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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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¶ Daniel François Esprit Auber (29 January 1782 - 12/13 May 1871) was a French composer.The son of a Paris print-seller, Auber was born in Caen in Normandy. Though his father expected him to continue in the print-selling business, he also allowed his son to learn how to play several musical instruments. His first teacher was the Tirolean composer, Josef Alois Ladurner (1769 - 1851). At the age of 20 Auber was sent to London for business training, but he was obliged to leave England in 1804 when the Treaty of Amiens was breached in 1804. Auber had already attempted musical composition, and at this period produced several concertos pour basse, modeled after violoncellist Lamarre, in whose name they were published. The praise given to his concerto for the violin, which was played at the Paris Conservatoire by Mazas, encouraged him to undertake a resetting of an old comic opera, Julie (1811). He also began to study with the renowned Luigi Cherubini. - In 1813 the unfavourable reception of his one-act debut opera Le Séjour militaire put an end for some years to his attempts as composer. But his failure in business, and the death of his father in 1819, compelled him once more to turn to music. He produced another opera, Le Testament et les billets-doux (1819), which was no better received than the former. But he persevered, and the next year was rewarded by the complete success of La Bergère châtelaine, an opera in three acts. - This was the first in a long series of brilliant successes. In 1822 began his long association with librettist Eugène Scribe. Their first opera, Leicester, shows evidence of the influence of Gioacchino Rossini in its musical style. Auber soon developed his own voice, however: light, vivacious, graceful, and melodious--characteristically French. Le maçon (1825) was his first major triumph, staying in the repertory until the 20th century, with 525 performances at the Opéra-Comique alone. An ensemble from the latter found its way into Herold's ballet La Somnambule (source of Bellini's La sonnambula) as an air parlante (a way of explicating the plot through the words of a relevant operatic aria or salon piece). Auber achieved another triumph in La muette de Portici, also known as Masaniello after its hero. Produced in Paris in 1828, it rapidly became a European favorite, and the foundation work of a new genre, grand opera, that was consolidated by Rossini's Guillaume Tell the following year. Its characteristic features are a private drama staged in the context of a significant historical event in which the chorus is dramatically engaged as a representative of the people, varied and piquant musical textures, grandiloquent marches, spectacular scenic effects and a statutory ballet. The duet from La Muette, Amour sacré de la patrie (meaning "Sacred Love of the Homeland"), was welcomed as a new Marseillaise; its performance at Brussels on 25 August 1830, in which Adolphe Nourrit sang the leading tenor role, engendered a riot that became the signal for the Belgian Revolution that drove out the Dutch. La Muette broke ground also in its use of a ballerina in a leading role (the eponymous mute), and includes long passages of mime music. - Official and other dignities testified to the public appreciation of Auber's works. In 1829 he was elected a member of the Institute. Fra Diavolo,which premiered on 28 January 1830, was his most successful opera. That same year, 1830, he was named director of the court concerts. Next year, on 20 June, 1831, he had another big success, with Le Philtre,starring the great tenor, Adolphe Nourrit. The libretto was translated into Italian and set by Donizetti as L'elisir d'amore, one of the most successful comic operas of all time. Two years later, on 27 February 1833, Gustave III, his second grand opera, also triumphed and stayed in the repertory for years. The libretto was to be used twice more, first by Saverio Mercadante for Il reggente, with the action transferred to Scotland, and, next by Giuseppe Verdi, as Un ballo in maschera. He enjoyed several more successes, all at the Opéra-Comique. These were Le cheval de bronze (1835), L'Ambassadrice (1836), Le domino noir (1837), Les diamants de la couronne (1841) and La part du diable (1843).In the meantime, in 1842, at the wish of King Louis Philippe, he succeeded Cherubini as director of the Conservatoire. Auber was also a member of the Legion of Honour from 1825, and attained the rank of commander in 1847. That year also saw the premiere of Haydée, another opéra comique, even though it was on a serious subject. The tenor lead in Haydée was sung by the same Gustave Roger who, two years later, created the title role in Meyerbeer's Le Prophète at the Opéra. Napoleon III made Auber his Imperial Maître de Chapelle in 1857. - In his later years, Auber's output slowed down considerably. The 1850s were marked by Manon Lescaut, an opéra comique with a tragic end (1856), and revisions of Le cheval de bronze and Fra Diavolo (both 1857). He had one major success in the 1860s: Le premier jour de bonheur (Opéra comique, 1868). Despite his slowdown in composing, he remained a well-loved figure, known for witty sayings and personal generosity. He survived the German siege of Paris in 1870-71, but died during the upheaval of the Paris Commune on 12 or 13 May 1871. - Today, the Rue Auber leads up to the Paris Opera House and the nearest RER station is called Auber. - See Adolph Kohut: "Auber", vol. xvii. of Musiker Biographien Leipzig, 1895. (Wikipedia).
