 1880, by the New York Oratorio Society under Leopold Damrosch; Theodore Thomas conducted the next documented performance in Cincinnati on May 17, 1882, during that city's May Festival; 1945 - Aaron Copland's Pulitzer Prize for Music for his "Appalachian Spring" ballet score is announced on V-E Day (the day the Allied Forces won the war in Europe). Links and Resources On Sondheim

Synopsis Stephen Sondheim was 32 years old when his musical “A Funny Thing Happened on the Way to the Forum” opened on Broadway on today’s date in 1962. The best seats would have cost you $8.60, but decent tickets were available for three bucks in those days–and, much to Sondheim’s relief, New Yorkers snapped them up in short order. The trial run of “Forum” in Washington had been a near disaster, and, as this was the first major musical for which Sondheim wrote both the lyrics and the music, he had a lot riding on the show’s success. Audiences and critics alike loved the over-the-top fusion of an ancient Roman comedy by Plautus with the kick-in-the-pants conventions of American Vaudeville, spiced up with a liberal dash of Burlesque beauties in skimpy Roman costumes. As the NY Times review put it, the cast included six courtesans who “are not obliged to do much, but have a great deal to show.” “Forum” won several Tony Awards in 1962, including “Best Musical.” Even so, while Sondheim’s lyrics were praised, his music was barely mentioned: Sondheim’s skill as a composer not yet fully appreciated. that would occur several years, and several shows, later. Music Played in Today's Program Stephen Sondheim (b. 1930) A Funny Thing Happened on the way to the Forum 1996 Broadway Cast Angel 52223 On This Day Births 1745 - Baptismal date of Bohemian violinist and composer Carl Philipp Stamitz, in Mannheim; He was the son of the composer JohannWenzel Anton Stamitz (b. 1717), and the brother of composer Johann Anton Stamitz (b. 1750); 1829 - American pianist and composer Louis Moreau Gottschalk, in New Orleans; 1945 - American pianist and composer Keith Jarrett, in Allentown, Pa.; Deaths 1829 - Italian composer and guitar virtuoso Mauro Giuliani, age 47, in Naples; 1944 - British composer and women's rights advocate Dame Ethel Smyth, age 86, in Woking; 1960 - Swedish composer Hugo Alfvén, age 88, in Falun; Premieres 1720 - Handel: opera "Radamisto" (1st version) (Julian date: April 27); 1736 - Handel: anthem "Sing unto God" (Julian date: April 27); 1749 - Handel: "Music for the Royal Fireworks" (Julian date: April 27); 1924 - Honegger: "Pacific 231," in Paris at a Koussevitzky Concert; 1938 - Stravinsky: "Dumbarton Oaks" Concerto, at Dumbarton Oaks, conducted by Nadia Boulanger; 1939 - Persichetti: Piano Sonata No. 1, at Philadelphia Conservatory, composer performing; 1946 - Menotti: "The Medium," at Columbia University in New York City; 1958 - Ligeti: String Quartet No. 1 ("Metamorphoses nocturnes"), in Vienna, by the Ramor Quartet; 1962 - Sondheim: Broadway premiere of musical "A Funny Thing Happened on the Way to the Forum"; Near-disasterous trial run performances in Washington DC and other cities preceded the show's Broadway premiere; This was the first major musical for which Sondheim wrote both the lyrics and the music; It won several Tony Awards in 1962, including "Best Musical"; 1965 - Rochberg: "Zodiac" (orchestral version), by Cincinnati Symphony, Max Rudolf conducting; 1970 - Gunther Schuller: children's opera "The Fisherman and His Wife," in Boston; 1973 - Rochberg: "Imago Mundi," by Baltimore Symphony, Sergiu Commisiona conducting; 1979 - Andrew Lloyd-Webber: musical "Evita," in Los Angeles; The musical opened on Broadway on September 25, 1979; 1985 - Frank Zappa: "Time's Beach" for winds, at Alice Tully Hall in New York, by the Aspen Wind Quintet; 1996 - Lowell Liebermann: opera "The Picture of Dorian Gray," at the Monte Carlo Opera, with tenor Jeffrey Lentz in the title role and Steuart Bedford conducting; The American premiere of this opera was staged in Milwaukee, Wis., by the Florentine Opera in Feb. of 1999; 1998 - Saariaho: Cello Octet, at the Beauvais Cello Festival in Beavais, France; Others 1747 - J.S. Bach performs an organ recital at the Heiligeistkirche in Potsdam; 1821 - Earliest documented American performance Beethoven's Symphony No. 2, in Philadelphia at Washington Hall, by the Musical Fund Society, Charles Hupfeld conducting; The finale only was performed by the Philharmonic Society in New York on December 16, 1824 and repeated at Castle Garden on April 21, 1825; The first complete performance in New York was apparently given on April 22, 1843, at the Apollo Room during the first season of the New York Philharmonic with George Loder conducting; 1874 - American premiere of J.S. Bach's "St. Matthew Passion," at the Music Hall in Boston, by the Handel and Haydn Society, Carl Zerrahn conducting; The performing forces included a chorus of 600, and orchestra of 90, and a 60-voice boy's choir; For this performance, the first 12 numbers of Part II were omitted; The complete Passion was not performed by the Society until 1879; About half of Bach's Passion was given its New York City premiere at St. George's Church on March 17, 1880, by the New York Oratorio Society under Leopold Damrosch; Theodore Thomas conducted the next documented performance in Cincinnati on May 17, 1882, during that city's May Festival; 1945 - Aaron Copland's Pulitzer Prize for Music for his "Appalachian Spring" ballet score is announced on V-E Day (the day the Allied Forces won the war in Europe). Links and Resources On Sondheim

