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| Autor: | Siddharta [ 23 Dic 2008 23:14 ] |
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Zelenka escribió: MarttiT escribió: Una de las críticas más demoledoras la leí en un periódico inglés acerca de Sir John in Love tras unas representaciones en l ENO el pasado año. Venía a decir que una vez cada cien años era suficiente castigo.
¿Alguien la ha escuchado? ¿Qué tal? |
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| Autor: | delaforce [ 23 Dic 2008 23:18 ] |
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No he escuchado Sir John in love, pero desde luego las otras obras de Vaughan Williams no me parecen que vuelen tan a ras del suelo. Me pongo con el fragmento que ha colgado Zelenka. |
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| Autor: | MarttiT [ 23 Dic 2008 23:21 ] |
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Por cierto, una curiosidad menor: ¿dónde debe ser ordenado Ralph Vaughan Williams, en la V o en la W? |
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| Autor: | Zelenka [ 23 Dic 2008 23:23 ] |
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Citar: ¿dónde debe ser ordenado Ralph Vaughan Williams, en la V o en la W? En la V. Citar: ¿Alguien la ha escuchado? ¿Qué tal?
Pues obviamente yo 
VW sigue sin tener el lugar que se merece en la historia de la música. |
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| Autor: | delaforce [ 23 Dic 2008 23:25 ] |
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En la V. El fragmento es flojillo, la verdad. |
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| Autor: | Siddharta [ 23 Dic 2008 23:27 ] |
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Zelenka escribió: Pues obviamente yo
¿Y qué opinas de la obra? A mí el fragmento tampoco me ha parecido muy interesante. Pero no se puede juzgar una ópera por un fragmento. |
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| Autor: | Zelenka [ 23 Dic 2008 23:27 ] |
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El problema de VW es que en sus agnos mozos recolectó muchas canciones folklóricas que luego incorporó en sus obras. Me imagino que a los ingleses les debe de pasar como a muchos espagnoles con Turina. Ha de sonar a tarjeta postal. |
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| Autor: | delaforce [ 24 Dic 2008 0:08 ] |
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Es cierto, y ahí radica una de las fortalezas de Riders to the Sea, en una bienvenida contención del aspecto "folklorico". |
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| Autor: | Zelenka [ 24 Dic 2008 1:08 ] |
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En cambio eso es lo que mas me gusta de VW  Es el que suena mas inglés de todos.
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| Autor: | Siddharta [ 25 Dic 2008 4:09 ] |
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delaforce escribió: Recomendaría especialmente la escucha de Riders to the Sea, una obra de extraordinario interés.
Ya me he hecho con la grabación de Hickox, a ver si la escucho. Gracias a Zelenka y a usted por picarme la curiosidad 
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| Autor: | Zelenka [ 25 Dic 2008 11:13 ] |
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Espero que te guste. VW fue un muy buen compositor. Y si te quedas con ganas de mas te recomiendo esta caja:  buena, bonita y barata. Lo malo es que ni trae textos ni trae los libretos 
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| Autor: | Siddharta [ 25 Dic 2008 14:01 ] |
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Gracias por la recomendación Y por el hilo, ya de paso.
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| Autor: | Werther [ 25 Dic 2008 14:33 ] |
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Ese Sir John in love lo teinene en la biblio donde suelo ir. Alguna vez he estado tentado de cogerlo.... pero aún no me he decidido. |
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| Autor: | Zelenka [ 29 Dic 2008 23:47 ] |
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 Louis Spohr (1784–1859) He was born in Braunschweig in the Brunswick-Wolfenbüttel to Karl Heinrich Spohr and Juliane Ernestine Luise Henke. Spohr's first musical encouragement came from his parents: his mother was a gifted singer and pianist, and his father played the flute. Dufour gave him his earliest instruction on the violin. His first attempts at composition date from the early 1790s. Dufour, recognizing the boy's musical talent, persuaded his parents to send him to Brunswick for further instruction. The failure of his first concert tour, a badly planned venture to Hamburg in 1799, caused him to ask Duke Karl Wilhelm Ferdinand of Brunswick for financial help. A successful concert at the court impressed the duke so much that he engaged the 15-year old Spohr as a chamber musician. In 1802, through the good offices of the duke, he became the pupil of Franz Eck and accompanied him on a concert tour which took him as far as St. Petersburg. Eck, who completely retrained Spohr in violin technique, was a product of the Mannheim school, and Spohr became its most prominent heir. Spohr's first notable compositions, including his First Violin Concerto, date from this time. After his return home, the Duke granted him leave to make a concert tour of North Germany. A concert in Leipzig in December 1804 brought the influential music critic Friedrich Rochlitz "to his knees", not only because of Spohr's playing but also because of his compositions. This concert brought the young man overnight fame in the whole German-speaking world. In 1805, Spohr got a job as concertmaster at the court of Gotha, where he stayed until 1812. There he met the 18-year-old harpist Dorette Scheidler, daughter of one of the court singers, and fell in love with her. To court her, he composed a Sonata in c minor for violin and harp, thus affording the chance to rehearse with her. He gained permission from Dorette's mother to drive the girl to the premiere performance in a carriage, but couldn't bring himself to declare his love. After the performance, on the drive home, he felt emboldened, and proposed, saying Shall we thus play together for life? She consented with tears. They were married in 1806, and lived happily until Dorette's death 28 years later. They performed successfully together as a violin and harp duo, touring in Italy (1816-1817), England (1820) and Paris (1821), but Dorette later abandoned her harpist's career and concentrated on raising their children. Her untimely death in 1834 brought him great sorrow. Spohr later worked as conductor at the Theater an der Wien, Vienna (1813-1815), where he became friendly with Beethoven; subsequently he was opera director at Frankfurt (1817-1819) where he was able to stage his own operas — the first of which, Faust, had been rejected in Vienna. Spohr's longest post, from 1822 until his death in Kassel, was as the director of music at the court of Kassel, a position offered him on the suggestion of Carl Maria von Weber. In Kassel in 1836 he married his second wife, the 29-year-old Marianne Pfeiffer. She survived him by many years, living until 1892. In 1851 the elector refused to sign the permit for Spohr's two months' leave of absence, to which he was entitled under his contract, and when the musician departed without the permit, a portion of his salary was deducted. In 1857 he was pensioned off, much against his own wish, and in the winter of the same year he had the misfortune to break his arm, an accident which put an end to his violin playing. Nevertheless he conducted his opera Jessonda at the fiftieth anniversary of the Prague Conservatorium in the following year, with all his old-time energy. Like Haydn, Mozart, Beethoven, and his own slightly older contemporary Johann Nepomuk Hummel, Spohr was an active Freemason. Wikipedia Faust, gran ópera romántica en tres actos (1816/52). Final del acto primero.  Zemire und Azor, ópera romántica en dos actos (1819). Fragmento.  Jessonda, gran ópera en tres actos (1823). Final. 
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| Autor: | franverdi [ 31 Dic 2008 1:58 ] |
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Zelenka; sencillamente MUCHAS GRACIAS POR TODO 
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