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¶ Pierre-Jean de Béranger (August 19, 1780 - July 16, 1857) was a French songwriter. - He was born in Paris, and was not aristocratic, despite the use of "de" in the family name by his father, who had assumed the name of Béranger de Mersix. He was in fact descended from a country innkeeper on the one side and a tailor on the other. He had little education. From the roof of his first school he watched the storming of the Bastille. Later he attended a school at Péronne, founded by one Bellenglise on the principles of Jean-Jacques Rousseau, where the boys were formed into clubs and regiments, and taught to play at politics and war. Béranger was president of the club, made speeches before such members of Convention as passed through Péronne, and drew up addresses to Jean Lambert Tallien and Robespierre. - In the meanwhile he learned neither Greek nor Latin - not even French language, it would appear; for it was only after he left school that he acquired the elements of grammar from Laisney, a printer. In his childhood, shy and sickly, but skilful with his hands, he sat at home alone carving cherry stones; he was already forming those habits of retirement and patient elaboration which influenced the rest of his life and his writings. At Péronne his aunt taught him republican principles; and from the doorstep of her inn, he heard the guns at Valenciennes, and developed a passionate love of France and distaste for all things foreign. Although he could never read Horace in the original, he had been educated on Télémaque, Racine and the dramas of Voltaire. - After working as a waiter for his aunt, and passing some time also in Laisney's printing-office, he was taken to Paris by his father. In 1802, he quarrelled with his father and began life for himself in the garret mentioned in his song. For two years he did literary hackwork, and wrote pastorals, epics and all manner of ambitious failures. At the end of that period (1804) he wrote to Lucien Bonaparte, enclosing some of these attempts. By this time he was in bad health and poverty. His wardrobe consisted of one pair of boots, one greatcoat, one pair of trousers with a hole in the knee, and "three bad shirts which a friendly hand wearied itself in endeavouring to mend." The friendly hand was that of Judith Frere, whom he had known since 1796, and who continued to be his faithful companion until her death, three months before his own. She is not the Lisette of the songs; the pieces addressed to her (La Bonne Vieille, Maudit printemps, etc.) are in a very different vein. Lucien Bonaparte took an interest in the young poet, transferred to him his own pension of 1000 francs from the Institute, and set him to work on a Death of Nero. Five years later, through the same patronage, although indirectly, Béranger became a clerk in the university at a salary of another thousand. - Meanwhile he had written many songs for convivial occasions, and "to console himself under all misfortunes"; some had apparently already been published by his father, but he set no great store on them himself; and it was only in 1812, while keeping a sick friend company, that it occurred to him to write down the best he could remember. The following year he was elected to the Caveau Moderne, and his reputation as a song-writer began to spread. Manuscript copies of Les Cueux, Le Sénateur, above all, of Le Roi d'Yvetot, a satire against Napoleon, whom he was to magnify so much in the sequel, passed from hand to hand with acclamation. It was thus that all his best works were passed on; one man sang them to another all over France.
Béranger in La Force Prison.His first collection escaped censure. "We must pardon many things to the author of Le Roi d' Yvetot," said King Louis XVIII of France. The second (1821) was more daring. The apathy of the Liberal camp, he says, had convinced him of the need for some bugle call of awakening. This publication lost him his situation in the university, and subjected him to a trial, a fine of 500 francs and an imprisonment of three months. Imprisonment was a small affair for Béranger. At Sainte Pelagie he occupied a room (just vacated by Paul Louis Courier), warm, well furnished, and preferable in every way to his own poor lodging, where the water froze on winter nights. He adds, on the occasion of his second imprisonment, that he found a certain charm in this quiet, claustral existence, with its regular hours and long evenings alone over the fire. This second imprisonment of nine months, together with a fine and expenses amounting to 1100 francs, followed on the appearance of his fourth collection. The government proposed through Laffitte that, if he would submit to judgment without appearing or making defences, he should only be condemned in the smallest penalty. But his public spirit made him refuse the proposal; and he would not even ask permission to pass his term of imprisonment in a Maison de sante, although his health was more than usually feeble at the time. "When you have taken your stand in a contest with government, it seems to me," he wrote, "ridiculous to complain of the blows it inflicts on you, and impolitic to furnish it with any occasion of generosity." His first thought in La Force Prison was to alleviate the condition of the other prisoners. - In the revolution of July he took no inconsiderable part. Copies of his song, Le Vieux Drapeau, were served out to the insurgent crowd. He had been for long the intimate friend and adviser of the leading men; and during the decisive week his counsels went a good way towards shaping the ultimate result. "As for the republic, that dream of my whole life," he wrote in 1831, "I did not wish it should be given to us a second time unripe." Louis Philippe, hearing