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NotaPublicado: 31 Dic 2008 11:46 
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NotaPublicado: 02 Ene 2009 13:44 
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Ya nos comentó algo aquí sobre la opera Die Kluge de Carl Orff y sobre una de sus grabaciones (con Schwarzkopf, Prey y Frick)

¿podría extenderse un poco más? es una ópera que me interesa mucho y sobre la que no se encuentra apenas nada.

Gracias por este maravilloso hilo


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Es una obra que se basa en la historia Die kluge Bauerntochter, que es un cuento que existe en varias versiones, la mas conocida es la de los hermanos Grimm, pero no es la única. El propio Orff organizó el texto de diferentes fuentes. El texto no es muy grande y no da para hacer una ópera. Así que lo combinó con textos que se encontró en el libro Die deutschen Sprichwörter, de donde sacó las figuras de los tres vagabundos que intervienen en la obra. Tiene muchos diálogos y si no mal recuerdo el CD de donde saqué el fragmento viene sin libreto.


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muchísimas gracias


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Othmar Schoeck (1886–1957) He was born in Brunnen, Switzerland. He studied briefly at the Leipzig Conservatory with Max Reger, in 1907/08, but overall spent his whole career in Zürich. His father, Alfred Schoeck was a landscape painter, and as a young man, Othmar seriously considered following in his father's footsteps and attended classes an art school in Zürich before dropping out to go to the Zürich Conservatory. He was known mainly for his considerable output of art songs and song cycles, though he also wrote a number of operas (mosty notably his one-act Penthesilea, premiered in Dresden, 1927, and revived at the Lucerne Festival, 1999) and instrumental compositions including two string quartets and concertos for violin (for Stefi Geyer, dedicatee also of Béla Bartók's first concerto), cello and horn.

Schoeck spent World War I in Zürich, where he had an affair with the pianist Mary de Senger. After hearing the music of Les Six in Paris, Schoeck abandoned his tonal style in favor of serialism, with the music of Alban Berg as a model. His work with the German poet Hermann Burte on the opera Das Schloss Dürande, for production at the Berlin State Opera, caused great controversy for Schoeck with the Swiss, because of his association with artists of Nazi Germany. The opera premiered in Berlin in 1943, with the composer in attendance. Schoeck himself did not harbor Nazi sympathies, but the angry Swiss reaction to Schoeck's actions damaged his reputation and put great strain on Schoeck. He suffered a heart attack in March 1944, but continued to compose.

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Erwin und Elmire, música para el Sinspiel de Goethe (1911-1916).Fragmento.

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Venus, ópera en tres actos (1919-1921/1933). Comienzo.

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Penthesilea, ópera en un acto (1923–1925). Comienzo.

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Massimilla Doni, ópera en cuatro actos y seis cuadros (1934-1935). Cuarto cuadro.

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Última edición por Zelenka el 24 May 2014 18:40, editado 3 veces en total

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GRACIAS.
:shock:

Me quedan 30 paginas de recorrido inverso.
:aplauso: :aplauso:


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De nada. :wink:


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Stanisław Moniuszko (1819-1872 ) He was born in Ubiel to a Polish noble family of landowners on eastern fringe of Vilna Governorate of the Russian Empire, he displayed an early ability in music, and began private piano lessons with August Freyer in 1827. In 1837, once his talent and interest justified it, Moniuszko began to formally study composition in Berlin with Karl Friedrich Rungenhagen, the director of the "Singakademie" Music Society, who also instructed him in choral conducting. At the same time Moniuszko studied major works of the classical repertoire as well as the process involved in staging music. While in Berlin, he had an unexpected early success when he set three songs to the words of the Polish national poet, Adam Mickiewicz. Several of his songs composed during this period were published by Bote & Bock and were favorably received by the music critics.

