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¶ Adam, componist, (1803-1856).
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¶ Isaac Albéniz y Pascual (29 May 1860, Camprodon - 18 May 1909, Cambo-les-Bains ) was a Spanish pianist and composer best known for his piano works based on folk music idioms (many of which have been transcribed by others for guitar). - Born in Camprodon, province of Girona, to Ángel Albéniz (a customs official) and his wife Dolors Pascual, Albéniz was a child prodigy who first performed at the age of four. At age seven, after apparently taking lessons from Antoine Marmontel, he passed the entrance examination for piano at the Paris Conservatoire, but he was refused admission because he was believed to be too young. His concert career began at the young age of nine when his father toured both Isaac and his sister, Clementina, throughout northern Spain. By the time he had reached 12, he had made many attempts to run away from home. At the age of 12 he stowed away in a ship bound for Buenos Aires. He then made his way via Cuba to the United States, giving concerts in New York and San Francisco and then travelled to Liverpool, London and Leipzig. By age 15, he had already given concerts worldwide. After a short stay at the Leipzig Conservatory, in 1876 he went to study in Brussels. In 1880, he went to Budapest to study with Franz Liszt, only to find out that Liszt was in Weimar, Germany. In 1883, he met the teacher and composer Felip Pedrell, who inspired him to write Spanish music such as the Chants d'Espagne. The first movement (Prelude) of that suite, later retitled after the composer's death as Asturias (Leyenda), is probably most famous today as part of the classical guitar repertoire, even though it was originally composed for piano and only later transcribed. (Many of Albéniz's other compositions were also transcribed for guitar, notably by Francisco Tárrega - Albéniz once declared that he preferred Tárrega's guitar transcriptions to his original piano works).[citation needed] At the 1888 Universal Exposition in Barcelona, the piano manufacturer Erard sponsored a series of 20 concerts featuring Albéniz's music. The apex of his concert career is considered to be 1889 to 1892 when he had concert tours throughout Europe. During the 1890s Albéniz lived in London and Paris. For London he wrote some musical comedies which brought him to the attention of the wealthy Francis Money-Coutts, 5th Baron Latymer. Money-Coutts commissioned and provided him with librettos for the opera Henry Clifford and for a projected trilogy of Arthurian operas. The first of these, Merlin (1898-1902) was thought to have been lost, but has recently been reconstructed and successfully performed; Albéniz never completed Lancelot (only the first act is finished, as a vocal and piano score), and he never began Guinevere, the final part. In 1900 he started to suffer from Bright's disease and returned to writing piano music. Between 1905 and 1908 he composed his final masterpiece, Iberia (1908), a suite of twelve piano "impressions". In 1883, the composer married his student Rosina Jordana. They had three children, Blanca (who died in 1886), Laura (a painter), and Alfonso (who played for Real Madrid in the early 1900s before embarking on a career as a diplomat). Two other children died in infancy. Albéniz died on 18 May 1909 at age 48 in Cambo-les-Bains of Bright's disease, and is buried in the Cementiri del Sudoest at Monjuïc, Barcelona. Alberto Ruiz-Gallardón, current mayor of Madrid, and Cécilia Sarkozy, the former wife of French president Nicolas Sarkozy, are two of Isaac Albéniz's great-grandchildren.
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¶ Sigrid Arnoldson (20 March 1861 - 7 February 1943) was a Swedish opera singer with an active international career at the end of the 19th century and into the 20th. Possessing a fine coloratura soprano voice with a range of three octaves, music critics believed she was Jenny Lind's successor and dubbed her "the new Swedish Nightingale". Her voice is preserved on several recordings made in Berlin for the Gramophone Company between 1906 and 1910. - Born in Stockholm, Arnoldson was taught by her father Carl Oskar Arnoldson, a respected tenor, and by Fritz Arlberg, a famous Swedish baritone. She later had further studies in Paris. She made her professional opera debut in 1885 at the Prague National Theatre as Rosina in Gioachino Rossini's The Barber of Seville. The part became her calling card at a number of important houses, including her first and very successful appearances at the Bolshoi Theatre in Moscow in 1886. That same year The Musical Times reported that Franz Liszt had predicted "a brilliant career" for her. Arnoldson made her London debut in 1887 in Gioachino Rossini's The Barber of Seville at the Theatre Royal, Drury Lane along with Fernando de Lucia, Mattia Battistini and Edouard de Reszke. As Rosina, she was said to be "Young, pretty, and of engaging manner, with a good voice and method, and considerable talent as an actress" and to have "won public favour with the greatest of ease". Apart from a poorly received Zerlina (Don Giovanni) in 1887, her success there was considerable, and she was engaged to sing at the Royal Opera, Covent Garden in 1888 and again between 1892 and 1894. The Musical Times called her Cherubino (The Marriage of Figaro) "charming", and her work as George Fox's Nydia in the eponymous opera "a graceful impersonation". She was engaged in 1890 by the Max Strakosch for an American tour of some 60 concerts for the sum of 250,000 Francs.[8] Her Barcelona debut at the Liceu in 1891 was reported as being "most enthusiastically received". She debuted at the Metropolitan Opera in New York as Baucis in Philémon et Baucis in 1893, despite the fact that in 1892 it had been reported that "her voice was smaller than ever". In 1897 she is recorded as having sung two "hackneyed show pieces" at a Royal Philharmonic Society concert in London, which were "rapturously applauded" yet earlier that year she was appearing with "immense success" at the Mariinsky Theatre in Saint Petersburg in Italian opera. 1898 saw her giving a series of performances at the Berlin State Opera.. As late as 1906 she achieved a "triumph" at the Opéra de Monte-Carlo in Anton Rubinstein's The Demon. Arnoldson's other roles included Elsa from Richard Wagner's Lohengrin, Nedda in Pagliacci, Susanna in The Marriage of Figaro, Papagena in The Magic Flute, Oscar in Un ballo in maschera, Marguerite de Valois in Les Huguenots, and Sophie in Werther with Jean de Reszke. She also portrayed both Micaëla and the title heroine in Georges Bizet's Carmen. She sang the latter impersonation as a last-minute substitute for an indisposed Emma Calvé at Covent Garden in 1903. She had never sung the role before or ever intended to assail it onstage. She did, however, know the music, as she was accustomed to learning all the parts within the operas she sang in. The performance was later called by Gramophone her "solitary failure"; but given the circumstances of the performance that judgement seems ungenerous. By 1910 Arnoldson was a member of the Royal Swedish Academy of Music. She retired from the stage in 1911, after which she taught singing in Vienna for over 25 years. She moved to Stockholm in 1938 where she continued to teach up until her death in 1943.
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¶ Boris Vladimirovich Asafyev, 1884 - 27 January 1949) was a Russian and Soviet composer and writer. - Asafyev lived in the Soviet Union where he had a strong musical influence. His compositions were mainly ballets and guitar compositions, and include Flames of Paris, based on the French Revolution, and The Fountain of Bakhchisarai, which was first performed in 1934, and was performed at the Mariinsky Theatre in St. Petersburg in 2006. - His writings, under the name Igor Glebov, include The Book about Stravinsky and Glinka (for which he was awarded the Stalin Prize in 1948).