how much the song-writer had done towards his elevation, expressed a wish to see and speak with him; but Béranger refused to present himself at court, and used his favour only to ask a place for a friend, and a pension for Rouget de Lisle, author of the Marseillaise, who was now old and poor, and had been dependent on him for five years. - Pen and ink sketch of Bérenger from Fraser's (magazine), ca. 1833.In 1848, in spite of his reluctance, he was elected to the Constituent Assembly, by so large a number of votes (204,471) that he felt himself obliged to accept the seat. Not long afterwards, with great difficulty, he obtained leave to resign. This was the last public event of Béranger's life. He continued to polish his songs in retirement, visited by nearly all the famous men of France. He numbered among his friends Chateaubriand, Adolphe Thiers, Jacques Laffitte, Jules Michelet, Lamennais, Mignet. Nothing could exceed the amiability of his private character; so poor a man has rarely been so rich in good actions; he was always ready to receive help from his friends when he was in need, and always forward to help others. His correspondence is full of wisdom and kindness, with a smack of Montaigne, and now and then a vein of pleasantry that will remind the English reader of Charles Lamb. He occupied some of his leisure in preparing his own memoirs, and a certain treatise on Social and Political Morality, intended for the people, a work he had much at heart, but judged at last to be beyond his strength. On his death, it was feared that his funeral would be the signal for some political disturbance; but the government took immediate measures, and all went quietly. The streets of Paris were lined with soldiers and full of townsfolk, silent and uncovered. From time to time cries arose: "Honneur, honneur a Béranger!" - The tomb of Béranger and his friend Jacques-Antoine Manuel, in Division 28 of Père Lachaise Cemetery in Paris.The songs of Béranger are elaborate, written in a clear and sparkling style, full of wit and incision. It is not so much for any lyrical flow as for the happy turn of the phrase that they claim superiority. Whether the subject be gay or serious, light or passionate, the medium remains untroubled. The special merits of the songs are merits to be looked for rather in English prose than in English verse. He worked deliberately, never wrote more than fifteen songs a year and often less, and was so fastidious that he has not. preserved a quarter of what he finished. "I am a good little bit of a poet," he says himself, "clever in the craft, and a conscientious worker to whom old airs and a modest choice of subjects (le coin que me suis confine) have brought some success." Nevertheless, he makes a figure of importance in literary history. When he first began to cultivate the chanson, this minor form lay under some contempt, and was restricted to slight subjects and a humorous guise of treatment. Gradually he filled these little chiselled toys of verbal perfection with ever more and more of sentiment. - From a date comparatively early he had determined to sing for the people. It was for this reason that he fled, as far as possible, the houses of his influential friends and came back gladly to the garret and the street corner. Thus it was, also, that he came to acknowledge obligations to Emile Debraux, who had often stood between him and the masses as interpreter, and given him the key-note of the popular humour. Now, he had observed in the songs of sailors, and all who labour, a prevailing tone of sadness; and so, as he grew more masterful in this sort of expression, he sought more and more after what is deep, serious and constant in the thoughts of common men. The evolution was slow; and we can see in his own works examples of every stage, from that of witty indifference in fifty pieces of the first collection, to that of grave and even tragic feeling in Les Souvenirs du peuple or Le Vieux Vagabond. And this innovation involved another, which was as a sort of prelude to the great romantic movement. - For the chanson, as he says himself, opened up to him a path in which his genius could develop itself at ease; he escaped, by this literary postern, from strict academical requirements, and had at his disposal the whole dictionary, four-fifths of which, according to La Harpe, were forbidden to the use of more regular and pretentious poetry. If he still kept some of the old vocabulary, some of the old imagery, he was yet accustoming people to hear moving subjects treated in a manner more free and simple than heretofore; so that his was a sort of conservative reform, preceding the violent revolution of Victor Hugo and his army of uncompromising romantics. He seems himself to have had glimmerings of some such idea; but he withheld his full approval from the new movement on two grounds: first, because the romantic school misused somewhat brutally the delicate organism of the French language; and second, as he wrote to Sainte-Beuve in 1832, because they adopted the motto of "Art for art," and set no object of public usefulness before them as they wrote. For himself (and this is the third point of importance) he had a strong sense of political responsibility. Public interest took a far higher place in his estimation than any private passion or favour. He had little toleration for those erotic poets who sing their own loves and not the common sorrows of mankind, who forget, to quote his own words, "forget beside their mistress those who labour before the Lord." Hence it is that so many of his pieces are political, and so many, in the later times at least, inspired with a socialistic spirit of indignation and revolt. It is by this socialism that he becomes truly modern. and touches hands with Burns. (Wikipedia).