After three years in Berlin, he returned to Poland in 1840 to marry Aleksandra Müller. He obtained a post as an organist in Vilnius and also worked as a private piano tutor. He often had to face financial difficulties, especially as his happy married life was blessed with an ever growing family. The Moniuszkos had ten children and together with the nurses and servants there came a time when 18 people sat down at their table every day. He contributed greatly to music in the local area, staging performances of large choral works such as Mozart's requiem, and excerpts from Haydn's The Creation and Mendelssohn's St. Paul. There were also orchestral performances of works by Spontini, Mendelssohn and Beethoven.

During that time he became acquainted with the novelist Jozef Ignacy Kraszewski and playwright-satirist Aleksander Fredro, who stimulated his interest in dramatic music. Around 1840, he began to compose intensively, writing his first operas and several other stage works, as well as sacred music and secular cantatas. At around this time he began work on the collection of songs entitled Śpiewnik domowy (Songbook for Home Use), which would go on to have wide appeal to Polish public. The first volume of this collection was published in 1843 and over the years the collection grew to 12 volumes containing 267 songs with piano accompaniment in total.

During his lifetime Moniuszko traveled numerous times to St. Petersburg where his concerts were very well received. In St. Petersburg Mikhail Glinka and Alexander Dargomyzhsky showed appreciation of Moniuszko's talent; Moniuszko became a close friend of the latter, and dedicated his Bajka (Fairytale) to him. He also knew Mily Balakirev, Modest Mussorgsky and Alexander Serov, and his style was appreciated by Hans von Bülow. Serov, the young Russian critic of the time, referred to Moniuszko's compositions as "brilliant works". He was the mentor of César Cui. Most crucial to Moniuszko's career was, however, his visit to Warsaw in 1848. He met there Jozef Sikorski, the future editor of the most notable Polish music journal "Ruch Muzyczny" (Musical Movement), Oscar Kolberg a well-known folk song collector, and Włodzimierz Wolski, a poet and future librettist of Moniuszko's best known opera Halka.

In 1848 in Vilnius, he staged and conducted the premiere performance of the first, two act version of his opera Halka. It took ten years before the political climate cooled enough to be able to perform such a nationalist-themed opera again. After the triumph of his new four-act version of Halka during the Warsaw premiere in 1858, he toured France, thanks to the help of the pianist Maria Kalergis, where he met Auber and Rossini. After a visit to Berlin, he met Smetana in Prague, who prepared the Prague premiere of Halka, and finally Moniuszko visited Weimar, where he met Liszt. Named after its heroine, Halka, after being shown in two acts in 1848 in Vilnius, was premiered with great success in 1858 in Warsaw in its final four act form. On that evening the composer, shy and limping slightly, thanked the audience, bowing many times to incessant applause. It was soon later staged in Prague, Moscow and St. Petersburg, where it met with great success.

In 1858 he was appointed principal conductor of the Polish Opera in the Grand Theatre in Warsaw. He wasted no time in staging his opera Flis later that year, and during his 15 year tenure he conducted almost solely his own work. In 1862 Moniuszko travelled to Paris again, hoping to have one of his operas staged there, but this didn't happen. On return from France, due to the political climate caused by the January Uprising, which was unfavourable to artistic activity, Moniuszko's composition was affected. In 1864, Moniuszko started lecturing in harmony, counterpoint and composition in the Music Institute in Warsaw, where he also directed a choir. His disciples included, among others, Zygmunt Noskowski and Henryk Jarecki. In 1865, a staging of his Straszny Dwór (The Haunted Manor) enjoyed an enthusiastic reception, and his new opera proved to be a success comparable to that of Halka.

From the success of Halka to other major operatic compositions; Flis (The Raftsman), 1858, Hrabina (The Countess), 1860, Verbum Nobile, 1861, and most importantly Straszny Dwór (The Haunted Manor), 1865. The common trait shared by all these works are librettos which while depicting Polish nobility and gentry, and sometimes the characters of common origins, above all, emphasized Polish customs and traditions, and at the time of national strife, sustained and fostered patriotic feelings.