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¶ Govert van Best, Fr. v. C, Joop Diepenbrok, bas, Rinus van Zalm, Tonny ter Haar, de Rijk (thans vervangen door Jan Gerritsen), Frits Hes (thans vervangen door Cor Baan.
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¶ P. H. J. Reynet de la Rue - Amsterdam, Utrechtsestraat 35 (tussen Heerengracht en Keizersgracht). Hoffotograaf; kunsthandelaar, portretfotografie; o.a. foto's op porcelijn en glas.
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¶ Série 203.
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¶ Série 51e.
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¶ Série 208.
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¶ Sarah Bernhardt (October 22, 1844 - March 26, 1923) was a French stage actress, and has been referred to as "the most famous actress in the history of the world". Bernhardt made her fame on the stages of Europe in the 1870s, and was soon in demand in Europe and the Americas. She developed a reputation as a serious dramatic actress, earning the nickname "The Divine Sarah."
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¶ E. Bieber. Hof-Photographin. neuer Jungfernstieg 20, I Etage, Hamburg.
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¶ Ludwig Felix Willem Cornelis Brandts Buijs (Deventer, 20 november 1847 - Velp, 29 juni 1917) was een Nederlandse componist, organist en dirigent. Ludwig Felix is de zoon van Cornelis Alijander Brandts Buys en Johanna Wilhelmina Bosch Morison. Hij was de eerste die vernoemd zou worden naar bekende componisten. In zijn geval Ludwig van Beethoven en Felix Mendelssohn, beiden idolen van zijn vader. De familie Brandts Buys is bekend om zijn vele organisten, dirigenten en componisten. Zijn oudere broer Marius Adrianus en zijn jongere broer Henri François Robert zouden ook een dergelijk beroep kiezen.
Net als zijn broers werd Ludwig Felix door zijn vader opgeleid in de muziek. Hij leerde hen zingen en het bespelen van piano en orgel. Ludwig Felix ontving vioollessen van de violist Frans Stroober. Hij bracht zijn spel vaak openbaar te hoor bij de concerten van zijn broer Marius, bij wie hij in de periode van 1868 tot 1874 in huis zou wonen. In die tijd viel hij vaak in voor Marius als organist en beiaardier. Toen Marius in 1873 het toonkunstkoor te Zutphen oprichtte, kon hijzelf niet optreden als dirigent vanwege ziekte. Ludwig Felix viel in als eerste dirigent van dit nieuwe koor. Grafmonoment Ludwig Felix Brandts Buijs te RozendaalIn 1874 vertrok Ludwig Felix naar Rotterdam en werd hij daar organist in de Waalse kerk. Nationale bekendheid kreeg hij als dirigent van het 'Liedertafel Rotte's Mannenkoor', welke hij van 1874 tot 1891 zou dirigeren. Daarnaast was hij dirigent van gemengd koor Euphonia en van 1877 tot 1899 ook van het toonkunstkoor van Schiedam. In 1883 werd hij zangleraar aan de Rotterdamse Toonkunst muziekschool, waar hij later ook orgelleraar werd. In 1907 verhuisde hij naar Velp waarna hij het toonkunstkoor van Zutphen van 1909 tot 1912 weer zou leiden. Zijn bekendste compositie is Mijne Moedertaal uit 1874. Ludwig Felix trouwde op 18 juni 1877 in Gorssel met Pauline Hendrika Elisabeth Hesselink. Ze kregen vier kinderen, waarvan de oudste Johann Sebastian een befaamd etnomusicoloog zou worden.
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¶ Texts in hungarian, german, italian, french and english
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¶ Govert van Best, Fr. v. C, Joop Diepenbrok, bas, Rinus van Zalm, Tonny ter Haar, de Rijk (thans vervangen door Jan Gerritsen), Frits Hes (thans vervangen door Cor Baan.
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¶ Julia Bertha Culp (6 October 1880 - 13 October 1970), the "Dutch nightingale", was an internationally celebrated mezzo-soprano in the years 1901-1919. Culp was born in Groningen, The Netherlands into a Jewish family of musicians and comedians. She was the daughter of contrabass player Baruch Culp and his wife Sara Cohen. At the age of seven she began to practice the violin, and at 11 had her first public violin performance. Her first performance as a singer was on 30 December 1893. In the summer of 1896, she left Groningen for Amsterdam, where she studied at the Conservatory under renowned former opera singer Cornélie van Zanten. Soon after completing her studies in 1900, Culp's singing career took flight. She was discovered by German-American conductor Wilhelm Berger, who took her to Berlin to perform at the concert hall Saal Bechstein in 1901. Before long, she was performing all over Europe and America, sharing the stage with such notable composers, conductors and singers as Edward Grieg, Richard Strauss, Camille Saint-Saëns, Enrico Caruso, Otto Klemperer, Willem Mengelberg, Pablo Casals, Percy Grainger, Enrique Granados and Thomas Beecham. As early as 1902 she performed for Queen Wilhelmina of the Netherlands and in 1903 she was invited to sing at the German imperial court for Empress Augusta Viktoria. In 1913, Culp made her American debut at Carnegie Hall in New York. In the U.S., she soon became known as the "Dutch nightingale". Julia Culp made some 90 recordings between 1906 and 1924. In the U.S., she made 41 recordings for the label Victor in the years 1914-1917 and in 1924. She married Erich Merten on 29 June 1905 and settled in Zehlendorff near Berlin. However, the marriage was unsuccessful and they divorced in 1918. In the meantime, she had met a Czech industrialist, Wilhelm Ginzkey, and they married on 23 July 1919. At that time, she converted from Judaism to Catholicism, ended her singing career and moved to Vienna. Julia remained married to Ginzkey until his death in 1934. In the meantime, the Nazis had come to power in Germany. After the German annexation (Anschluss) of Austria in 1938, Culp fled to The Netherlands, moving in with her sister Betsy in Amsterdam. When the Nazis invaded and occupied The Netherlands in 1940, Culp once again found herself in grave danger. Both she and her sister went into hiding and managed to survive the war. They returned to their flat in the Wolkenkrabber ("skyscraper") at the Victoriaplein (formerly Daniël Willinkplein) in Amsterdam, where she remained until her death at age 90. In 2000, Michael Oliver wrote in the International Opera Collector: "You might describe Julia Culp as a connoisseur’s singer. Her voice was not large, her compass not wide. She never sang in opera; striking dramatic gesture were not her line. What she excelled in were the singer’s rather than the vocal actress’s virtues: sustained legato line, remarkable breath control, subtle colour, immaculate care for words". But ‘connoisseur’s singer’ does not mean that only connoisseurs can appreciate her; one becomes a connoisseur by listening to her."
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¶ Metzo-soprano.