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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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¶ 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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¶ Phot. Goupil & Cie. - Cliché Bertall, 33, rue Boissy-Anglas, Paris.
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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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¶ Phot. Goupil & Cie. - Cliché Carjat, 10 rue Notre-Dame-de-Lorette, Paris.
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¶ Phot. Goupil & Cie. - Cliché Carjat, 10 rue Notre-Dame-de-Lorette, Paris.
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¶ Phot. Goupil & Cie. - Cliché Carjat, 10 rue Notre-Dame-de-Lorette, Paris.
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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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¶ Carl Czerny (21 February 1791 - 15 July 1857) was an Austrian pianist, composer and teacher. He is best remembered today for his books of études for the piano. Czerny knew and was influenced by the well-known pianists Muzio Clementi and Johann Nepomuk Hummel. Carl Czerny was born in Vienna to a musical family of Czech origin. His grandfather was a violinist and his father was an oboist, organist, and pianist. His family came to Vienna from Nymburk, Bohemia and Carl himself didn't speak German until the age of ten. A child prodigy, Czerny began playing piano at age three and composing at age seven. His first piano teacher was his father, Wenzel Czerny, who taught him mainly Bach, Mozart, and Clementi. Czerny began performing piano recitals in his parents' home. Beethoven, attending one such recital, was so impressed with Czerny's performance of his Sonata Pathétique that he took on the 10 year old as a student. Czerny remained under Beethoven's tutelage for the next three years. Czerny went on to take lessons from Johann Nepomuk Hummel and Antonio Salieri. Carl Czerny also attended courses which Muzio Clementi held in Paris, Vienna, St. Petersburg, Berlin, Prague, Rome and Milan. - Carl Czerny made his first public performance in 1800 playing Mozart's Piano Concerto in C minor, No. 24. However, he was never confident in his abilities as a performer and resolved to withdraw permanently from the stage. At age 21, in February 1812, he returned to the public to give the Vienna premiere of Beethoven's Piano Concerto No. 5, "Emperor". - At age fifteen, Czerny began a very successful teaching career. Basing his method on the teaching of Beethoven and Clementi, Czerny taught up to twelve lessons a day in the homes of Viennese nobility. His notable students included Sigismond Thalberg, Stephen Heller, Alfred Jaëll, Theodor Leschetizky, Theodor Kullak, Theodor Döhler, and Anne Caroline de Belleville. - Perhaps his most famous student was Franz Liszt, who began studying with Czerny at age nine. Czerny was Liszt's only teacher. Upon taking him on as a student, Czerny forced Liszt to abandon all repertoire for the first few months, insisting Liszt play only scales and exercises to strengthen his technique. - As a concert pianist, Liszt went on to include several Czerny compositions in his repertoire. Liszt also dedicated his twelve Transcendental Etudes to Czerny, who was among the first composers to pioneer the "etude" form. Liszt also collaborated with Czerny on the Hexaméron; a joint work along with fellow composers Frédéric Chopin, Sigismond Thalberg, Henri Herz, and Johann Peter Pixis. - Czerny composed a very large number of pieces (up to Op. 861), including a number of masses and requiems, and a large number of symphonies, concertos, sonatas and string quartets. None of these pieces are played often today, however, and he is known as a composer almost exclusively because of the large number of didactic piano pieces he wrote, many of which are still used today, such as The School of Velocity and The Art of Finger Dexterity. He was one of the first composers to use étude ("study") for a title. - On a minor note, he was one of 50 composers who each wrote a Variation on a theme of Anton Diabelli for Part II of the Vaterländischer Künstlerverein (published 1824). He also wrote a coda to round out the collection. Part I was devoted to the 33 variations supplied by Beethoven, which have gained an independent identity as his Diabelli Variations, Op. 120. - Czerny's published compositions number nearly 1,000 and include arrangements for eight pianos, four hands each, of two overtures of Gioachino Rossini. He also left an essay on performing the piano sonatas of Beethoven. He published an autobiographical sketch, Erinnerungen aus meinem Leben (1842; "Memories from My Life").
