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Playlist of August Wilhelm Ambros

  • ROSSINI: Prélude religieux, played on Mustel harmonium


    Recently I had my first opportunity to play the harmonium part in a performance of the Petite Messe Solonnelle by Giacchino Rossini (1792-1868). After composing his final opera Guillaume Tell in 1829, Rossini effectively retired and moved to Paris, where he composed mostly for his own pleasure. He was commissioned to write the Petite Messe Solonnelle in 1863, to dedicate the private chapel of a wealthy patron. The mass was scored for choir, soloists, two pianos and harmonium; this extended interlude was written to serve as the Offertory during the mass. The harmonium played at the premiere was a Debain, and Rossini himself turned pages for the harmonium player.

    The Messe was not published in Rossini’s lifetime, though he later orchestrated the accompaniment. I met recently with Kurt Lueders, an American-born organist, professor and musicologist who has lived in Paris for the last forty years. He has perfomed the Messe many times, has studied the origins of the various editions, has consulted with Philip Gossett, and has seen the composer’s manuscripts of this piece. Some early editions indicated that the Prélude be played by “Armonio o Piano,” which many harmonium players have felt indicated the composer’s preference for the organ. Mr. Lueders states that Rossini never intended the Prélude to be played by the harmonium (tant pis pour lui), but it certainly may be. The manuscript does not even include harmonium registrations; those that appear in certain editions were devised by later editors “reducing” the orchestral version back to the original three-keyboard accompaniment.

    Late in life, Rossini resumed a study of Johann Sebastian Bach’s music. In his foreword to the 1991 Carus edition of the Messe, Klaus Döge quotes August Wilhelm Ambros, who sensed “the spiritual, inspirational breath of this master” [Bach] in Rossini’s Messe, especially in the fugues and in the “Prélude religieux, a piece worthy of a master, on which old Sebastian would smile with approbation.” Döge goes on to say that “the Petite Messe solonnelle is the work of a composer who may have amused himself superficially with his ironic witticisms, but who here in his music expresses the hopes, joys, and fears of a man for whom honest doubt, and with it a certain brooding melancholy, is an integral part of a faith tenaciously felt.” For years I have considered the Prélude to be rather long, dreary and difficult, but in preparing this piece over the last few months, I was suddenly reminded of Gabriel Fauré’s final Nocturne for piano (No. 13, Op. 119), written 60 years later. In this Prélude Religieux, I now hear a man confronting his own mortality with bravery and nobility.

    Performed by Michael Hendron on his Mustel harmonium, built in Paris in 1887; recorded 4 November 2014.

  • Hans Pfitzner PALESTRINA プフィッツナーのパレストリーナ PRELUDE TO ACT 1


    Palestrina is an opera by the German composer Hans Pfitzner, first performed in 1917. The composer referred to it as a Musikalische Legende (musical legend), and wrote the libretto himself, based on a legend about the Renaissance musician Giovanni Pierluigi da Palestrina, who saves the art of contrapuntal music (polyphony) for the Church in the sixteenth century, through his composition of the Missa Papae Marcelli. The wider context is that of the European Reformation and the role of music in relation to it. The character of Cardinal Borromeo is depicted, and a General Congress of the Council of Trent is the centrepiece of Act II.

    The conductor of the premiere was Bruno Walter. On 16 February 1962, the day before he died, Walter ended his last letter with: Despite all the dark experiences of today I am still confident that Palestrina will remain. The work has all the elements of immortality.

    『パレストリーナ』 (Palestrina) WoO.17は、ハンス・プフィッツナーが作曲した全3幕のオペラで、今日ではプフィッツナーの代表作の一つとして知られている。また各幕にそれぞれ置かれる3つの前奏曲は独立して(管弦楽組曲として)演奏されることもしばしばある。
    作曲者自身によって『音楽的伝説』(Musikalische Legende)という副題が与えられている。

    オーストリアの音楽学者で作曲家でもあったアウグスト・ヴィルヘルム・アンブロス(August Wilhelm Ambros,1816 - 1876)が編纂した『音楽史』(1878)の第4巻[1]を読んだプフィッツナーは、これをオペラ化にすることを思い立ち、早速プフィッツナーは自ら台本を執筆し、1910年から翌1911年まで書き上げた。作曲は1912年1月1日に着手され、3年後の1915年6月17日に完成させた。


    小説家のトーマス・マンはこのオペラを絶賛しており、1917年10月に発表した短い随想『パレストリーナ』の中ではこの作品の価値を認めている。また著書『非政治的人間の考察』(Betrachtungen eines Unpolitischen,1918)の「美徳について」の中でも『パレストリーナ』について敷衍して取り上げている。また1918年にワルターらと共にハンス・プフィッツナー協会を設立している。