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¶ Erwin Geschonneck (December 27, 1906 - March 12, 2008) was a German actor. His biggest success occurred in the German Democratic Republic, where he was considered one of the most famous actors of the time. - Geschonneck was born in Bartenstein, East Prussia (now Bartoszyce, Poland), the son of a poor shoemaker. The family moved to Berlin in 1909 so his father could work as a nightwatchman. In 1919, the younger Geschonneck joined the Communist Party of Germany. After the Nazi takeover in 1933, he emigrated to the Soviet Union via Poland, but was expelled in 1938 and moved to Prague. After the German occupation of Bohemia and Moravia, he was arrested on March 31st, 1939. During the war, he was imprisoned in several concentration camps. In 1945, Geschonneck was one of the few prisoners who survived the RAF sinking of the Cap Arcona. - Immediately following the war, Geschonneck acted in theaters in Hamburg, Germany, and made his film debut in 1947 in In jenen Tagen. He subsequently moved to East Germany, worked with Bertolt Brecht, and became a successful actor. The German movie "Jacob, the Liar" by Frank Beyer was nominated for Best foreign language film at the Academy Awards in 1975 - the only one nomination for G.D.R. In December of 2006, he turned 100. His last movie, made in 1995 for the German television network ARD, was "Matulla und Busch", where he played alongside veteran actor Fred Delmare. Geschonneck's son, Matti Geschonneck, directed. - Geschonneck died in Berlin on March 12, 2008, aged 101. - ANNEMONE HAASE (13. November 1930 in Breslau) ist eine deutsche Schauspielerin. - Annemone Haase begann ihre Karriere 1949. Zehn Jahre arbeitete sie an den verschiedensten Theatern in Annaberg, Görlitz und Erfurt. - 1959 wurde sie an das Berliner Ensemble engagiert und blieb dort 42 Jahre lang, also bis zum Jahr 2001.
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¶ Erwin Geschonneck (December 27, 1906 - March 12, 2008) was a German actor. His biggest success occurred in the German Democratic Republic, where he was considered one of the most famous actors of the time. - Geschonneck was born in Bartenstein, East Prussia (now Bartoszyce, Poland), the son of a poor shoemaker. The family moved to Berlin in 1909 so his father could work as a nightwatchman. In 1919, the younger Geschonneck joined the Communist Party of Germany. After the Nazi takeover in 1933, he emigrated to the Soviet Union via Poland, but was expelled in 1938 and moved to Prague. After the German occupation of Bohemia and Moravia, he was arrested on March 31st, 1939. During the war, he was imprisoned in several concentration camps. In 1945, Geschonneck was one of the few prisoners who survived the RAF sinking of the Cap Arcona. - Immediately following the war, Geschonneck acted in theaters in Hamburg, Germany, and made his film debut in 1947 in In jenen Tagen. He subsequently moved to East Germany, worked with Bertolt Brecht, and became a successful actor. The German movie "Jacob, the Liar" by Frank Beyer was nominated for Best foreign language film at the Academy Awards in 1975 - the only one nomination for G.D.R. In December of 2006, he turned 100. His last movie, made in 1995 for the German television network ARD, was "Matulla und Busch", where he played alongside veteran actor Fred Delmare. Geschonneck's son, Matti Geschonneck, directed. - Geschonneck died in Berlin on March 12, 2008, aged 101. - ANNEMONE HAASE (13. November 1930 in Breslau) ist eine deutsche Schauspielerin. - Annemone Haase begann ihre Karriere 1949. Zehn Jahre arbeitete sie an den verschiedensten Theatern in Annaberg, Görlitz und Erfurt. - 1959 wurde sie an das Berliner Ensemble engagiert und blieb dort 42 Jahre lang, also bis zum Jahr 2001.
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¶ Professor Lev Ginsburg, Cellist and writer of numerous works on the history, theory and aesthetics of musical interpretation.
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¶ De alt Pauline de Haan-Manifarges werd geboren te Rotterdam op 4 april 1872. Haar eerste muziekles ontving zij op de muziekschool van de 'Maatschappij tot bevordering der Toonkunst'. Aanvankelijk piano door Van der Sandt en vervolgens - toen haar echte aanleg en interesse bleek - zang door L.F. Brandts Buijs. Zij vervolgde haar zangstudie bij Paul Hasse, die destijds verbonden was aan de 'Duitse Opera' te Rotterdam. Zij voltooide haar studie bij Julius von Stockhausen in Frankfurt aan de Main. Zij debuteerde in Frankfurt met een uitvoering van Schumanns 'Paradies und Peri'. Op 20-jarige leeftijd vertolkte ze in Zürich liederen van Brams, begeleid door de componist zelf. Pauline de Haan behoorde tot één van de belangrijkste concert-alten van haar generatie. Jarenlang zong zij onder Mengelberg in de Matthäus Passion, de Negende Symfonie van Beethoven en andere concertwerken. Ook Mahler stond op haar repertoire, de alt-soli in de Tweede en Derde Symfonie, de alt partij in Verdi's Requiem, maar ook modern werk als liederen van Diepenbrock heeft zij vertolkt. Zij trad als duo veel op met haar beroemde collega de sopraan Aaltje Noordewier-Reddingius, begeleid door Anton van der Horst. Met haar, Johannes Messchaert en Tom Denijs zong zij jaarlijks in de Matthäus Passion. Op het opera toneel is zij nooit geweest. De kunstenares trad ook vele malen met succes op in Duitsland, Frankrijk, Oostenrijk, Zwitserland en Engeland. Al hoewel veel gevraagd in het buitenland, speelde haar carrière zich toch vooral in Nederland af, waar zij regelmatig werk van landgenoten uitvoerde. Ook aan het hof bij Koningin Wilhelmina heeft zij enige malen gezongen en is daarbij onderscheiden met de 'Ere medaille voor Kunst en Wetenschap'. Haar afscheid nam zij in 1927. - In 1907 verschenen er enige opnamen van haar op het label Odeon, bij twee ervan werd zij op viool begeleid door de beroemde violist Carl Flesch.
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¶ De alt Pauline de Haan-Manifarges werd geboren te Rotterdam op 4 april 1872. Haar eerste muziekles ontving zij op de muziekschool van de 'Maatschappij tot bevordering der Toonkunst'. Aanvankelijk piano door Van der Sandt en vervolgens - toen haar echte aanleg en interesse bleek - zang door L.F. Brandts Buijs. Zij vervolgde haar zangstudie bij Paul Hasse, die destijds verbonden was aan de 'Duitse Opera' te Rotterdam. Zij voltooide haar studie bij Julius von Stockhausen in Frankfurt aan de Main. Zij debuteerde in Frankfurt met een uitvoering van Schumanns 'Paradies und Peri'. Op 20-jarige leeftijd vertolkte ze in Zürich liederen van Brams, begeleid door de componist zelf. Pauline de Haan behoorde tot één van de belangrijkste concert-alten van haar generatie. Jarenlang zong zij onder Mengelberg in de Matthäus Passion, de Negende Symfonie van Beethoven en andere concertwerken. Ook Mahler stond op haar repertoire, de alt-soli in de Tweede en Derde Symfonie, de alt partij in Verdi's Requiem, maar ook modern werk als liederen van Diepenbrock heeft zij vertolkt. Zij trad als duo veel op met haar beroemde collega de sopraan Aaltje Noordewier-Reddingius, begeleid door Anton van der Horst. Met haar, Johannes Messchaert en Tom Denijs zong zij jaarlijks in de Matthäus Passion. Op het opera toneel is zij nooit geweest. De kunstenares trad ook vele malen met succes op in Duitsland, Frankrijk, Oostenrijk, Zwitserland en Engeland. Al hoewel veel gevraagd in het buitenland, speelde haar carrière zich toch vooral in Nederland af, waar zij regelmatig werk van landgenoten uitvoerde. Ook aan het hof bij Koningin Wilhelmina heeft zij enige malen gezongen en is daarbij onderscheiden met de 'Ere medaille voor Kunst en Wetenschap'. Haar afscheid nam zij in 1927. - In 1907 verschenen er enige opnamen van haar op het label Odeon, bij twee ervan werd zij op viool begeleid door de beroemde violist Carl Flesch.