Czerny maintained a relationship with Beethoven throughout his life, giving piano lessons to Beethoven's beloved nephew Carl, and proofreading many of Beethoven's works before they were published. - Czerny remained in Vienna for most of his life, only leaving three times (he visited Leipzig in 1836, Paris and London in 1837, and Lombardy in 1846). - Czerny died in Vienna at the age of 66. He never married and he had no near relatives. Shortly before his death, he disposed of his considerable fortune with the help of his friend Leopold von Sonnleithner. (Wikipedia).
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¶ Metzo-soprano.
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¶ Phot. Goupil & Cie. - Cliché Fontaine.
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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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¶ Jacques-François-Fromental-Élie Halévy (27 May 1799 - 17 March 1862) (usually known as Fromental Halévy) was a French composer. He is known today largely for his opera La Juive. Halévy was born in Paris, the son of a cantor, Elie Halfon Halévy, who was the secretary of the Jewish community of Paris, a writer and a teacher of Hebrew, and a French Jewish mother. The name Fromental, by which he was generally known, reflects that he was born on the feast-day of that name in the French Revolutionary calendar which was still operative at that time. He entered the Paris Conservatoire at the age of nine or ten (accounts differ), in 1809, becoming a pupil and later protegé of Cherubini. After two second-place attempts, he won the Prix de Rome in 1819: his cantata subject was Herminie. As he had to delay his departure to Rome because of the death of his mother, he was able to accept the first commission that brought him to public attention - a Marche Funèbre et De Profundis en Hébreu for three part choir, tenor and orchestra, which was commissioned by the Consistoire Israélite du Département de la Seine, for a public service in memory of the assassinated duc de Berry, performed on 24 March 1820. Later, his brother Léon recalled that the De Profundis, "infused with religious fervor, created a sensation, and attracted interest to the young laureate of the institute." Halévy was chorus master at the Théâtre Italien, while he struggled to get an opera performed. Despite the mediocre reception of L'artisan, at the Opéra-Comique in 1827, Halévy moved on to be chorus master at the Opéra. The same year he became professor of harmony and accompaniment at the Conservatoire, where he was professor of counterpoint and fugue in 1833 and of composition in 1840. He was elected to the Institut de France in 1836. - With his opera La Juive, in 1835, Halévy attained not only his first major triumph, but gave the world a work that was to be one of the cornerstones of the French repertory for a century, with the role of Eléazar one of the great favorites of tenors such as Enrico Caruso. The opera's most famous aria is Eléazar's "Rachel, quand du Seigneur". Its orchestral ritornello is the one quotation from Halévy that Berlioz included in his Treatise on Instrumentation, for its unusual duet for two cor anglais. It is probable however that this aria was inserted only at the request of the great tenor Adolphe Nourrit, who premiered the role and may have suggested the aria's text. La Juive is one of the grandest of grand operas, with major choruses, a spectacular procession in Act I, and impressive celebrations in Act III. It culminates with the heroine plunging into a vat of boiling water in Act V. Mahler admired it greatly, stating: "I am absolutely overwhelmed by this wonderful, majestic work. I regard it as one of the greatest operas ever created". Other admirers included Wagner who wrote an enthusiastic review of its premiere for the German press. (Wagner never showed towards Halévy the anti-Jewish animus that was so notorious a feature of his writings on Meyerbeer and, to a lesser extent, on Mendelssohn). - After La Juive Halévy's real successes were relatively few, although at least three operas, L'éclair, La reine de Chypre and Charles VI should be mentioned. Heine commented that Halévy was an artist, but 'without the slightest spark of genius'. He became however a leading bureaucrat of the arts, becoming Secretary of the Académie des Beaux-Arts and presiding over committees to determine the standard pitch of orchestral A, to award prizes for operettas, and so on. The artist Delacroix offers a chilling portrait of Halévy's decline in his diaries (5 February 1855): I went on to Halévy’s house, where the heat from his stove was suffocating. His wretched wife has crammed his house with bric-a-brac and old furniture, and this new craze will end by driving him to a lunatic asylum. He has changed and looks much older, like a man who is being dragged on against his will. How can he possibly do serious work in this confusion? His new position at the Academy must take up a great deal of his time, and make it more and more difficult for him to find the peace and quiet he needs for his work. Left that inferno as quickly as possible. The breath of the streets seemed positively delicious. - Halévy's cantata Prométhée enchaîné was premiered in 1849 at the Paris Conservatoire, and is generally considered the first mainstream western orchestral composition to use quarter tones. Halévy died in retirement at Nice, leaving his last opera, Noé, unfinished. It was completed by his son-in-law, and former student, Georges Bizet, but was not performed until 10 years after Bizet's own death. Halévy taught at the Conservatoire de Paris and privately during his career; his other notable students include Adolphe Blanc, Charles Lebouc, Aimé Maillart, Antoine François Marmontel, Georges Mathias, Jean-Théodore Radoux, and Marie Gabriel Augustin Savard. (Wikipedia).
