Related Research Articles
Jakob Ludwig Felix Mendelssohn Bartholdy, widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. Mendelssohn's compositions include symphonies, concertos, piano music, organ music and chamber music. His best-known works include the overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the oratorio St. Paul, the oratorio Elijah, the overture The Hebrides, the mature Violin Concerto, the String Octet, and the melody used in the Christmas carol "Hark! The Herald Angels Sing". Mendelssohn's Songs Without Words are his most famous solo piano compositions.
Max Bruch was a German Romantic composer, violinist, teacher, and conductor who wrote more than 200 works, including three violin concertos, the first of which has become a prominent staple of the standard violin repertoire.
Paul Johann Ludwig von Heyse was a distinguished German writer and translator. A member of two important literary societies, the Tunnel über der Spree in Berlin and Die Krokodile in Munich, he wrote novels, poetry, 177 short stories, and about sixty dramas. The sum of Heyse's many and varied productions made him a dominant figure among German men of letters. He was awarded the 1910 Nobel Prize in Literature "as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories." Wirsen, one of the Nobel judges, said that "Germany has not had a greater literary genius since Goethe." Heyse is the fifth oldest laureate in literature, after Alice Munro, Jaroslav Seifert, Theodor Mommsen and Doris Lessing.
Emanuel von Geibel was a German poet and playwright.
Ferdinand (von) Hiller was a German composer, conductor, pianist, writer and music director.
Emanuel Schikaneder was a German impresario, dramatist, actor, singer, and composer. He wrote the libretto of Wolfgang Amadeus Mozart's opera The Magic Flute and was the builder of the Theater an der Wien. Peter Branscombe called him "one of the most talented theatre men of his era". Aside from Mozart, he worked with Salieri, Haydn and Beethoven.
The origins of Finnish opera can be traced to the late 18th or 19th century, when the first opera performances were staged in Finland. It is generally assumed that the first opera performance in Finland took place in 1768 in Turku, when the troupe of Carl Gottlieb Seuerling presented the opera Adam und Eva by Johann Theile. However, other sources state that there was no orchestra at this performance.
Vilém Blodek, born Vilém František Plodek, was a Czech composer, flautist, and pianist.
Loreley is an opera in three acts composed by Alfredo Catalani to a libretto by Angelo Zanardini, Carlo D'Ormeville and others. It premiered on 16 February 1890 at the Teatro Regio in Turin. Based on the German legend of the Lorelei, the opera is an extensive reworking of Catalani's four-act opera Elda which had premiered in Turin ten years earlier.
Ernst Friedrich Karl Rudorff was a German composer and music teacher, also a founder of nature protection movement.
(Philipp) Eduard Devrient was a German baritone, librettist, playwright, actor, theatre director, and theatre reformer and historian.
Arnold Ludwig Mendelssohn, was a German composer and music teacher.
Robert Hausmann was a notable 19th-century German cellist who premiered important works by Johannes Brahms and Max Bruch. He was the cellist for the Joachim Quartet and taught at the Berlin Königliche Hochschule für Müsik.
Die Zerstörung Jerusalems, , is an 1840 oratorio by Ferdinand Hiller to a libretto by Salomon Steinheim largely based on biblical texts from the Book of Jeremiah and the Psalms.
Odysseus: Szenen aus der Odyssee für Chor, Solostimmen und Orchester is a secular oratorio composed by Max Bruch and first performed in 1873. It was Bruch's most successful work in his own lifetime. German unification created a wave of patriotic euphoria across the country, and French war reparations created an economic windfall. The time was right for a new work with a theme of the love of homeland. It was popular in Germany and internationally and brought Bruch to Liverpool.
Walter Courvoisier was a Swiss composer.
Peter Lika is a German bass in opera and concert, focused on both oratorio singing as on historically informed performances.
The String Octet in B♭ major, Op. posth., was composed by Max Bruch for four violins, two violas, cello and double bass. Completed in 1920, the year of his death, it is his last work and would not be published until 1996. The work is also known under the name Concerto for String Orchestra (Octet).
Max Bruch composed a number of choral works that were, during his lifetime, judged to be his most successful pieces. Instrumental music makes up only about a third of Bruch’s total output, while vocal music forms a considerably larger proportion. These works are described variously as oratorios and cantatas. His oratorios are generally held to represent the best of his vocal writing. Some were of a religious character but many were based on mythological themes.
Elise Kratky Schmezer (1810–1856) was a German singer and teacher who composed one opera and many songs.
References
- ↑ Program of the Ann Arbor May Festival - Issues 27-30 - Page 45 University of Michigan. University Musical Society - 1920 FIFTH CONCERT Saturday Afternoon May 19 PRELUDE TO "LORELEY," Opus 16 Bruch Max Bruch was born ... Some years later his attention was drawn to the libretto of an opera — "Loreley" — which Emanuel Geibel (1815-1884) had originally written for Mendelssohn. ... Bruch read the poem in 1861, and immediately set out for Munich to induce the author to permit him to make a setting for the text.
- ↑ Mews, Siegfried, James N. Hardin - 1993 Nineteenth century German writers: 1841 - 1900 p 106 "Geibel refused to allow Die Loreley to be published until 1860; in 1861 he assented to a composition by Max Bruch."
- ↑ IMSLP, probably taking its information from the notes to the cpo recording of the work.
- ↑ Chisholm, Hugh, ed. (1911). . Encyclopædia Britannica . Vol. 4 (11th ed.). Cambridge University Press. p. 677.