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¶ Gustav Adolph Heinze (Leipzig 1821-Muiderberg 1904), Duits-Nederlands componist, stichter van de Nederlandsche Toonkunstenaars Vereeniging.
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¶ Hutschenruyter [jr.], Wouter, componist en dirigent (Rotterdam 15-8-1859 - 's-Gravenhage 24-11-1943). Zoon van Willem Jacob Hutschenruyter, musicus, en Johanna Francisca Maassen. Gehuwd op 11-5-1883 met Marie Stronck. Uit dit huwelijk werden 2 zoons en 1 dochter geboren. Wouter Hutschenruyter is afkomstig uit een familie van musici. Zowel zijn gelijknamige grootvader als zijn vader waren vooraanstaande figuren in het Rotterdamse muziekleven. Op achtjarige leeftijd werd Wouter leerling van de muziekschool te Rotterdam, waar hij gedurende negen jaren onderricht kreeg in viool (Emanuel Wirth), piano (o.a. Woldemar Bargiel en Friedrich Gernsheim) en theoretische vakken. Aansluitend werkte hij in Rotterdam als altviolist bij de Orkest-Vereeniging Symphonia, nam hij deel aan de uitvoeringen van Eruditio Musica en kort daarop ook aan die van de Hoogduitsche opera. Daarnaast kreeg hij in het concertleven bekendheid als pianist. Sinds 1876 trad hij herhaaldelijk als pianosolist op. Voorts werd hij benoemd tot pianoleraar aan de muziekschool, een functie die hij van 1879 tot 1885 bekleedde.
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¶ Uit: Liederen voor on Volk, A. & L. Bouchery, Antwerpen.
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¶ Nikolai Andreyevich Rimsky-Korsakov, (18 March 1844 - 21 June 1908) was a Russian composer, and a member of the group of composers known as The Five. He was a master of orchestration. His best-known orchestral compositions "Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade" are considered staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. Scheherazade is an example of his frequent use of fairy tale and folk subjects.
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¶ Nikolai Andreyevich Rimsky-Korsakov, (18 March 1844 - 21 June 1908) was a Russian composer, and a member of the group of composers known as The Five. He was a master of orchestration. His best-known orchestral compositions "Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade" are considered staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. Scheherazade is an example of his frequent use of fairy tale and folk subjects.
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¶ Tamara Makarova (13 August 1907 – 18 January 1997) was a Soviet actress. She appeared in 31 films between 1927 and 1984. She was married to the Soviet film director Sergei Gerasimov.
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¶ Peoples-artist of the UdSSR. Azerbaijan Opera and ballet Theatre "Achundow", Baku.
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¶ J. Mossel (1870-1923), Cellist, teacher.
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¶ Otto de Nobel (10-02-1867 - 28-11-1950)
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¶ Russian Writer.
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¶ Uit den bundel van Vrijen en Trouwen. Met pianobegeiding uitgegeven door G. Alsbach en Co, Amsterdam.
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¶ Ernst Heinrich Possart, ab 1897 bayerischer Personaladel Ernst Ritter von Possart, (* 11. Mai 1841 in Berlin; - 8. April 1921 ebenda) war ein deutscher Schauspieler und Bühnenleiter. - Possart war der Sohn des Berliner Kaufmanns Johann Christian Possart und dessen Ehefrau Wilhelmine Angelica Göhren. Der spätere Maler Prof. Felix Possart war sein Bruder. - Er absolvierte eine dreijährige Lehrzeit als Buchhändler und wurde anschließend Schüler des Berliner Hofschauspielers Wilhelm Kaiser. Bereits mit zwanzig Jahren debütierte Possart 1861 erfolgreich am Urania-Theater in Breslau in der Rolle „Siegfried von Mörner“ in Der Prinz von Homburg (Heinrich von Kleist). Sein erstes Engagement in Breslau begann er 1861 mit zweiten Charakterrollen, und er konnte bereits im darauffolgendem Jahr nach Berlin wechseln, wo er bis 1863 bereits Hauptrollen spielte. - 1863 wurde er als Ersatz für Karl August Görner als Regisseur an das Hamburger Stadttheater berufen. Ab 1864 wirkte er als erster Charakterdarsteller und hatte seinen künstlerischen Durchbruch als "Franz Moor" in Die Räuber (Friedrich Schiller). - 1868 heiratete er in Frankfurt am Main die Kammersängerin Anna Caroline Deinet. Mit ihr hatte er vier Kinder, darunter Anna, die später unter dem Pseudonym bekannte Sängerin Ernesta Delsarta. 1883 ließen sich Possart und Deinet scheiden, um dann fünf Jahre später in New York erneut zu heiraten. - Seit 1873 war er Oberregisseur an der Hofbühne zu München, und 1878 avancierte er zum Schauspieldirektor. Parallel zu dieser Beförderung ernannte man Possart auch zum Prof.. Zahlreiche Gastspiele, ebenso die von ihm in München 1880 veranstalteten Gesamtgastspiele machten seinen Namen in weiteren Kreisen bekannt. Im Jahr 1887 nahm er seine Entlassung aus dem Verband der Münchener Hofbühne, um in Amerika Gastrollen zu geben; ab 1888 war er Regisseur des Berliner Lessingtheaters. - 1893 kehrte Possart als Generaldirektor und Intendant der königlichen Hoftheater nach München zurück und ließ sich dort nieder. Zwischen 1900 und 1901 war er zusammen mit dem Architekten Max Littmann maßgeblich am Bau des Prinzregententheaters beteiligt. Mit 64 Jahren zog sich 1905 Possart in den Ruhestand zurück. Als 1919 seine Ehefrau starb, ließ sich Possart noch im selben Jahr in seiner Heimatstadt Berlin nieder. Dort starb er dann im Alter von fast achtzig Jahren am 8. April 1921. - Ernst von Possart als Narziß, ca. 1880Als Charakterdarsteller waren seine besten Rollen "Hamlet", "Jago", "Mephisto", "Franz Moor", "Nathan", "Richard III.", "Shylock u.v.a. Von Possart sind einige Phonographen-Aufnahmen im Deutschen Rundfunkarchiv in Wiesbaden vorhanden. - Possart gilt als einer der einflussreichsten Theaterfunktionäre im 19. Jahrhundert und als typischer Repräsentant des Hofbühnenwesens im deutschsprachigen Raum. U. a. war er maßgeblich an der Entdeckung und Förderung des berühmten Schauspielers Josef Kainz beteiligt. - Auch für das Opern- und Musikleben seiner Zeit war Possart eine entscheidende Figur. Als Generalintendant der Münchner Hofbühnen führte er in Zusammenarbeit mit den Dirigenten Hermann Levi und Richard Strauss deutsche Neuübersetzungen der Opern Mozarts auf. Mit prunkvoll ausgestatteten Aufführungen der Werke Richard Wagners in München hatte er sehr großen Erfolg und machte den noch jungen Bayreuther Festspielen unter Leitung Cosima Wagners große Konkurrenz. - Daneben trat Possart immer wieder als Rezitator von Melodramen hervor. Nachdem 1868 die Darstellung der Titelrolle in Robert Schumanns Melodram Manfred ein wichtiger Markstein in Possarts Karriere gewesen war, regte sein musikalisierender Rezitationsstil im Fin de Siècle etliche Komponisten zur Komposition weiterer Melodramen an. Sowohl die melodramatische Erstfassung der Königskinder von Engelbert Humperdinck (1897) als auch das Melodram Das Hexenlied von Max von Schillings (1902), das zu einem der populärsten Werke im wilhelminischen Deutschland avancierte, wären ohne Possarts melodramatische Vorlieben nicht entstanden. (Wikipedia).