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¶ Gustav Adolph Heinze (Leipzig 1821-Muiderberg 1904), Duits-Nederlands componist, stichter van de Nederlandsche Toonkunstenaars Vereeniging.
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¶ Sir Frederick William Herschel, German: Friedrich Wilhelm Herschel (15 November 1738 - 25 August 1822) was a German-born British astronomer, technical expert, and a composer. Born in Hanover, Wilhelm first followed his father into the Military Band of Hannover, but emigrated to Britain at age 19. Herschel became most famous for the discovery of the planet Uranus in addition to two of its major moons, Titania and Oberon. He also discovered two moons of Saturn and infrared radiation. Finally, Herschel is less known for the twenty-four symphonies that he composed. (Wikipedia).
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¶ Johann Nepomuk Hummel or Jan Nepomuk Hummel (November 14, 1778 - October 17, 1837) was an Austrian composer and virtuoso pianist. His music reflects the transition from the Classical to the Romantic musical era. (Wikipedia)
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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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¶ Cliché Marville, rue d'Enfer, Paris.
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¶ Ignaz Moscheles, from a portrait by his son Felix Moscheles.(Isaac) Ignaz Moscheles (23 May 1794 - 10 March 1870) was a Bohemian composer and piano virtuoso, whose career after his early years was based initially in London, and later at Leipzig, where he succeeded his friend and sometime pupil Felix Mendelssohn as head of the Conservatoire. - - - - - Ignaz (Isaak/Isack) Moscheles (* 23. Mai 1794 in Prag; - 10. März 1870 in Leipzig) war ein böhmisch - österreichischer Komponist, Pianist und Musikpädagoge. - Moscheles war zunächst Schüler von Friedrich Dionys Weber am Prager Konservatorium und studierte später in Wien bei Johann Georg Albrechtsberger (1736-1809) und Antonio Salieri (1750-1825) Komposition. Er war befreundet mit seinem Idol Ludwig van Beethoven. Nach der Heirat mit Charlotte Embden im Jahre 1825 in Hamburg folgten die Jahre in London, wo er bis 1846 lebte und arbeitete.
1846 übernahm er auf Einladung seines Freundes Felix Mendelssohn Bartholdy die Klavierklasse am 1843 gegründeten Leipziger Konservatorium. Moscheles stand Zeit seines Lebens im Ruf, einer der hervorragendsten Klaviervirtuosen Europas zu sein, als Pädagoge war er von vorbildlicher Gewissenhaftigkeit. Er vertrat die Clementi-Schule und achtete auf ruhige Handhaltung - eine Spielweise, bei der es vor allem auf die Beweglichkeit der Finger ankommt, während der Gebrauch der Pedale soweit wie möglich vermieden wird. - Ignaz Moscheles war der Vater des Malers Felix Moscheles und Schwiegervater der Malerin Margaret Moscheles. Sein Urenkel war der deutsche Diplomat Dr. jur. Georg Rosen, der während der japanischen Besetzung von Nanking 1937 gemeinsam mit dem deutschen Kaufmann John Rabe tausenden Chinesen das Leben rettete. (Wikipedia).
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¶ J. Mossel (1870-1923), Cellist, teacher.
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¶ Wolfgang Amadeus Mozart (baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 - 5 December 1791), was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. He is among the most enduringly popular of classical composers. - Mozart showed prodigious ability from his earliest childhood in Salzburg. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17 he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of Mozart's death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. - Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate. His influence on subsequent Western art music is profound. Beethoven wrote his own early compositions in the shadow of Mozart, of whom Joseph Haydn wrote that "posterity will not see such a talent again in 100 years." (Wikipedia).
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¶ Mulnier, Photographe, 25 Boulevard des Italiens, Paris.
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¶ Mulnier, Photographe, 25 Boulevard des Italiens, Paris.
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¶ Phot. Goupil et Cie. - Cliché Nadar, rue d'Anjou-Saint-Honoré, 51, Paris.