I'm very thrilled to speak to my guest today, guitarist, Nicola Pignatiello. He teaches at the Liceo Giordano Bruno in Rome and also at CESMI. This is the episode that all my guitarist audience members have been waiting for, and we will be diving deep into the topic of partimento on the guitar. He has recorded some really beautiful partimento realizations on the guitar that have received very positive responses from the partimento community and we will talk further about realizing partimenti on the guitar. 0:46 Background 1:41 Did you start with Classical Guitar? 2:07 Joining the conservatory at 15 3:08 What were your musical influences while growing up? 4:10 Was it 10 years of Conservatory? 4:25 Did you see yourself as a concert artist? 5:04 When did you discover Partimento? 5:50 Why did you take lessons with Enrico Baiano? 6:39 What recordings of Baiano did you like? 7:13 What happened in the lessons with Enrico Baiano? 8:01 What year was it when you discovered Partimento? 8:52 What made you think about combining partimento with the guitar? 10:53 How did you begin your development in partimento in 2005-2012? 13:47 When did people start playing 6-string guitars? 15:15 When in the 18th century did the 6-string guitar appear? 15:56 Fernando Sor, Mauro Giuliani and Ferdinando Carulli as representative of the 18th century style 17:35 What are the similarities between the Lute and the Guitar? 19:31 Were people realizing basso continuo on the baroque guitar or lute with strumming? 20:37 Why did you pick Giuliani and Carulli as models for partimento? 22:25 Solfeggi 22:48 What was in Giuliani's style that had traces of the partimento lineage? 24:38 Mauro Giuliani outselling Beethoven's piano sonatas 26:57 Does counterpoint easy to realize on the guitar? 28:41 Do you have to compensate when doing the Rule of the Octave on guitar? 30:15 How should someone start learning partimento on the guitar? 31:24 How similar are the different Rule of Octave versions among the 18th century guitar treatises 32:12 On having to transpose partimenti into more guitaristic keys 33:29 How do you prevent bad counterpoint on the guitar? 34:25 Cadences on the guitar? 36:14 When realizing figured bass, did the baroque guitar strum or using 3 voice textures? 36:51 Is that the same on the Classical guitar? 37:15 Learning with chord symbols on the guitar 39:00 Where Chord symbols originated from 40:26 Did they tolerate parallelism in guitar-type instruments because of the way they are constructed? 42:04 Did Fernando Sor have a method book? 42:52 What about dissonances on the guitar in partimento? 43:58 Bass Motions on the guitar 45:29 Nicola plays more Bass Motion examples 46:19 Bass Motions - Up a 4th down a 5th 47:06 Why is the guitar notated in treble clef? 48:00 What are some good treatises and manuscripts that would be relevant for partimento on the guitar? 48:43 Should we keep it to 2 voices on the guitar? 50:27 Is it heresy to try all these things on a non-classical guitar? 51:14 Can partimento be improvised on the guitar? 52:46 Free improvisation and composition on the guitar 53:52 How would you teach a young kid in the partimento-style of music education on guitar? 55:23 What about reading chords on the guitar in terms of Figured bass? 56:35 What about improvising on a very simple bass, how does that sound on the guitar? 59:24 How many ways can I color a simple progression on the guitar? 1:00:40 How do you development diminution on the guitar? 1:02:58 On the partimento bass lines being too difficult to realize on the guitar 1:04:41 How have your classical guitar colleagues reacted to your partimento realizations on the guitar? 1:05:51 What do you make of the rise in popularity in partimento over the last 2 years? 1:06:52 What do you think about South American classical guitar? 1:09:20 How do you analyze classical guitar literature? 1:10:59 Do you write figures or arabic numerals in circles when analyzing? 1:11:16 On the lack of historic models in realizing partimento on the guitar unlike the keyboard and the general difficulty 1:13:21 Felix Horetzky 1:13:57 Can you recommend any historically-informed classical guitarists? 1:15:47 On the passing of Julian Bream 1:17:06 Flamenco Guitar 1:18:21 Discussing Chord symbols and their related hand shapes 1:25:03 Wrapping Up