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¶ Ernst Heinrich Possart, ab 1897 bayerischer Personaladel Ernst Ritter von Possart, (* 11. Mai 1841 in Berlin; - 8. April 1921 ebenda) war ein deutscher Schauspieler und Bühnenleiter. - Possart war der Sohn des Berliner Kaufmanns Johann Christian Possart und dessen Ehefrau Wilhelmine Angelica Göhren. Der spätere Maler Prof. Felix Possart war sein Bruder. - Er absolvierte eine dreijährige Lehrzeit als Buchhändler und wurde anschließend Schüler des Berliner Hofschauspielers Wilhelm Kaiser. Bereits mit zwanzig Jahren debütierte Possart 1861 erfolgreich am Urania-Theater in Breslau in der Rolle "Siegfried von Mörner" in Der Prinz von Homburg (Heinrich von Kleist). Sein erstes Engagement in Breslau begann er 1861 mit zweiten Charakterrollen, und er konnte bereits im darauffolgendem Jahr nach Berlin wechseln, wo er bis 1863 bereits Hauptrollen spielte. - 1863 wurde er als Ersatz für Karl August Görner als Regisseur an das Hamburger Stadttheater berufen. Ab 1864 wirkte er als erster Charakterdarsteller und hatte seinen künstlerischen Durchbruch als "Franz Moor" in Die Räuber (Friedrich Schiller). - 1868 heiratete er in Frankfurt am Main die Kammersängerin Anna Caroline Deinet. Mit ihr hatte er vier Kinder, darunter Anna, die später unter dem Pseudonym bekannte Sängerin Ernesta Delsarta. 1883 ließen sich Possart und Deinet scheiden, um dann fünf Jahre später in New York erneut zu heiraten. - Seit 1873 war er Oberregisseur an der Hofbühne zu München, und 1878 avancierte er zum Schauspieldirektor. Parallel zu dieser Beförderung ernannte man Possart auch zum Prof.. Zahlreiche Gastspiele, ebenso die von ihm in München 1880 veranstalteten Gesamtgastspiele machten seinen Namen in weiteren Kreisen bekannt. Im Jahr 1887 nahm er seine Entlassung aus dem Verband der Münchener Hofbühne, um in Amerika Gastrollen zu geben; ab 1888 war er Regisseur des Berliner Lessingtheaters. - 1893 kehrte Possart als Generaldirektor und Intendant der königlichen Hoftheater nach München zurück und ließ sich dort nieder. Zwischen 1900 und 1901 war er zusammen mit dem Architekten Max Littmann maßgeblich am Bau des Prinzregententheaters beteiligt. Mit 64 Jahren zog sich 1905 Possart in den Ruhestand zurück. Als 1919 seine Ehefrau starb, ließ sich Possart noch im selben Jahr in seiner Heimatstadt Berlin nieder. Dort starb er dann im Alter von fast achtzig Jahren am 8. April 1921. - Ernst von Possart als Narziß, ca. 1880Als Charakterdarsteller waren seine besten Rollen "Hamlet", "Jago", "Mephisto", "Franz Moor", "Nathan", "Richard III.", "Shylock u.v.a. Von Possart sind einige Phonographen-Aufnahmen im Deutschen Rundfunkarchiv in Wiesbaden vorhanden. - Possart gilt als einer der einflussreichsten Theaterfunktionäre im 19. Jahrhundert und als typischer Repräsentant des Hofbühnenwesens im deutschsprachigen Raum. U. a. war er maßgeblich an der Entdeckung und Förderung des berühmten Schauspielers Josef Kainz beteiligt. - Auch für das Opern- und Musikleben seiner Zeit war Possart eine entscheidende Figur. Als Generalintendant der Münchner Hofbühnen führte er in Zusammenarbeit mit den Dirigenten Hermann Levi und Richard Strauss deutsche Neuübersetzungen der Opern Mozarts auf. Mit prunkvoll ausgestatteten Aufführungen der Werke Richard Wagners in München hatte er sehr großen Erfolg und machte den noch jungen Bayreuther Festspielen unter Leitung Cosima Wagners große Konkurrenz. - Daneben trat Possart immer wieder als Rezitator von Melodramen hervor. Nachdem 1868 die Darstellung der Titelrolle in Robert Schumanns Melodram Manfred ein wichtiger Markstein in Possarts Karriere gewesen war, regte sein musikalisierender Rezitationsstil im Fin de Siècle etliche Komponisten zur Komposition weiterer Melodramen an. Sowohl die melodramatische Erstfassung der Königskinder von Engelbert Humperdinck (1897) als auch das Melodram Das Hexenlied von Max von Schillings (1902), das zu einem der populärsten Werke im wilhelminischen Deutschland avancierte, wären ohne Possarts melodramatische Vorlieben nicht entstanden. (Wikipedia).
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¶ Met pianobegeleiding verkrijgbaar bij: Jac. van Rennes, Utrecht.
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¶ Carl Rensing - Werkzaam ca. 1840-1890. Berlijn. Deventer (1855). Amsterdam (1856), Kerkstraat tussen Leidschestraat en Spiegelstraat CC 654 (1860-1867). Rondreizend daguerreotypist; fotograaf van vistekaartportretten. Tentoonstellingen: 1855. Literatuur: Evers 1915, 252; Evers 1918, 151.
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¶ Nikolai Andreyevich Rimsky-Korsakov, (18 March 1844 - 21 June 1908) was a Russian composer, and a member of the group of composers known as The Five. He was a master of orchestration. His best-known orchestral compositions "Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade" are considered staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. Scheherazade is an example of his frequent use of fairy tale and folk subjects.
