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Erwin Und Elmire
''Erwin und Elmire'' is an opera in two acts by Duchess Anna Amalia of Brunswick-Wolfenbüttel, with a libretto by Johann Wolfgang von Goethe, after Oliver Goldsmith's ballad of Angelica and Edwin, ''The Hermit'', in his sentimental novel ''The Vicar of Wakefield''. Goethe moved to Weimar, in circumstances decisive for his future career, in November 1775. There he was introduced to Anna Amalia (1739–1807), the Dowager Duchess of Saxe-Weimar-Eisenach, a formidable political figure who was also a fine composer. Goethe's arrival in Weimar coincided with her partial withdrawal from political life as her son had reached the age of maturity, and Anna seized the opportunity to provide her own setting of ''Erwin and Elmire'' for the Court Theatre, where it was first performed on 24 May 1776. Goethe's libretto The ballad of Angelica and Edwin was first published privately in 1764, and two years later was incorporated into Chapter 8 of ''The Vicar of Wakefield''. Its success was immedia ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Duchess Anna Amalia Of Brunswick-Wolfenbüttel
Anna Amalia of Brunswick-Wolfenbüttel (24 October 173910 April 1807), was a German princess and composer. She became the duchess of Saxe-Weimar-Eisenach, by marriage, and was also regent of the states of Saxe-Weimar and Saxe-Eisenach from 1758 to 1775. She transformed her court and its surrounding into the most influential cultural center of Germany. Family She was born in Wolfenbüttel, the ninth child of Karl I, Duke of Brunswick-Wolfenbüttel and Princess Philippine Charlotte of Prussia. Her maternal grandparents were Frederick William I of Prussia and Sophia Dorothea of Hanover. Education Anna Amalia was well-educated as befitted a princess. She studied music with Friedrich Gottlob Fleischer and Ernst Wilhelm Wolf.. Marriage In Brunswick, on 16 March 1756, sixteen-year-old Anna Amalia married eighteen-year-old Ernst August II Konstantin, Duke of Saxe-Weimar-Eisenach and they had two sons. Ernst August died in 1758 leaving her regent for their infant son, Ka ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
German Opera
Opera in German is that of the German-speaking countries, which include Germany, Austria, and the historic German states that pre-date those countries. German-language opera appeared remarkably quickly after the birth of opera itself in Italy. The first Italian opera was Jacopo Peri's ''Dafne'' of 1598. In 1627, Heinrich Schütz provided the music for a German translation of the same libretto. Yet during much of the 17th and 18th centuries German-language opera would struggle to emerge from the shadow of its Italian-language rival, with leading German-born composers such as Handel and Gluck opting to work in foreign traditions such as opera seria. Some Baroque composers, such as Reinhard Keiser, did try to challenge Italian dominance, and the theatre principal Abel Seyler became an eager promoter of German opera in the 1770s, but it was only with the appearance of Mozart that a lasting tradition of serious German-language opera was established. Mozart took the simple, popular ge ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Othmar Schoeck
Othmar Schoeck (1 September 1886 – 8 March 1957) was a Swiss Romantic classical composer, opera composer, musician, and conductor. He was known mainly for his considerable output of art songs and song cycles, though he also wrote a number of operas, notably his one-act '' Penthesilea'', which was premiered at the Semperoper in Dresden in 1927 and revived at the Lucerne Festival in 1999. He wrote a handful of instrumental compositions, including two string quartets and concertos for violin (for Stefi Geyer, dedicatee also of Béla Bartók's first concerto), cello and horn. Biography Early life and career Schoeck was born in Brunnen, studied briefly at the Leipzig Conservatory with Max Reger in 1907/08, but otherwise 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 Conse ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karl Christian Agthe
Karl Christian Agthe (16 June 1762 – 27 November 1797) was a German organist and composer. Born in Hettstedt, Agthe served as court organist to Frederick Albrecht, Prince of Anhalt-Bernburg. Among his compositions are six ''Singspiele,'' a ballet, and piano sonatas. He died in Ballenstedt; a son, Albrecht Agthe Wilhelm Johann Albrecht Agthe (14 April 1790 – 8 October 1873) was a German music teacher. Agthe was born in Ballenstedt to Karl Christian Agthe, a court organist and composer. He studied under Michael Gotthard Fischer in Erfurt, and in 1810 be ..., was a music teacher. References * 1762 births 1797 deaths German classical organists German male organists German Classical-period composers 18th-century classical composers 18th-century keyboardists German male classical composers 18th-century German composers 18th-century German male musicians Male classical organists {{Germany-composer-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ernst Wilhelm Wolf
Ernst Wilhelm Wolf (baptised 25 February 1735 – 29 or 30 November 1792) was a German composer. Life Wolf was born in Grossen Behringen in Thuringia, today part of the Hörselberg-Hainich municipality. His elder brother Ernst Friedrich was a composer and organist who studied under Gottfried Heinrich Stölzel. Ernst Wilhelm's musical talent manifested itself early, and already by age nine he was a skilled harpsichordist, particularly apt at figured bass realization. Wolf attended gymnasiums at Eisenach and at Gotha, where he became a choir prefect. It was in Gotha that Wolf first heard the music of Carl Philipp Emanuel Bach and Carl Heinrich Graun; he was particularly fascinated with Bach's work. The admiration was mutual: a performance of some of Wolf's compositions in 1752 drew praise from Bach. Wolf and Bach's friendship lasted throughout their lives; Wolf helped collect subscriptions for Carl Philipp Emanuel Bach's ''für Kenner und Liebhaber'' (for Connoisseurs and Amateurs ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carl David Stegmann
