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Zelenka apuntate otro éxito con esta Caravana del Cairo.
:wink:


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Anton Grigorevich Rubinstein (1829–1894) Rubinstein was the third child born to Jewish parents in Vikhvatinets (now in Transnistria, Republic of Moldova), a village on the Dniestr River, about 150 kilometers northwest of Odessa. Before he was two years old, his paternal grandfather ordered all 60 members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Rubinstein, brought up as a Christian at least in name, lived in a household where three languages were spoken—Yiddish, Russian and German. Much later, when his musical "Russianness" was called into question by musical nationalist Mily Balakirev and others in The Five, Rubinstein might have been thinking of this part of his childhood, among other things, when he wrote of himself in his notebooks:

Russians call me German, Germans call me Russian, Jews call me a Christian, Christians a Jew. Pianists call me a composer, composers call me a pianist. The classicists think me a futurist, and the futurists call me a reactionary. My conclusion is that I am neither fish nor fowl – a pitiful individual.

Conversion allowed the Rubinsteins to travel freely, something not permitted for Jews in Russia at the time. Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five. About two years later, he began study with Alexander Villoing and by the age of ten had given his first concerts. In 1840, Villoing took the youth on a successful three-year concert tour throughout Europe and England. In 1844, young Anton, along with his sister Luba and brother Nikolai, both of whom also showed great musical talent, traveled to Berlin for advanced studies. Anton took instruction in composition from Siegfried Dehn until 1846, when his father, who had remained in Russia, died suddenly. After spending two years in near-poverty teaching in Vienna, Anton returned to Russia to join his mother and siblings. Around 1850, Rubinstein's talents drew the attention, then the patronage, of Duchess Elena Pavlovna, sister-in-law of the Tsar. He lived in comfortable quarters at one of her palaces until 1854 and often performed for her and her guests, including the Tsar. During his years there, he composed many works, including the first three piano concertos, nearly fifty songs, and five operas, among them Stenka Razin and Tom the Fool.

In 1854, Rubinstein went on a highly successful European concert tour. Five years later, he and the duchess founded the Russian Musical Society, and, in 1862, the St. Petersburg Conservatory. Rubinstein was its director for the first five years and regularly led concerts sponsored by the Russian Musical Society. His views on a Russian nationalist style in both composition and performance led to conflicts with Balakirev and the Mighty Handful composers. Rubinstein remained busy in composition throughout these years, though he wrote no opera between 1862 and 1869. In the period 1867-1870, he made several successful concert tours of Europe and the United States. He composed what is probably his best-known opera, The Demon, in 1871, its premiere coming four years later. This so-called fantastic opera was a far cry from the 1869 sacred opera, with German texts, Der Thurm zu Babel, and other similar works, possibly written by Rubinstein as if to reinforce his Christian credentials. Until 1887, Rubinstein maintained a fairly active concert schedule, both as pianist and conductor. He took up the directorship of the St. Petersburg Conservatory once again, that year. From 1891 to 1894 he lived in Dresden and briefly taught Josef Hofmann. He returned to Russia in January, 1894, gravely ill with heart disease. Later that year he died in Peterhof, a summer retreat where Rubinstein owned a dacha.

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The Demon, ópera en tres actos (1871). Final.

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Última edición por Zelenka el 24 May 2014 19:53, editado 2 veces en total

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Amig@ Zelenka, eres un monstruo :lol:
Te tendrías que llevar todas las super menciones del foro.
:D
Mil gracias, otro éxito con Rubinstein


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¿Es la versión de Fedoseyev????


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Alexander Anissimov.