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¶ Julius Engelbert Röntgen (9 May 1855 - 13 September 1932) was a German-Dutch composer of classical music. Julius Röntgen was born in Leipzig, Germany, to a family of musicians. His father, Engelbert Röntgen, was first violinist in the Gewandhaus orchestra in Leipzig; his mother, Pauline Klengel, was a pianist, the aunt of renowned Julius Klengel. Julius was a gifted child. Neither he nor his sisters attended school; he was taught music by his parents and grandparents, and other subjects by private tutors. His first piano teacher was Carl Reinecke, the director of the Gewandhaus orchestra, while his early compositions were influenced by Reinecke, but also by Robert Schumann, Franz Liszt and Johannes Brahms. Engelbert Röntgen, father of composer, in 1870In 1870, at the age of 14, Julius Röntgen visited Franz Liszt in Weimar; after playing piano for him he was invited to a soiree at Liszt's house. In Leipzig, he and his parents were part of the musical circle around Heinrich von Herzogenberg, and it was at their house that he first met Brahms. Later Röntgen moved to Munich, where he studied piano under Franz Lachner, a friend of Franz Schubert. At the age of 18 he became a professional pianist. During a concert tour through southern Germany he became acquainted with the singer Julius Stockhausen; at this time he also met a Swedish music student Amanda Maier, whom he would marry in 1880. In 1877 Röntgen had to make a decision whether to go to Vienna or Amsterdam. He chose Amsterdam, and became a piano teacher in the music school there. Prof. Lohmann, who was professor of theology at the University of Amsterdam and an important figure in the cultural life of that city, was a friend of Röntgen's father, and he promised to take young Julius under his wing. According to Röntgen's letter of 1877 he considered the school "a place full of children and amateurs"; since the school was not supported by public funds, it appeared to attach more importance to the number of its students rather than their quality. Between 1878 and 1885 Brahms was a frequent visitor in Amsterdam. In 1887 Röntgen performed Brahms's second piano concerto, conducted by the composer himself. In 1883, in association with composers Frans Coenen and Daniel de Lange, Röntgen was instrumental in the foundation of the Amsterdam Conservatory. In 1884 Röntgen was heavily involved in the foundation of the Concertgebouw. He applied for the position of the director; however, to his great disappointment, the choice fell instead on the German Hans von Bülow, as the committee seemed to doubt Röntgen's abilities as a conductor. Nevertheless Bülow was not able to accept the appointment, and the position went in the end to the violinist Willem Kes. Röntgen turned with greater energy to composing chamber music and to his work for the Conservatory. He became a renowned accompanying pianist, working for the great violinist Carl Flesch, the singer Johannes Messchaert, and the cello player Pablo Casals. Travelling with Messchaert he came to Vienna at least once a year, where he would always look up Brahms. During the quiet summer periods in Amsterdam Röntgen and his family often went to Denmark. On one of such visits he met Bodil de Neergaard, with whom he struck a close friendship. As a result of his close contacts with Denmark, Röntgen's children became fluent speakers of Danish. For some years, Röntgen and his sons performed together as a piano trio. After the death of his wife Amanda in 1894, Röntgen married the gifted piano teacher Abrahamina des Amorie van der Hoeven. The children of the second marriage also became professional musicians. At the end of the First World War, in 1919, Röntgen became a naturalized Dutch citizen. One of his sons was taken prisoner by the Germans during the war, while another son emigrated to the USA where he became a soldier in the US army. As a result, Röntgen was for many years unable to visit his native Germany. In 1924 Röntgen retired from public life. He moved to Bilthoven, a small village near Utrecht. His son Frans, one of the few children who did not follow a musical career, built for him the country house Gaudeamus. The unusual round music room in that house was constructed in such a way that its floor did not touch the ground. During the last eight years of his life Röntgen wrote about 100 compositions (some accounts put this nearer 200), mostly chamber music and songs. Gaudeamus became a meeting place for many important composers and musicians; among the visitors in that house were Edvard Grieg, Pablo Casals and Percy Grainger. At that time Röntgen studied musical analysis, and was interested in the work of Hindemith, Stravinsky, Schönberg and Willem Pijper. In 1930 Röntgen received an honorary doctorate from the University of Edinburgh, where his friend Donald Francis Tovey was professor. During the visit Tovey performed a new Röntgen symphony with the Reid Orchestra and Röntgen was the soloist in his most recent two piano concertos in the same programme. (Two years after Röntgen's death, Tovey described him as "one of the greatest masters of absolute music I have ever known". After Second World War the villa Gaudeamus became the seat of the Gaudeamus society, whose aim is to promote contemporary Dutch music. In the last years of his life Röntgen experimented with atonal music; he wrote a bi-tonal symphony in 1930 which, however, was never published. Sometimes he would perform as a piano accompanist in the Tuschinski cinema in Amsterdam, where he played popular and folk pieces which he composed himself together with Dirk van der Ven. He also made recordings on player piano rolls. Röntgen died in Utrecht, The Netherlands in 1932. His last work, a piano quintet (his third for piano and strings, in G major) subtitled Sentendo nuova forza, is dated July 5 of that year.
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¶ Dirk Schäfer (Rotterdam November 25, 1873 - Amsterdam February 16, 1931) was a Dutch concert pianist and composer of pianoforte pieces ("Sonate Inaugurale" Op. 9) and chamber music, such as his distinctly Brahmsian piano quintet in D flat (Opus 5) and his sonatas for violin and piano, Op. 11. He also wrote a "Javanese Rhapsody". He recorded performances of works by Chopin before his death.
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¶ Johan Schoonderbeek, (27.9.1874, Naarden - 3.3.1927, Naarden). Nederlands organist en dirigent. Studeerde concervatorium Amsterdam (Zweers e.a.); was directeur vamn de muziekschool voor Toonkunst te Bussum en van het Muzieklyceum te Hilversum. Leidde de koorvereniging te Amsterdam en Den Haag, maar is voornamenlijk bekend als de grondlegger van de Bachtraditie te Naarden met de van 1921 door hem gedirigeerde Nederlandse Bachvereniging. Hij was werkzaam bij de Koninklijke Oratorium Vereniging Excelsior in Den Haag, waar hij reeds de Matthäus-Passion dirigeerde. Zijn neef Valentijn Schoonderbeek ( - 23.06.1954) volgde hem als organist aan de Grote Kerk te Naarden op; Cornelis Schoonderbeek als directeur der Bachvereniging.
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¶ Percival M. F. Hedley
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¶ Valentina Serova, December 23, 1917 - December 12, 1975) was a Soviet film and theatre actress of Ukrainian origin. - Serova was born Valentina Polovikova in 1917 in Kharkov. In 1938, she married her first husband, Anatoli Serov, a Soviet Air Force general, a test and fighter pilot. In 1939 Anatoli Serov died in a crash testing a new plane. In the same year, her film "Devushka s harakterom" had a huge success and she became one of the biggest film stars of the Soviet Union. In 1940 she met Konstantin Simonov, a famous Soviet author, whom she married in 1943. Simonov's poem "Wait for me", one of the most famous Russian war poems, is dedicated to her. She subsequently inspired a series of love poems, collected as "With you and without you" Their relationship was a troubled one; her 1942-1946 affair with marshal Konstantin Rokossovsky was widely known. Simonov left her in 1957. Her career declined after the 1940s. She died in Moscow in 1975.