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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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¶ Jean-Philippe Rameau (September 25, 1683, Dijon - September 12, 1764) was one of the most important French composers and music theorists of the Baroque era. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside François Couperin. Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722). He was almost 50 before he embarked on the operatic career on which his reputation chiefly rests. His debut, Hippolyte et Aricie (1733), caused a great stir and was fiercely attacked for its revolutionary use of harmony by the supporters of Lully's style of music. Nevertheless, Rameau's pre-eminence in the field of French opera was soon acknowledged, and he was later attacked as an "establishment" composer by those who favoured Italian opera during the controversy known as the Querelle des Bouffons in the 1750s. Rameau's music had gone out of fashion by the end of the 18th century, and it was not until the 20th that serious efforts were made to revive it. Today, he enjoys renewed appreciation with performances and recordings of his music ever more frequent. (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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¶ 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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¶ Leopold Schefer (July 30, 1784 in Muskau - February 13, 1862 in Muskau), German poet, novelist, and composer, was born in a small town in Upper Lusatia (then under Saxon rule), only child of a poor country doctor. Leopold Schefer was educated, privately, by his parents, later on by the principal of the Muskau primary school, Andreas Tamm, afterwards in a small private school of the former hofmeister of the local Earl of Callenberg, Johann Justus Röhde. From 1799 up to 1805 he visited the secondary school ("Gymnasium") at Bautzen. During this time he started writing diaries, poems, and compositions, the last under the influence of his teacher Johann Samuel Petri. After that he returned to Muskau, helping his widowed mother along, while writing and composing. - During Napoleon's failed campaign in Russia, 1812, Schefer was appointed manager of the big estates of his newly-won friend, Prince Hermann von Pückler-Muskau, doing well under hard circumstances until 1816. The prince, recognizing the literary abilities of his friend, encouraged his early poetical efforts. Having visited England together with Pückler for studying landscape gardens (and being deeply impressed by Eliza O'Neill on the stage), Schefer studied composition under Antonio Salieri in Vienna 1816-17, and travelled to Italy, Greece, Egypt, Palestine, and Turkey. Schefer returned in 1819 to Muskau, where he remained for all his life, married, fathering one son and four daughters, due to his literary success in easy - after the lost German revolution 1848/49 in poor - circumstances, following his literary pursuits until his death, 1862. (Wikipedia)
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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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¶ Louis Spohr (5 April 1784 - 22 October 1859) was a German composer, violinist and conductor. Born Ludwig Spohr, he is usually known by the French form of his name outside Germany. Sometimes described as "The Forgotten Master", Spohr was once as famous as Beethoven. As a violinist, his virtuoso playing was admired by Queen Victoria. As a composer he ranks as a historic figure in the development of German music drama and whose greatest triumph was in the oratorio. His orchestral writings and chamber works were once considered on a par with Mozart’s. - Spohr was born in Braunschweig in the duchy of 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. A violinist named Dufour gave the lad his earliest violin teaching. The pupil's 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 Beck and accompanied him on a concert tour which took him as far as St. Petersburg. Beck, 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 could not 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 on February 2, 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.
In 1808, Spohr practiced with Beethoven at the latter's home, working on the Piano Trio Opus 70 No. 1, The Ghost. Spohr's writing indicates the piano was out of tune and that Beethoven's playing was harsh or careless, which has not been explained with certainty. Spohr later worked as conductor at the Theater an der Wien, Vienna (1813-1815), where he continued to be on friendly terms 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 on 3 January 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. In 1859 he died at Kassel. - Like Haydn, Mozart, Beethoven, and his own slightly older contemporary Johann Nepomuk Hummel, Spohr was an active Freemason. (Wikipedia).
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¶ Giuseppe Tartini (8 April 1692 - 26 February 1770) was a Venetian composer and violinist. Tartini was born in Piran, a town on the peninsula of Istria, in the Republic of Venice (now in Slovenia) to Gianantonio - native of Florence - and Caterina Zangrando, a descendant of one of the oldest aristocratic Piranian families. - It appears Tartini's parents intended him to become a Franciscan friar, and in this way he received a basic musical training. He studied law at the University of Padua, where he became very good at fencing. After his father's death in 1710, he married Elisabetta Premazone, a woman his father would have disapproved of because of her lower social class and age difference. Unfortunately, Elisabetta was a favorite of the powerful Cardinal Giorgio Cornaro, who promptly charged Tartini with abduction. Tartini fled Padua to go to the monastery of St. Francis in Assisi, where he could escape prosecution; while there he took up playing the violin. - There is a legend that when Giuseppe Tartini heard Francesco Maria Veracini's playing in 1716, he was so impressed by it and so dissatisfied with his own skill, that he fled to Ancona and locked himself away in a room to practice. - Tartini's skill improved tremendously and in 1721 he was appointed Maestro di Cappella at the Basilica di Sant'Antonio in Padua, with a contract that allowed him to play for other institutions if he wanted to. In Padua he met and befriended fellow composer and theorist Francesco Antonio Vallotti. - Tartini was the first known owner of a violin made by Antonio Stradivari in 1715, which Tartini bestowed upon his student Signor Salvini, who in turn bestowed it to Karol Lipinski upon hearing him perform, from which it derives its moniker, the Lipinski Stradivarius. - In 1726 Tartini started a violin school which attracted students from all over Europe. Gradually Tartini became more interested in the theory of harmony and acoustics, and from 1750 to the end of his life he published various treatises. (Wikipedia).