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bien gracias


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José Ignacio Castel Caramusel (1737-1807) nació en Tudela, Navarra. Su formación musical y los primeros pasos de su carrera profesional se desarrollaron al amparo de diversas instituciones religiosas de Aragón. Hacia 1760 se trasladó a Madrid. Durante su permanencia en la Villa y Corte, Castel colaboró asiduamente en las temporadas teatrales de repertorio español de los teatros de la Cruz y del Principe, enseñando las partes cantadas a los actores y componiendo la música de zarzuelas, tonadillas, sainetes y comedias. En esta misma época, desarrolló una notable actividad en Madrid como impresor o editor de música teatral. En los últimos meses de 1773, José Castel trasladó su residencia a su localidad natal. En septiembre de este año tomó posesión de la plaza de maestro de capilla de la colegiata de Santa María de Tudela (Navarra), que había quedado vacante después de que Juan Antonio de Múgica abandonase dicho puesto para ocupar el magisterio de capilla en la catedral de Pamplona.

Castel alcanzó un notorio prestigio en el ambito de la música religiosa y con frecuencia se requirió su opinión para el nombramiento de maestros de capilla u organistas de instituciones españolas. Pero el desempeño de su puesto en Tudela no fue un obstáculo para que Castel continuara manteniendo una notable actividad en el campo de la música teatral. Entre 1774 y 1782 solicitó periodicamente licencias al cabildo tudelano (a veces alegando falsos pretextos) y se desplazó a Madrid, en cuyos teatros se continuaban obras dramático-musicales, haciendo compatibles la gravedad y solemnidad de la música sacra con la frivolidad de lo teatral. La última étapa de su vida transcurrió, no obstante, en un ambiente religioso. En 1797, después de haber enviudado el año anterior, Castel presionó al obispado para que se le concediera el permiso necesario para ordenarse como sacerdote, amenazando con que si no se accedía a lo requerido estaba dispuesto a abandonar su puesto en la catedral de Tudela y se trasladaría a la pequeña localidad de Alfaro (La Rioja), donde acababa de obtener por oposición la plaza de maestro de capilla. El obispo cedió a sus demandas y el mes de septiembre de 1797 fue ordenado sacerdote. En los últimos años de su vida, Castel sufrio una prolongada enfermedad, aunque continuó desempeñando su trabajo en la capilla de música catedralicia.

Juan Pablo Fernández-Cortés

La Fontana del Placer, zarzuela en dos actos (1776). Sexteto Oye usté. Terceto A comer.

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Última edición por Zelenka el 24 May 2014 19:57, editado 2 veces en total

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Zelenka ya estoy con La fontana del placer...., y que placer escuchar esta obra. :wink:


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:wink:


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Josef Matthias Hauer (1883–1959) He was born in Wiener Neustadt, Austria. He had an early musical training which included zither, cello, choral conducting, and organ, but evidently did not include theory and composition, for he claimed that he was self-taught. In 1918 he published his first work on music theory (a tone-color theory based on Goethe's), and in August 1919 devised his method for composing with twelve tones. He claimed to have experimented with the twelve-tone series before Schönberg. Hauer's compositional techniques of composition are extraordinarily various and range from building-block techniques to methods using a chord series that is generated out of the twelve-tone row (Melos). In fact, his compositional techniques change almost from each piece to the next. The so-called 44 tropes and their compositional usage (trope-technique) are essential to Hauer's twelve-tone techniques. In contrast to a twelve-tone row that contains a fixed succession of twelve tones, a trope consists of two complementary hexachords in which there is no fixed tone sequence. The tropes are used for structural and intervallic views on the twelve-tone system. Every trope offers certain symmetries that can be used by the composer.

Hauer wrote prolifically, both music and prose describing his methods, until 1938, when his music was added by the Nazis to the "degenerate art" (Entartete Kunst) exhibit. Wisely keeping a low profile, he stayed in Austria through the war, publishing nothing; but even after the war he published little more, although he probably wrote several hundreds of pieces which remain in manuscript. From the 1920s Hauer has been a model for literature several times, e.g., in Otto Stoessl's Die Sonnenmelodie, Franz Werfel's Verdi (Matthias Fischboeck). It has been found out that — besides Arnold Schönberg and Theodor W. Adorno — Hauer was also a model for Adrian Leverkühn in Thomas Mann's novel Doktor Faustus. Late in life Hauer spoke about Mann, as well as Theodor W. Adorno, with great bitterness, for he felt that both men had misunderstood him. Adorno had written about Hauer, but only disparagingly. Because of his later achievements and developments it has also been assumed by many scholars that Hauer is also a model for the "Joculator Basiliensis" in Hermann Hesse's Glass-bead Game. All of Hauer's copious compositions after 1940 are named Zwölftonspiel or Zwölftonmusik (Twelve-tone game, or twelve-tone music.)