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¶ Yuri (also Iurii, Yury) Alexandrovich Shaporin November 8 1887 - 9 December 1966) was a Russian Soviet composer. - Shaporin was born in Hlukhiv in Ukraine, Russian Empire. His father was a painter and his mother a pianist. He received his secondary education in Saint Petersburg. He first studied philology at the Kiev University. He went on to study law at the Saint Petersburg University. - He then turned to music, starting his studies at the Saint Petersburg Conservatory in 1913. His teachers there included Nikolay Sokolov (composition), Maximilian Steinberg (orchestration), and Nikolai Tcherepnin (conducting). He graduated as a composer and conductor in 1918. - After the Bolshoi Drama Theater was established in 1919, he participated, serving as its musical director until 1928. He then worked with the Russian State Pushkin Academy Drama Theater "also known as the Alexandrinsky Theater" until 1934. During this period he composed a significant amount of theater music. - He was a founding member of the Association for Contemporary Music in 1923. - During the 1930s he turned his attention to large scale works. His opera Dekabristi (The Decembrists), with the libretto written by Aleksey Nikolayevich Tolstoy about the Decembrist revolt, had been on Shaporin's mind already by 1920 —a 1925 interim version, Polina Gyobe, had two scenes staged in Leningrad. He completed a version in 1938, but dissatisfied with it, he decided to revise it. It was only completed in 1953, after collaboration with librettist Vsevolod Rozhdestvensky. The opera was premiered at the Bolshoi Theatre on June 23, 1953. - The Bolshoi Theatre had already by 1938 commissioned a version of the opera. Shaporin also received an offer of a teaching position at the Moscow Conservatory and he moved to Moscow in 1938. In 1952, Shaporin was awarded the Stalin Prize.
Among his students at the Moscow Conservatory were Edward Artemiev and Rodion Konstantinovich Shchedrin.
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¶ Yuri (also Iurii, Yury) Alexandrovich Shaporin November 8 1887 - 9 December 1966) was a Russian Soviet composer. - Shaporin was born in Hlukhiv in Ukraine, Russian Empire. His father was a painter and his mother a pianist. He received his secondary education in Saint Petersburg. He first studied philology at the Kiev University. He went on to study law at the Saint Petersburg University. - He then turned to music, starting his studies at the Saint Petersburg Conservatory in 1913. His teachers there included Nikolay Sokolov (composition), Maximilian Steinberg (orchestration), and Nikolai Tcherepnin (conducting). He graduated as a composer and conductor in 1918. - After the Bolshoi Drama Theater was established in 1919, he participated, serving as its musical director until 1928. He then worked with the Russian State Pushkin Academy Drama Theater "also known as the Alexandrinsky Theater" until 1934. During this period he composed a significant amount of theater music. - He was a founding member of the Association for Contemporary Music in 1923. - During the 1930s he turned his attention to large scale works. His opera Dekabristi (The Decembrists), with the libretto written by Aleksey Nikolayevich Tolstoy about the Decembrist revolt, had been on Shaporin's mind already by 1920 —a 1925 interim version, Polina Gyobe, had two scenes staged in Leningrad. He completed a version in 1938, but dissatisfied with it, he decided to revise it. It was only completed in 1953, after collaboration with librettist Vsevolod Rozhdestvensky. The opera was premiered at the Bolshoi Theatre on June 23, 1953. - The Bolshoi Theatre had already by 1938 commissioned a version of the opera. Shaporin also received an offer of a teaching position at the Moscow Conservatory and he moved to Moscow in 1938. In 1952, Shaporin was awarded the Stalin Prize.
Among his students at the Moscow Conservatory were Edward Artemiev and Rodion Konstantinovich Shchedrin.
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¶ Tamara Shima (or Sjima), singer.
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¶ Maxim Dmitrievich Shostakovich (born Leningrad on May 10, 1938) is a Russian conductor and pianist. He was the second child of Dmitri Shostakovich and Nina Varzar. - Since 1975, he has conducted and popularised many of his father's lesser-known works. - He was educated at the Moscow and Leningrad Conservatories before becoming chief conductor of the Union Radio and TV Symphony Orchestra. While he was Principal Conductor of the Moscow Radio and Television Symphony Orchestra, he conducted the premiere of his father's 15th Symphony. In 1979 he defected in West Germany later moving to the United States.[1]After spells conducting the New Orleans Symphony Orchestra and the Hong Kong Philharmonic Orchestra he returned to St. Petersburg. In 1992 he made an acclaimed recording of the Myaskovsky Cello Concerto with Julian Lloyd Webber and the London Symphony Orchestra for Philips Classics.
Maxim is the dedicatee and first performer of his father's Piano Concerto No. 2 in F Major (Op. 102). - He has a son, Dmitri Maximovich Shostakovich or Dmitri Shostakovich Jr. who is a pianist. - Maxim Shostakovich recently completed a cycle of his father's 15 symphonies with the Prague Symphony Orchestra for the Czech label, Supraphon.
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¶ Andrei Shtogarenko (1902-1992) was born in the Ukrainian town of Noviye Kaydaki. He studied music at the Kharkov Conservatory. As a composer, he was well-known within the Soviet Union, but he and his music remain entirely unknown elsewhere. He won the USSR State Prize for his compositions in 1946 and 1952 and was awarded the prestigious title of Peoples' Artist of the USSR. During his long career, he served in many positions, including Professor of Composition and Director of the Kharkov Conservatory. He composed in nearly every genre, writing several works for orchestra, solo piano, voice, and also a number of film scores. Chamber music comprises only a small part of his output. Shtogarenko's works show the influence of Mussorgsky and Borodin in that many tend to be of a programmatic and descriptive nature.
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¶ Julian (Yulian) Sitkovetsky (7 November 1925, Kiev - 23 February 1958, Moscow) was a Russian-Ukrainian violin player. He started violin lesson at age 4, first with father, then with David Bertie at the Central School in Kiev. As a child prodigy, he was chosen to play for Jacques Thibaud at age 8. One year later, he played the Mendelssohn concerto with the Kiev Symphony. In 1939, he enrolled in the Moscow Central Music School, class of Abram Yampolsky, whose students include Leonid Kogan, Igor Besrodny and Rotislav Dubinsky. In 1945 Julian Sitkovetsky was winner of the All Soviet Union Young Performers Competition of piano, cello and violin (Sviatoslav Richter and Mstislav Rostropovich were the winners in piano and cello). In 1947, he shared First Prize at the Prague Festival with Leonid Kogan and Igor Besrodny. He married pianist Bella Davidovich in 1950 and their son Dmitry Sitkovetsky (now an eminent violinist and conductor) was born 2 years later. In 1952, he shared Second prize in the Henryk Wieniawski Violin Competition with Wanda Wilkomirska (first prize was Igor Oistrakh). In 1955 he won Second Prize at the Queen Elizabeth Music Competition. (Of which Yehudi Menuhin said: "...David Oistrakh and I were on the jury...he should have had First Prize..."). Julian Sitkovetsky never toured much, as he was diagnosed with lung cancer in 1956. He died in 1958, at age 32.