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Halka, ópera en cuatro actos (1847-8 rev. 1857). Fragmento del acto primero.

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Straszny dwór, ópera en cuatro actos (1861-1864). Fragmento del acto primero.

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Última edición por Zelenka el 24 May 2014 18:42, editado 3 veces en total

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Zelenka lo tuyo es realmente impresionante, no se como darte las gracias por todos los datos y las grabaciones y de tantísima calidad.
:nw: :nw: :nw: :nw:


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Esa grabación de Halka es la que estoy escuchando yo....
El final del 1º acto, con el dúo del tenor y el brítono, me ha encantado. También el aria final de la prota. Y la obertura.
Escuchadla entera, merece la pena y mucho.


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Estoy con las dos operas que nos recomienda Zelenka de Moniuszko, buenas, bastante buenas. Gracias
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Ferruccio Busoni (1866-1924) He was born in Empoli in Tuscany in Italy, the only child of two professional musicians. His father, Ferdinando, was a clarinetist and man-about-town. Though his mother, Anna, had a German surname (Weiss) she was an Italian from Trieste, and a pianist. They were often touring during his childhood, and he was brought up in Trieste for the most part. Busoni was a child prodigy. He made his public debut on the piano with his parents, at the age of seven. A couple of years later he played some of his own compositions in Vienna where he heard Franz Liszt play, and met Liszt, Johannes Brahms and Anton Rubinstein.

Busoni had a brief period of study in Graz with Wilhelm Mayer (who used the pseudonym of W. A. Rémy and also taught Felix Weingartner) and was also helped by Wilhelm Kienzl, who enabled him to conduct a performance of his own composition Stabat Mater when he was twelve years old, before leaving for Leipzig in 1886. He subsequently held several teaching posts, the first in 1888 at Helsinki, where he met his wife, Gerda Sjöstrand, the daughter of Swedish sculptor Carl Eneas Sjöstrand, and began a lifelong friendship with Sibelius. In 1890 he won the Anton Rubinstein Competition with his Concert Piece for Piano and Orchestra, Op. 31a. He taught in Moscow in 1890, and in the United States from 1891 to 1894 where he also toured as a virtuoso pianist.

In 1894 he settled in Berlin, giving a series of concerts there both as pianist and conductor. He particularly promoted contemporary music. He also continued to teach in a number of masterclasses at Weimar, Vienna and Basel, among his pupils being Egon Petri. His piano playing and philosophy of music influenced Claudio Arrau. In 1907, he penned his Sketch of a New Aesthetic of Music, lamenting the traditional music "lawgivers", and predicting a future music that included the division of the octave into more than the traditional 12 degrees. His philosophy that Music was born free; and to win freedom is its destiny, greatly influenced his students Luigi Russolo, Percy Grainger and Edgard Varèse, all of whom played significant roles in the 20th century opening of music to all sound. During World War I, Busoni lived first in Bologna, where he directed the conservatory, and later in Zürich. He refused to perform in any countries that were involved in the war. He returned to Berlin in 1920 where he gave master classes in composition. He had several composition pupils who went on to become famous, including Kurt Weill, Edgard Varèse and Stefan Wolpe.

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Die Brautwahl, comedia fantástico-musical en cuatro actos (1905). Fragmento.

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Arlecchino oder Die Fenster, capricho teatral en un acto (1917). Fragmento.

Turandot, fábula china en dos actos (1917). Fragmento.

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Doktor Faust, ópera en tres cuadros (1925). Fragmento.

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com/listen


Última edición por Zelenka el 24 May 2014 18:48, editado 3 veces en total

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Un gran compositor, con una obra extraordinaria como Doktor Faust. Para mí, sin duda, la mejor de las muchas óperas que se han compuesto sobre la leyenda de Fausto.

Un link al hilo donde comentábamos la obra de Busoni, en castellano:

http://www.unanocheenlaopera.com/viewtopic.php?t=4440


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