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Salambo, ópera en siete cuadros (1929). Comienzo.

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Die schwarze Spinne, ópera en dos actos (1932). Comienzo.

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Última edición por Zelenka el 24 May 2014 20:02, editado 3 veces en total

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Zelenka conoces la ópera de Mercadante "Virginia" y de Pedrotti "Tutti in maschera"?


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No. :roll:


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Yo solo he podido oir fragmentos y me parecieron magníficas. No las encuentro por ningún sitio, quizás algún colega nos pueda dar razón de ellas. :wink:


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Los fragmentos de Hauer están muy bien (salvo el tenor de la "araña" cuya voz me pone de los nervios). Pero lo que más me ha divertido ha sido la foto. Cuando la he visto he pensado "¿y qué ópera desconocida de Monteverdi habrá encontrado Zelenka?" :lol:

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Jean Émile Paul Cras (1879-1932) He was born in Brest, France. His father was naval medical officer. He was accepted into the navy at the age of seventeen. As a midshipman cadet on the Iphigenie, he fought in the Americas, the West Indies and Senegal. He was promoted to Lieutenant in 1908. His mathematical skills led to his proposing a number of innovations in technical practices which were adopted by the navy, including his invention of an electrical selector and a navigational plotter protractor (which was named after him). With the outbreak of war in 1914 Cras was appointed as adjutant to Admiral Augustin Boué de Lapeyrère. He later worked in the Submarine Defense Service. In 1916 he was appointed commander of the torpedo boat Commandant Bory. During the Adriatic campaign he sank a submarine and was commended for his bravery in rescuing a sailor who had fallen overboard. After the war Cras became Chief Secretary to the Chief of General Staff, and was promoted to Commander. He served on several other vessels before being appointed Service Chief on the General Staff for Scientific Research. In 1931 he was appointed Major General of the Port of Brest and promoted to rear admiral. He occupied this position when he died after a short illness.

Cras met Henri Duparc, the famous French composer, early in his career, and the two became lifelong friends. Duparc called Cras the son of my soul. Though Cras's duties in the French navy left him little time to devote to his musical work he continued to compose throughout his life, mainly writing chamber music and songs. Much of his most ambitious work, the opera Polyphème, was written and orchestrated during the war, however the majority of his musical output dates from after the war. His lyric tragedy, Polyphème is considered his masterpiece. The music is impressionistic, restless, and highly chromatic, in the spirit of Chausson and Duparc. The influence of Debussy's opera Pelléas et Mélisande is also noticeable.

Cras's later work developed a more acerbic style comparable to that of Bartok, though formally close to Cesar Frank. He considered chamber music to be his forte, writing that this refined musical form has become for me the most essential. The String Trio in particular integrates a wide range of styles, including North African influences. It was a described as a 'miraculous' work by André Himonet in 1932, achieving perfectly balanced sonority and a plenitude of expression between which one dare not choose. The Trio for Strings and Piano also blends African and Eastern melodic patterns with Breton musical traditions into a coherent whole. The critic Michel Fleury compares his work to the Japonist style of the artist Henri Rivière revealing a stylised Breton land, as though it had been passed through the sieve of his varied experiences gained in the four quarters of the globe.

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Polyphème, Ópera en cuatro actos (1910-1918). Fragmento del acto primero.

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He was born in Brest, France. His father was naval medical officer. He was accepted into the navy at the age of seventeen. As a midshipman cadet on the Iphigenie, he fought in the Americas, the West Indies and Senegal. He was promoted to Lieutenant in 1908. His mathematical skills led to his proposing a number of innovations in technical practices which were adopted by the navy, including his invention of an electrical selector and a navigational plotter protractor


Última edición por Zelenka el 24 May 2014 20:08, editado 2 veces en total

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