Carl David Stegmann (1751 – 27 May 1826) was a German tenor, harpsichordist, conductor, and composer. Biography He was born in Staucha near Meissen, the son of Johann Ehrenfried Stegmann and Anna Christiana Bretzner. He married Karoline Johanna Eleanore Linz producing two sons and four daughters. He received his initial musical training from the local organist at Staucha, then studied in Dresden with J.F. Zillich (from 1760), at the Kreuzschule (1766–70) and later under Homilius and the violinist H.F. Weisse. Thereafter he rose rapidly as singer, actor, and harpsichordist; he went to Breslau in 1772 (with the Wäser theatre company), Königsberg in 1773, Heilsberg in 1774 (as court harpsichordist to the Bishop of Ermeland), Danzig in 1775, Königsberg again in 1776 (with the Schuch company) and later appeared in Gotha (at the court theatre). From 1778 to 1783 he made the first of two extended visits to Hamburg, winning particular renown as a harpsichordist. By that time, si ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann André
Johann André (28 March 1741 – 18 June 1799) was a German musician, composer and music publisher of the Classical period. He was born and died in Offenbach am Main. In 1774, as the patriarch of a Huguenot family, André founded one of the first music publishing houses to be independent of a bookshop, in Offenbach am Main. Among his closest friends in Offenbach were Goethe, at the time of his engagement to Anna Elisabeth Schönemann, and he is pictured in the seventeenth book of Goethe's autobiography ''Dichtung und Wahrheit'' with an Offenbach am Main background in 1775. In 1777, André was appointed musical director at the German theatre in Berlin, the Deutsches Theater, without having to abandon Offenbach am Main, however. He composed some 30 operas, ballads and songs. His son, Johann Anton André (1775–1842), followed his footsteps into composing and music theory. After taking over the music publishing business from his father in 1799, Johann Anton André acquired Mozar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Erwin Und Elmire (André)
''Erwin und Elmire'' is a singspiel, described as a ''Schauspiel mit Gesang'', in two acts by the German composer Johann André, with a libretto by Johann Wolfgang von Goethe, after Oliver Goldsmith's ballad of Angelica and Edwin, ''The Hermit'', in chapter 8 of his sentimental novel ''The Vicar of Wakefield''. André was the first to set Goethe's text in 1775, but he was closely followed by Anna Amalia of Brunswick-Wolfenbüttel whose own ''Erwin und Elmire'' was performed in 1776. Versions followed by Carl David Stegmann (Hamburg, 1776), Ernst Wilhelm Wolf (Weimar, 1785) and Karl Christian Agthe (Ballenstedt, 1785), also Johann Friedrich Reichardt (concert performance, Berlin, 1793) who based his work on a later revised text by Goethe. Othmar Schoeck's songs and incidental music to the play premiered in 1916. Performance history The opera was first performed privately in Frankfurt in May 1775. A public production by the Döbbelin Company appeared in Berlin at the Theater i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Duchess Anna Amalia Library
The Duchess Anna Amalia Library (German: ''Herzogin Anna Amalia Bibliothek'') in Weimar, Germany, houses a major collection of German literature and historical documents. In 1991, the tricentennial of its opening to the public, the Ducal Library was renamed for Duchess Anna Amalia. Today, the library is a public research library for literature and art history. The main focus is German literature from the Classical and the late Romantic eras. The library was inscribed on the UNESCO World Heritage List as part of the Classical Weimar site because of its testimony to the global cultural importance of Weimar during the late 18th and early 19th centuries during the Weimar Classicism movement. In 2004 a fire destroyed the main wing and a substantial part of the collection; restoration of salvaged volumes lasted until 2015. Contents The library contains: * 1,000,000 books * 2,000 medieval and early modern manuscripts * 600 ancestral registers * 10,000 maps * 4,000 musical scores ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Entr'acte
(or ', ;Since 1932–35 the French Academy recommends this spelling, with no apostrophe, so historical, ceremonial and traditional uses (such as the 1924 René Clair film title) are still spelled ''Entr'acte''. German: ' and ', Italian: ''intermezzo'', Spanish: ') means "between the acts". It can mean a pause between two parts of a stage production, synonymous to an intermission (this is nowadays the more common meaning in French), but it more often (in English) indicates a piece of music performed between acts of a theatrical production. In the case of stage musicals, the ''entr'acte'' serves as the overture of act 2 (and sometimes acts 3 and 4, as in ''Carmen''). In films that were meant to be shown with an intermission, there was frequently a specially recorded ''entr'acte'' on the soundtrack between the first and second half of the film, although this practice eventually died out. Origin Originally ''entr'actes'' resulted from stage curtains being closed for set or costume ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Overture
Overture (from French ''ouverture'', "opening") in music was originally the instrumental introduction to a ballet, opera, or oratorio in the 17th century. During the early Romantic era, composers such as Beethoven and Mendelssohn composed overtures which were independent, self-existing instrumental, programmatic works that foreshadowed genres such as the symphonic poem. These were "at first undoubtedly intended to be played at the head of a programme". History 17th century The idea of an instrumental opening to opera existed during the 17th century. Peri's '' Euridice'' opens with a brief instrumental ritornello, and Monteverdi's ''L'Orfeo'' (1607) opens with a toccata, in this case a fanfare for muted trumpets. More important, however, was the prologue, which comprised sung dialogue between allegorical characters which introduced the overarching themes of the stories depicted. French overture As a musical form, however, the French overture first appears in the court balle ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of classical music, classical male singing human voice, voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word ''wikt:teneo#Latin, tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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