The Classical – Part II This week we hear works by Giovanni Viotti, Franz Danzi, Joseph Eybler, Franz Süssmayr, Ludwig van Beethoven, and Mauro Giuliani. 143 Minutes – Week of September 07, 2020

durée : 00:30:09 - La guitare opératique n°2 - par : Sébastien Llinares - Deuxième volet de cette série consacrée aux liens entre guitare et opéra. Au programme d'aujourd'hui, la musique de Gioacchino Rossini, Robert de Visée, Mauro Giuliani et Federico Moreno Torroba. - réalisé par : Patrick Lérisset

Il 7 maggio 1829 muore a Napoli Mauro Giuliani.

선곡표 1. Dvorak -humoresque Op 101-7 2. Chopin -Ballade No 4 F minor Op 52 3. Telemann -비올라 협주곡 G장조 1,2,3,4악장 4. George Gershwin -The man I love 5. Mauro Giuliani -기타 협주곡 1번 Guitar Concerto No.1 in A Major Op.30 - 1. Allegro maestoso 6. Schumann -피아노 3중주 1번 Piano Trio No.1 in d minor Op.63 - 1악장 Mit Energie und Leidenschaft 7. Haydn -하나님이 우리를 창조하셨나이다 from 오라토리오 천지창조 8. Rachmaninoff -Vocalise (실내악편곡) 9.말러 대지의 노래 Das Lied von der Erde - 2. Der Einsame im Herbst

http://www.ajiterapia.com/0072-ajiterapia-octubre-11/ Luthier Angelo Nazario Sepúlveda, Ph.D. | Lajas | Puerto Rico 787-543-3582 Facebook: https://www.facebook.com/angelo.nazario Profesor, músico, luthier. Maderas usadas en guitarras Cedro, Palo Santo, Maga, Majó, Caoba, Algarrobo, Laurel Geo, Laurel Amarillo, Capá Prieto, Cedro Dulce, Guayacán, Teca y otras… Guaraguao - madera parecida a la caoba. Seca muy bien y permite un sonido amplio, brillante y sostenido en los cuatros fabricados con ella. Roble - Cuatro fabricado por José L. Román en madera de Roble. Muy brillante su sonido. La guitarra, también conocida como guitarra clásica o guitarra española, es un instrumento musical de cuerda pulsada, compuesto de una caja de madera, un mástil sobre el que va adosado el diapasón o trastero —generalmente con un agujero acústico en el centro de la tapa (boca), y seis cuerdas. Sobre el diapasón van incrustados los trastes, que permiten las diferentes notas. La guitarra es el instrumento más utilizado en géneros como blues, rock y heavy metal, sobre todo en su variante eléctrica, mientras que en el flamenco se suele usar una guitarra española con ligeras variaciones conocida como guitarra de flamenco. La guitarra clásica es también bastante frecuente entre los cantautores, así como en el folclore de varios países. Algunos instrumentos de la familia de la guitarra son el cuatro, el ukelele, el requinto, el charango y distintos tipos del guitarrón, como el guitarrón mexicano, de uso frecuente por los mariachis. Guitarra estilo Luis P. del siglo XVIII. Fernando Sor, Mauro Giuliani, italianos de la época clásica de la música, gustaban de ésta. Una guitarra pequeña y más profunda. Guitarra modelo Howser, tradicional, hecha de cedro, palosanto y diapasón de maga puertorriqueña. Guitarra de pino canadiense, fondo de palosanto, diapasón en ébano y brazo en cedro. Godín: Marca de guitarra fabricada en Canadá. Una compañía Canadiense con nuestras oficinas generales en Montreal y construimos guitarras en cuatro diferentes localidades, tres en Québec y una en New Hampshire. Para aquellos que hacen cuentas, esto asciende a seis fábricas esparcidas a lo largo de unos 1000 kilómetros. Así que, ¿por qué no solamente tener una fábrica gigante de guitarras? Aunque hay algunos inconvenientes obvios asociados con el crecimiento en este rubro, la parte interesante es que operando en lugares más pequeños se promueve un ambiente de trabajo más íntimo que se refleja en los instrumentos mismos. Las guitarras Godin son ensambladas en nuestra fábrica de Berlin, New Hampshire. Los Mástiles y los Cuerpos están hechos en su totalidad en nuestra locación natural de La Patrie, Québec. Hacemos de tu conocimiento también nuestra línea de guitarras acústicas que incluyen las marcas siguientes: Seagull, Simon & Patrick, Norman, LaPatrie y Art & Lutherie. Mauro Giuliani (Bisceglie, 27 de julio de 1781 – Nápoles, 8 de mayo de 1829) fue un compositor y guitarrista italiano. Estudió violín, violonchelo y guitarra y con solo 25 años se convirtió en una celebridad. Fernando Sor o Ferran Sor i Muntades, 13 de febrero de 1778 – 10 de julio de 1839) fue un guitarrista y compositor nacido en Barcelona, España. El musicólogo francés Fétis le llamó el “Beethoven de la guitarra”. Video en Inglés de William R. Cumpiano https://www.youtube.com/watch?v=6A7HessDjco Cuerdas de instrumentos http://daddario.com/daddariosplash.page Fibra de carbón en cuerdas de instrumentos musicales. Estas tienen un sonido más fuerte que las cuerdas de nylon. Psicólogo Howard Gardner Libro Friends of Mind La teoría de las inteligencias múltiples es un modelo de concepción de la mente propuesto en 1983 por Howard Gardner, profesor de la Universidad de Harvard, para él, la inteligencia no es un conjunto unitario que agrupa diferentes capacidades específicas, sino una red de conjuntos autónomos, relativamente interrelacionados. Para Gardner, la inteligencia es un potencial biopsicológico de procesamiento de información que se puede activar en uno o más marcos culturales para resolver problemas o crear productos que tienen valor para dichos marcos. Musicoterapia El término musicoterapia, según La Federación Mundial de Musicoterapia, se refiere al uso de la música y/o sus elementos (sonido, ritmo, melodía, armonía) realizado por un musicoterapeuta calificado con un paciente o grupo, en un proceso creado para facilitar, promover la comunicación, las relaciones, el aprendizaje, el movimiento, la expresión, la organización y otros objetivos terapéuticos relevantes, para así satisfacer las necesidades físicas, emocionales, mentales, sociales y cognitivas. Tiene como fin desarrollar potencialidades y/o restaurar las funciones del individuo de manera tal que éste pueda lograr una mejor integración intra y/o interpersonal y consecuentemente una mejor calidad de vida a través de la prevención, rehabilitación y tratamiento Hamburgo, 1996, Comité de Práctica Clínica de la World Federation of Music Therapy Proyecto de Bellas Artes Ley 584 fue aprobado para el departamento de educacion de Puerto Rico https://www.youtube.com/watch?v=-rK5ox90Dc4