    第1幕 パレストリーナの家の一室



    第2幕 トリエントにあるマドルシュト枢機卿の宮廷の大広間


    第3幕 パレストリーナの家


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  • Sigismund Thalberg - „Sommernacht, Opus 29 Nr. 5“


    Sigismund Thalberg - „Sommernacht, Opus 29 Nr. 5“
    Manja Raschka, Felix Plock, Andreas Hartmann, Stefan Burkhardt
    CD bestellbar unter:

    Kaum jemandem ist heute noch auf Anhieb geläufig, wer Sigismund Thalberg (1812–1871) war. Liszt, Berlioz, Mendelssohn und Schumann allerdings waren gut mit dem wohl bestbezahlten Pianisten seiner Zeit bekannt. Zum 200. Geburtstag Sigismund Thalbergs am 8.1.2012 veröffentlicht das Label querstand in seiner „Jubilee Edition“ eine CD mit größtenteils erstmals eingespielten Werken des Romantikers. Sigismund Thalberg war neben Franz Liszt der prominenteste Klaviervirtuose seiner Zeit. Die meisten seiner Kompositionen sind uns heute jedoch unbekannt. Auf der CD ist neben den von Robert Schumann besonders gerühmten Klavierwerken des Komponisten (drei Solowerke und ein Duo für Violine und Klavier) auch eine Auswahl von Sololiedern zu hören. Der Musikwissenschaftler Reinhold Sietz (1895–1973) schrieb den heute fast vollkommen in Vergessenheit geratenen Liedern Thalbergs hinsichtlich ihrer „eigenartigen Harmonik“ und des „schwierigen Kl[avier]-Parts“ eine Sonderstellung in der „Wiener Liederschule“ zu. Und der österreichische Musikhistoriker, Musikkritiker und Komponist August Wilhelm Ambros (1816–1876) stellte fest: „Im Liede nimmt er [Thalberg] unter den damaligen Wiener Nach-Schuberten (Proch, Hackel u.s.w.) doch wohl die erste Stelle ein …“ Die schwermütige Grundstimmung fast aller Lieder, deren Texte u.a. von Heinrich Heine, Johann Nepomuk Vogl und Wilhelm Hauff stammen und die Themen Liebesleid, Liebesschmerz, Verzweiflung, Verlust und Tod verarbeiten, steht im deutlichen Kontrast zu den meisten der quirligen und virtuosen Klavierwerke des Komponisten.

    Komplette Tracklist des Albums
    „Jubilee Edition 2012: Sigismund Thalberg Songs and Chamber Music“

    Sigismund Thalberg
    [01] Träumen und wachen (Heinrich Heine), Opus 11 Nr. 6
    [02] Der Wanderer (Johann Ludwig Tieck), Opus 8 Nr. 2
    [03] Die Unglückliche (ohne Angabe), Opus 29 Nr. 4
    [04] Der Reitersmann (Wilhelm Hauff), Opus 8 Nr. 6
    [05] Der tote Müller (Justinus Kerner), Opus 13 Nr. 2
    [06] Thême et Etude, Opus 45
    [07] Fröhliches Scheiden (Karl Gottfried von Leitner), Opus 8 Nr. 4
    [08] Warum? (Heinrich Heine), Opus 30 Nr. 6
    [09] Der Traum (Heinrich Heine), Opus 29 Nr. 2
    [10] Im Dunkeln (Heinrich Heine), Opus 13 Nr. 6
    [11] Sommernacht (ohne Angabe), Opus 29 Nr. 5
    [12]. Deux airs russes variés, Opus 17
    [13] Heimlicher Schmerz (Johann Nepomuk Vogl), Opus 25 Nr. 2
    [14] Abreise (Franz Theodor Kugler), Opus 8 Nr. 3
    [15] Wanderers Liebesschmerz Nr. 1 (Johann Nepomuk Vogl), Opus 30 Nr. 4
    [16] Wanderers Liebesschmerz Nr. 2 (Johann Nepomuk Vogl), Opus 30 Nr. 5
    [17] Des Jägers Haus (Wilhelm Kilzer), Opus 13 Nr. 1
    [18] Deux Romances sans Paroles, Opus 41
    [19] Abschied (ohne Angabe), Opus 29 Nr. 6
    [20] Letzter Besuch (von A....), ohne Opuszahl
    [21] Der Schiffer (von A....), ohne Opuszahl
    [22] Stille der Nacht (Oskar Ludwig Bernhard Wolff), Opus 25 Nr. 4
    [23] Der Findling (ohne Angabe), Opus 30 Nr. 3
    [24] La Grand Duo concertant sur La Sémiramide de Rossini, Opus 54

    Weitere Titel von querstand – dem Klassiklabel der Verlagsgruppe Kamprad finden Sie in unserer

    Weitere Informationen zum Programm der Verlagsgruppe Kamprad finden Sie unter:

  • So Schön Wie Heut, So Müßt Es Bleiben


    Provided to YouTube by The Orchard Enterprises

    So Schön Wie Heut', So Müßt Es Bleiben · Marika Rökk

    100 Berlin Cabaret Classics Of The '30s & '40s

    ℗ 2010 Master Classics Records

    Released on: 2010-09-01

    Music Publisher: Label Controlled

    Auto-generated by YouTube.

