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NotaPublicado: 21 Jul 2008 22:46 
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Lenz escribió:
¿Tu hablando de Glass? Hay algo que no me cuadra :D



Que no se enteren en el foro de al lado :twisted:. ¡Ver para creer! :shock:


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Precisamente esas obras marcan al Glass que me parecía que tenía algo que decir. Para mi después de Akhnaten Glass está muerto :P


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Richard Strauss (1864-1949) Nació en Munich, hijo de Franz Strauss, célebre trompa, comenzó el estudio de la música a los 4 años. A los 21 años Richard Strauss debutó como director de orquesta, primero en Meiningen y después en Munich. A lo largo de su vida dirigió las principales orquestas de ópera de Alemania y Austria. Entre 1919 y 1924 trabajó (junto con el director austriaco Franz Schalk) como director artístico de la Ópera de Viena. Durante el régimen nazi en Alemania desempeñó el cargo de director honorario del departamento de música del Tercer Reich (1933-1935). Strauss permaneció en Alemania durante la II Guerra Mundial. La obra de Strauss puede dividirse en tres periodos. Las composiciones del primer periodo (1880-1887), raramente interpretadas actualmente, muestran una gran influencia de los maestros clásicos y románticos y son de una gran perfección. Entre ellas pueden citarse la Sonata para violonchelo y piano (1883), Burleske para piano y orquesta (1885) y la fantasía sinfónica Aus Italien (1887).

En su segundo periodo (1887-1904), en el que consiguió una gran maestría en el arte de la orquestación, Strauss creó una serie de obras que figuran en el repertorio habitual. Perfeccionó el poema sinfónico y utilizó el sistema del leitmotiv que había sido desarrollado principalmente por Wagner. También introdujo innovaciones de tipo armónico y de instrumentación, ampliando así las posibilidades expresivas de la orquesta sinfónica moderna. Entre las obras de este periodo se encuentran Don Juan (1888), Macbeth (1890), Tod und Verklärung (1890), Till Eulenspiegels lustige Streiche (1895), Also sprach Zarathustra (1896), Don Quixote (1897) y Ein Heldenleben (1898).

Al tercer periodo (1904-1949) pertenecen sus óperas, consideradas entre las más importantes del siglo XX. A raíz del éxito de la primera, Salome (1905), Strauss se asoció con el poeta y libretista austriaco Hugo von Hofmannsthal, con el que produjo sus mejores óperas como Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, revisada en 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928) y Arabella (1933). A la muerte de Hofmannsthal, Strauss siguió escribiendo óperas con otros libretistas, aunque con menor éxito; entre ellas pueden citarse Die schweigsame Frau (1935), Daphne (1938) y Capriccio (1942). Strauss también compuso más de 100 canciones, el ballet Josephslegende, las obras sinfónicas Symphonia Domestica (1904) y Eine Alpensinfonie (1915) y Vier letzte Lieder (1948).

epdlp

Des Esels Schatten, Singspiel (1949). Fragmento.

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Última edición por Zelenka el 24 May 2014 13:40, editado 2 veces en total

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Sigo con interés tu hilo ( por ejem. ese título de Strauss no lo conocía).

Aprovecho para preguntarte acerca de esta ópera de Jonathan Harvey:

Wagner Dream (2007)

Es que he visto que hay por ahí una grabación con el Ictus Ensemble. ¿Qué tal la obra?


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Jabberwock escribió:
Sigo con interés tu hilo


:wink:

Jabberwock escribió:
Aprovecho para preguntarte acerca de esta ópera de Jonathan Harvey:

Wagner Dream (2007)


delaforce le dedicó una vigneta.


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Pues muchas gracias por el enlace. Parece interesante. Habrá que ir pensando en escucharla :roll:.


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Vilém Blodek (1834-1874) nació en Praga, en una cuna modesta. Su padre era sastre y hacía además de conserje para sustentar a su familia de cuatro hijos. Para el futuro del muchacho fue decisivo su tío, que convenció a sus padres para que dejaran ingresar a Vilém a los doce años en el Conservatorio de Praga, donde estudió flauta con Antonín Eiser y composición con Johann Friedrich Kittl. Vilém Blodek llegaría a tocar con maestría también el piano. Terminados los estudios, a los 18 años podía enorgullecerse de haber compuesto, entre otros, la Gran obertura concertante y el Gran solo para flauta y piano. El talentoso joven se marchó a Galitzia, para enseñar música en la corte de un noble polaco. Regresa hastiado a Praga al cabo de dos años y empieza a dar clases de música y recitales de piano. Vive intensamente el amor hacia una alumna suya de origen noble, Marie Daudlebská de Sternberk, cuyo padre, un renombrado abogado praguense, se opone a la relación de la joven pareja.