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¶ Cliché Tourtin, 32, rue Louis-le-Grand, Paris.
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¶ Volkskùnstlerin der Moldauischen SSR. Staatliche Philharmonie der Moldauischen SSR.
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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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¶ Giovanni Battista Viotti (12 May 1755 - 3 March 1824) was an Italian violinist whose virtuosity was famed and whose work as a composer featured a prominent violin and an appealing lyrical tunefulness. He was also a director of French and Italian opera companies in Paris and London. - Viotti was born at Fontanetto Po in the Kingdom of Sardinia (today in the province of Vercelli, Piedmont, Italy). For his musical talent, he was taken into the household of principe Alfonso dal Pozzo della Cisterna in Turin, where he received a musical education that prepared him to be a pupil of Gaetano Pugnani. He served at the Savoia court in Turin, 1773-80, then toured as a soloist, at first with Pugnani, before going to Paris alone, where he made his début at the Concert Spirituel, 17 March 1782. He was an instant sensation and served for a time at Versailles before founding a new opera house, the Théâtre de Monsieur in 1788, under the patronage of the Louis-Stanislas-Xavier, comte de Provence, the king's brother, whose court title was Monsieur. There he mounted operas of his friend Luigi Cherubini, among lesser lights. When the French Revolution took a radical turn and, though his opera house was renamed the Théâtre Feydeau, former royal connections became a dangerous liability, so he moved in 1792 to London, making his début at Johann Peter Salomon's Hanover Square Concert, 7 February 1793. In London he went from success to success, as a featured violinist for Salomon's concert series, 1793-1794; as musical director of the new Opera Concerts in 1795; as a star in the benefit concerts for Haydn, 1794 and 1795; as acting manager of Italian opera at the King's Theatre, 1794-1795; and as leader and director of the orchestra, 1797. He was invited to perform in the houses of the London bon ton, including for the Prince of Wales. Then, with Britain at war with Revolutionary France, he was ordered to leave the country, under suspicion of Jacobin sympathies. He later returned to Paris and London, but gave up giving concerts to run a wine business. In 1813 he was one of the founders of the Philharmonic Society of London. His wine business failed however, and he returned to Paris to work as director of the Académie Royale de Musique, from 1819 to 1821. He died on a visit to friends in London. In spite of his few direct pupils, Viotti was a very influential violinist. The teacher of both Pierre Rode and Pierre Baillot and an important influence on Rodolphe Kreutzer, all of whom became notable teachers themselves, he is considered the founding father of the 19th century French violin school. He also taught August Duranowski, who was an influence on Niccolò Paganini. - Viotti owned a violin fabricated by Antonio Stradivari in 1709 that would eventually become known as the Viotti Stradivarius. He is also thought to have commissioned the construction of at least one replica of this violin. The Viotti ex-Bruce, renamed in honour of its previous owner, was purchased by the Royal Academy of Music in September 2005. Funding was provided by HM Government in lieu of Inheritance Tax, and by the National Art Collections Fund, the National Heritage Memorial Fund and many private donors. The instrument will be displayed in the York Gate Collections, the Academy's free museum and research centre. The Viotti ex-Bruce will be heard as well as seen: the instrument will be played sparingly, under very controlled circumstances, at research events and occasional performances elsewhere. - Viotti's most notable compositions are his twenty-nine violin concertos, which were an influence on Ludwig van Beethoven. One in particular, No. 22 in A minor (1792), is still very frequently performed-especially by advanced student players. The other concertos are of similar quality but almost never heard; however in 2005 violinist Franco Mezzena released an integral set on the Dynamic Italy label. - Viotti's music generally features the violin prominently: most of his string quartets largely ignore the balanced texture pioneered by Haydn, giving a "solo" role to the first violin and as such may be considered Quatuors Brillants. However, his Tre Quartetti Concertanti, G.112, 113 and 114 (after Remo Giazotto who catalogued Viotti's works), composed in 1815 and published in Paris in 1817, are true concertante works offering extensive solos for each instrument and not just the first violin. Viotti often wrote chamber music for more traditional combinations such as two violins and cello. The Opp.18 and 19 are perhaps the best known of these and are still in print today. He also wrote sonatas, songs, and other works. (Wikipedia).
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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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¶ 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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