Joseph Magil, critic (himself a violinist and violist) of the American Record Guide, said of him: "...David Oistrakh said that, had he lived, Sitkovetsky would have eclipsed him and Kogan….He had a broad, firm, focused tone in all registers; flawless intonation; a rapid, even trill; a swift, perfectly controlled staccato; strong, immaculate harmonics; an even, clear sautillé..."
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¶ Leonid Witaljewitsch Sobinow, 7. Juni 1872 in Jaroslawl; - 14. Oktober 1934 in Riga) war ein bekannter russischer Tenor und Opernsänger. Sobinow-Denkmal in Jaroslawl Sobinow war Sohn eines Jaroslawler Kaufmanns. Im Alter von 18 Jahren zog er nach Moskau und studierte dort zunächst Rechtswissenschaft an der Lomonossow-Universität. Parallel zu diesem Studium, das Sobinow 1894 absolvierte, nutzte er seine musikalische Begabung und nahm an einem studentischen Chor teil, seit Ende 1892 studierte er Gesang an der Moskauer "Schule der Philharmonie". Während dieser Zeit trat Sobinow bereits erfolgreich mit einer italienischen Operntruppe auf. 1897 schloss er die Ausbildung ab und durfte bereits kurze Zeit später auf der Bühne des Moskauer Bolschoi-Theaters auftreten. Er sang dabei vor allem bekannte Lyrische Tenor-Partien, so unter anderem die Rolle des Lenski in Tschaikowskis Eugen Onegin, des Fürsten in Dargomyschskis Rusalka oder des Pseudodimitri in Mussorgskis Boris Godunow. Auf der Bolschoi-Bühne trat Sobinow auch gemeinsam mit dem berühmten Bassisten Schaljapin in Gounods Faust auf. 1901 debütierte Sobinow in der damaligen russischen Hauptstadt Sankt Petersburg. Im Laufe der 1900er-Jahre gab er zahlreiche Gastspiele in mehreren Ländern Europas und war von 1904 bis 1906 im Mailänder Teatro alla Scala engagiert. 1909 kehrte er nach Moskau zurück und sang wieder auf der Bolschoi-Bühne. 1917-1918 sowie ab 1921 war er auch Intendant des Bolschoi-Theaters. 1923 wurde Sobinow mit dem Ehrentitel Volkskünstler der RSFSR ausgezeichnet. Auf der Opernbühne trat er bis 1933 auf; zuletzt war er als stellvertretender Leiter der Kunstabteilung des Opernstudios Stanislawski tätig. Grab Sobinows auf dem Nowodewitschi-FriedhofSobinows Grabmal befindet sich auf dem Friedhof des Neujungfrauenklosters in Moskau. Nach Sobinow wurden zahlreiche Straßen in Russland sowie unter anderem das Konservatorium in der Stadt Saratow benannt. Ende 2007 wurde in seiner Heimatstadt Jaroslawl ein Denkmal mit einer lebensgroßen Skulptur des Sängers aufgestellt. Der Asteroid 4449 erhielt 1987 seinen Namen.
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¶ Antonio Spadavecchia, composer.
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¶ Natalia Spiller (1909-1995) was a soprano soloist of the Bolshoi Theatre for over 30 years. She was a favourite of Joseph Stalin and often sang at the Kremlin. She taught at the Gnessin Institute 1950-76.
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¶ Volkskùnstlerin der Moldauischen SSR. Staatliche Philharmonie der Moldauischen SSR.
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¶ Uitgegeven met pianobegeleiding bij Firma J. A. H. Wagenaar, Utrecht.
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¶ Anton Benjamin Hendrik Verhey (Rotterdam, 2 februari 1871 - Rotterdam, 12 februari 1924), dirigent, muziekleraar, componist, organist en pianist.
Anton Verhey (02/02/1871 - 12/02/1924), a Dutch composer, conductor, organist and pianist, born in Rotterdam.
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¶ Albert Vogel Sr. (1874-1933), beroemd voordrachtskunstenaar, reserveluitenant-kolonel der infanterie in het Nederlandse leger en auteur van verschillende standaardwerken; over de militaire opvoeding, het Japanse toneel en de voordrachtskunst. Vader van Ellen Vogel.
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¶ Vladimir Yurovsky was born on march 20, 1915, in the small town Ukraianian of Tarashcha. In 1923 his parents moved to Kiev whre Vladimir began to attend school.
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¶ Met pianobegeiding bij den componist te Rotterdam.
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¶ Wijntje Cornelia van Zanten (Dordrecht, August 2, 1855 - The Hague, January 10, 1946) was a Dutch opera singer, singing teacher and author. Van Zanten, who sang both mezzosoprano and alto, also wrote her name as Cornélie or Cornelie and was known among friends as Corry or Kee. She studied at the conservatory of Cologne, among others, and then continued her studies in Milan under Francesco Lamperti. In September 1875 she made her debut in Turin, singing the role of Leonora in Donizetti's opera La Favorita. In 1879 she left Italy for Germany, where she sang at the opera of Breslau, Kassel (with Gustav Mahler as conductor) and Hamburg. During her German period she also composed a number of Lieder, including Mijn Moedertaal ("My Mother Tongue") in 1881. In 1885 she was invited to join the American Opera Company at the Metropolitan Opera House in New York City. Soon after, she joined the National Opera Company for a lengthy tour of North America in the 1886-1887 season. Highlights of the tour were her roles as Orpheus in Gluck's Orfeo ed Euridice and the title role in Carmen by Bizet. After the company went bankrupt, she returned to Europe and worked in Russia (where she sang a complete Der Ring des Nibelungen by Wagner), in the Netherlands (where she sang at the Hollandsche Opera and the Nederlandse Opera), and in Germany. Van Zanten ended her singing career in 1895 and accepted a position as senior professor of solo singing at the Amsterdam conservatory, coaching many well-known Dutch singers such as Jos Tijssen, Julia Culp and Tilly Koene. She left Amsterdam for Berlin in 1903 to lead a Meisterschule für Kunstgesang (singing school), but returned to the Netherlands when World War I broke out. In 1914 she settled in The Hague, where she remained active as a teacher of classical singing. She lived to see the end of World War II and died in 1946, aged 90. Van Zanten recorded her extensive knowledge of the art of singing and the workings of the human voice in a number of books, which appeared in both Dutch and German. Her book Bel Canto des Wortes: Lehre der Stimmbeherschung durch das Wort (1911) was considered a standard work for the teaching of classical singing. In 1923 she even made a film about the human voice. However, she never took the opportunity to make any recordings of her singing.
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¶ Met pianobegeleiding uitgegeven door de erven F. Bohn, Haarlem.
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