A los 26 años, Vilém Blodek consigue el cargo de profesor de flauta en el Conservatorio de Praga. Compone el brillante Concierto en re mayor para flauta, y juntamente con Smetana escribe composiciones musicales para las celebraciones del tricentenario del nacimiento de Shakespeare. La novia de Blodek llega a los 24 años a la mayoría de edad y al cabo de siete años de noviazgo, el compositor puede contraer matrimonio, aunque contra la voluntad de los padres de la novia. En una atmósfera de felicidad familiar compone su obra más aplaudida, la ópera cómica V studni que se estrena con un inédito éxito en 1867. Los críticos presagiaban al autor un célebre futuro en el campo de la creación operística. Una trágica enfermedad lo cambió todo. Blodek vivió el triunfo de su ópera a los 33 años. En 1870, a los 36 años, fue ingresado en un sanatorio psiquiátrico en el que fallecería en 1874.

Radio Praga

V studni, ópera cómica en un acto (1867). Fragmento.

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Última edición por Zelenka el 24 May 2014 13:44, editado 1 vez en total

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Carl August Nielsen (1865–1931) He was born in Sortelung (Nørre Lyndelse), south of the city of Odense, Denmark. Nielsen was the seventh of twelve children in a poor peasant family. His father was a house painter and amateur musician. Carl first discovered music by experimenting with the sounds and pitches he heard when striking logs in a pile of firewood behind his home. He managed to learn the violin and piano as a child. He also learned how to play brass instruments, which led to a job as a bugler in the 16th Battalion at nearby Odense. He later studied violin and music theory at the Copenhagen Music Conservatory, but never took formal lessons in composition. Nonetheless, he began to compose.

At first, he did not gain enough recognition for his works to support him. During the concert which saw the premiere of his first symphony in 1894 conducted by Johan Svendsen, Nielsen played in the second violin section. However, the same symphony was a great success when played in Berlin in 1896, and from then his fame grew. Nielsen continued to play the violin at the Royal Theatre in Copenhagen until 1905, when he became 2nd conductor at the Theatre (till 1914). From 1914-26, he conducted the orchestra of "Musikforeningen". In 1916 he took a post teaching at the Royal Danish Conservatory in Copenhagen, and continued to work there until his death, in his last year as director of the institute.

In 1891 Nielsen married the Danish sculptor Anne Marie Brodersen, after having met just a month before in Paris, and the couple honeymooned in Italy. Despite a long period of marital strife including a lengthy separation and mutual accusations of infidelity, they remained married until Nielsen's death. Nielsen suffered a serious heart attack in 1925 and from that time on he was forced to curtail much of his activity, although he continued to compose until his death. Also during this period he wrote a delightful memoir of his childhood called My Childhood on Funen (1927). He also produced a short book of essays entitled Living Music (1925).

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Saul og David, ópera en cuatro actos (1898-1901). Final del acto segundo.

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Maskarade, ópera cómica en tres actos (1904-1906). Fragmento del acto primero.

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Última edición por Zelenka el 24 May 2014 13:47, editado 1 vez en total

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Saul y David sí que la conozco, pero Maskarade no la he oído :oops:.
¿Qué tal, Zelenka? ¿Recomendable?


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Me gusta mas Maskarade que Saul :wink:


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Zelenka, ¿tienes a Stanislaw Moniuszko y a Reinhard Keiser en tu lista o son demasiado conocidos para este hilo?


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Los dos están :wink:


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John Blow (1649–1708) He was probably born at North Collingham in Nottinghamshire, England. He became a choirboy in the Chapel Royal at an early age and must therefore already have served in that capacity in another church, perhaps in Newark. Blow studied with the chorus master Henry Cooke, and later with Christopher Gibbons, the son of Orlando Gibbons and a composer of lesser rank. In December 1668, Blow was given the post of organist at Westminster Abbey, a prestigious position indicating his considerable keyboard skills. A month later he was taken into the royal court to serve as a performer on the virginal. His first works seem to date from this period, with the 1670 anthem, O Lord, I Have Sinned, for vocal soloists, chorus, and organ, perhaps his earliest surviving effort.

Around this time Blow took on the young Henry Purcell as a student and was given the post of composer-in-ordinary for voices, an indication his vocal works had already found much favor. Blow was taken into the service of the Chapel Royal in March 1674, and in July he procured a post there as children's chorus master. During this period Purcell began a more intense regimen of studies with Blow, and a friendship between the two arose. In 1674 Blow married Elizabeth Braddock. She would bear him five children, of whom two would die before reaching adulthood. Elizabeth herself lived for only nine years after their marriage.