In this episode I take you into the world of Giuliani and Rossini as we explore the Rossiniana No.1 by Mauro Giuliani. Rossiniana I, Op. 119 Themes: Introduction (Andantino) “Assisa a piè d'un salice” (Otello) “Languir per una bella”, Andante grazioso (L'Italienne à Alger) “Con gran piacer, ben mio”, Maestoso (L'Italienne à Alger) ”Caro, caro […] The post CGC 024 : Rossiniana No.1 by Giuliani first appeared on Classical Guitar Corner.

José Manuel Alcántara es un destacado ejecutante de guitarra mexicano egresado del Conservatorio Nacional de Música de México y del Conservatorio de Ámsterdam con Mención de Virtuosismo. Es miembro del ensamble Liminar, dedicado al repertorio contemporáneo. También forma parte de un dúo para flauta y guitarra con Willy Terrazas, enfocado a la música mexicana contemporánea. Ha sido parte del Ensamble de Música Contemporánea del Conservatorio Sweelinck de Ámsterdam, bajo la batuta de Lucas Vis Harry Sparnaay. Se ha presentado como solista con la Orquesta Sinfónica Nacional, la Orquesta de Cámara de Bellas Artes, la Filarmónica de Chihuahua, la Sinfónica del Instituto Politécnico Nacional, la Orquesta de Cámara de la Ciudad de México y la Orquesta de Cámara de San Ángel, entre muchas otras. Ha participado en festivales de Estados Unidos, Holanda, España, Portugal, Bélgica, Italia, Francia, Austria y México. En el marco del XV Encuentro Internacional de Guitarra, José Manuel Alcántara interpreta obras de Johann Sebastian Bach, Mauro Giuliani, Jorge Ritter, Wilfrido Terrazas y Alberto Ginastera.

This episode is the 2nd of a series of episodes covering the 120 Right Hand Studies composed by Mauro Giuliani (1781-1829). It is recommended to go back Read More →

This episode will be the first of a series of episodes covering the 120 Right Hand Studies composed by Mauro Giuliani (1781-1829). It is recommended Read More →

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

Detlef Kenge stellt zusammen mit dem Gitarristen Alvaro Pierri das Gitarrenkonzert in A-Dur op. 30 von Mauro Giuliani vor.