Blow was appointed organist (he was one of three) at the Chapel Royal in 1676, but despite his apparent successes and later affluence, he seems to have had some financial struggles during his married years, if one can judge by the family's modest living quarters. During this time and until 1685 - the year of James II's coronation - Blow composed most of his anthems and his opera Venus and Adonis. In the late 1670s he began composition of a large group of songs, which appeared in anthologies from 1679 through 1684. Blow also began writing many odes during this period. His Begin the Song (1684), the first of the St. Cecilia's Day Odes, for vocal soloists, chorus, and instrumental ensemble, is a masterpiece and one of his greatest works.

Blow continued composing at a fairly prolific rate in the latter years of the seventeenth century and garnered further posts, including master of choristers at St. Paul's Cathedral, in 1687. The death of Henry Purcell in 1695, was a devastating loss for Blow. He was moved by the event to write one of his finest masterworks in 1696, An Ode, on the Death of Mr. Henry Purcell, for two countertenors and two recorders. In 1700 Blow was appointed composer of the Royal Chapel, virtually designating him England's greatest living composer. Ironically, his output slowed to a trickle in the succeeding years, and what little he did produce was not necessarily new: the 1702 anthem, The Lord God Is a Sun and Shield, for vocal soloists, chorus, instrumental ensemble, and organ, for instance, is based on the 1686 effort of the same title.

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Venus and Adonis, masque en un un prólogo y tres actos (1685). Fragmento del acto primero. Fragmento del acto segundo.

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Última edición por Zelenka el 24 May 2014 13:53, editado 1 vez en total

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Venus y Adonis, ¡menuda maravilla!


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Erwin Schulhoff (1894–1942) He was born in Prague. In his youth, Schulhoff studied composition and piano in Prague, Vienna, Leipzig and Cologne, studying with Claude Debussy and Max Reger among others. He began to embrace the avant-garde influences of jazz and Dadaism in his performance and writing after World War I. He was one of the first classical composers in Europe to find inspiration in the rhythms of jazz music. Schulhoff was a celebrated keyboard virtuoso and made extensive tours of Germany while also venturing farther afield to France and England. In the 1930s, Schulhoff ran into mounting personal and professional difficulties. Because of his Jewish descent and his radical politics, he and his work were blacklisted as "degenerate" by the Nazi regime. He could no longer give recitals in Germany, nor could his works be publicly performed.

His Communist sympathies, which became increasingly visible in his works, also brought him trouble in Czechoslovakia. In 1932 he created a music version of The Communist Manifesto (Op. 82). Taking refuge in Prague, he found employment as a radio pianist but earned barely enough to cover the cost of everyday essentials. When the Nazis invaded Czechoslovakia in 1939, he had to resort to performing under a pseudonym. In 1941, the Soviet Union approved his petition for citizenship, but he was arrested and imprisoned before he could leave Czechoslovakia. In June 1941, Schulhoff was deported to the Wülzburg concentration camp, near Weißenburg, Bavaria. He died from tuberculosis.

Schulhoff went through a number of distinct stylistic periods. His early works exhibit the influence of composers from the preceding generation, including Debussy, Scriabin, and Richard Strauss. Later, during his Dadaist phase, Schulhoff composed a number of pieces with absurdist elements; notable among these is In futurum (from the Fünf Pittoresken for piano) -- a completely silent piece made up entirely of rests that anticipates John Cage's 4′33″ by over thirty years. (Schulhoff's work is itself predated by Alphonse Allais's Funeral March for the Obsequies of a Deaf Man, written in 1897; unlike Allais's and Cage's pieces, however, Schulhoff's composition is notated in great rhythmic detail, and employs bizarre time signatures and intricate, though silent, rhythmic patterns.)

Schulhoff's third style period dates from approximately 1923 to 1932. These were his most prolific years as a composer, and the pieces composed during these years are generally the most frequently performed of Schulhoff's works. Examples include the String Quartet No. 1 and Five Pieces for String Quartet, which integrate modernist vocabulary, neoclassical elements, jazz, and dance rhythms from a variety of sources and cultures. The final period of his career was dedicated to pieces classifiable as socialist realism, with Communist ideology frequently in the foreground. In general Schulhoff's music remains connected to Western tonality, though -- like Prokofiev, among others -- the fundamentally triadic conception of his music is often embellished by passages of intense dissonance. Other features characteristic of Schulhoff's compositional style are use of modal and quartal harmonies, dance rhythms, and a comparatively free approach to form. Also important to Schulhoff was the work of the Second Viennese School, though Schulhoff never adopted twelve-tone serialism as a compositional tool.

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Flammen, tragicomedia en dos actos y diez cuadros (1927-1929). Escenas segunda y tercera.

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Última edición por Zelenka el 24 May 2014 13:58, editado 1 vez en total

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