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  • So schön wie heut, so müßt es bleiben


    Provided to YouTube by Rebeat Digital GmbH

    So schön wie heut', so müßt' es bleiben · Marika Rökk

    Die Schlager des Jahres 1941

    ℗ 2016 Ufaton-Verlags GmbH

    Released on: 2015-12-19

    Composer: Franz Grothe

    Auto-generated by YouTube.

  • In-Kraut sampler


    The In-Kraut - Hip Shaking Grooves Made In Germany 1967-1974:

    Helmut Zacharias - Naturally Stoned
    Hazy Osterwald Jet Set - Swinging London
    Frank & The Top Ten - Beach Bunny

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  • So schön wie heut, so müsst es bleiben


    Provided to YouTube by Believe SAS

    So schön wie heut, so müsst es bleiben · Marika Rökk

    So schön wie heut, so müsst es bleiben

    ℗ 104pro Media

    Released on: 2012-06-29

    Music Publisher: D.R
    Composer: DR

    Auto-generated by YouTube.

  • Kapitel 1 - Der liebe Augustin


    Provided to YouTube by Bookwire

    Kapitel 1 - Der liebe Augustin · Horst Wolfram Geißler

    Der liebe Augustin

    ℗ Mike Maas

    Released on: 2013-08-01

    Artist: Horst Wolfram Geißler
    Narrator: Mike Maas
    Lyricist: Horst Wolfram Geißler

    Auto-generated by YouTube.

  • So schön wie heut


    Provided to YouTube by Believe SAS

    So schön wie heut' (From the movie Tanz mit dem kaiser) · Heinz Müller

    Hit Wonder: The Best of, Vol. 85

    ℗ Hit Wonder (104pro Media)

    Released on: 2014-08-29

    Music Publisher: D.R
    Composer: F. Grothe

    Auto-generated by YouTube.

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  • So schön wie heut


    Provided to YouTube by Believe SAS

    So schön wie heut' · Heinz Müller

    Schlager der Kriegsjahre, Vol. 6

    ℗ M.A.T. Music Theme Licensing Ltd.

    Released on: 2011-11-23

    Author: Dehmel
    Composer: Dehmel
    Author: Grothe
    Composer: Grothe
    Music Publisher: Ufaton-Verlags GmbH

    Auto-generated by YouTube.

  • Captain Aloysius - 06 - Bandvorstellung


    Captain Aloysius (I kissed Captain Hook Unplugged)
    Neue Songs, eigene und gecoverte, Boyband und Skatepunk Klassiker, Country und Folk!

  • Christopher Fox — The Missouri Harmony for organ


    Christopher Fox (b. 1955) — The Missouri Harmony (1984–85) for organ
    Carson Cooman, organ
    Published by Fox Edition

    “The Missouri Harmony” (1984–85) takes its title from the American shape-note tune book of 1820, which was the most popular frontier tune book of its era. In some early American singing traditions, each member of the congregation would pursue his own musical path, each singer with his own version of the tune, so that the overall result was an inspired heterophony around the original melody. The composer writes: “In my piece three voices (right hand, left hand, and pedals) move independently but similarly: in each voice phrases lengthen and then contract, lengthen and finally contract again; and in all the voices there is a gradual movement upward. Progress is slow throughout: not so slow that awareness of the overall melodic contour is lost, but slow enough for it to be possible to enjoy the acoustic presence of single harmonies. 'The Missouri Harmony' is dedicated to Huub ten Hacken; he gave the first performance in Sint Janskathedral on 28th August 1985.”

    English composer Christopher Fox (b. 1955) was educated at the universities of Liverpool, Southampton, and York. His teachers included Hugh Wood and Jonathan Harvey. From 1984–94 he was a member of the composition teaching staff at the Darmstadt New Music Summer School and in 2006 took a professorship at Brunel University. Fox’s music is noted for its wide stylistic breadth, ranging from microtonal chamber works to large-scale modernist ensemble pieces and from tape cut-up collages to minimalist pieces for guitars and saxophones. He has also been an active writer on music, and served as editor of the journal “Contact” as well as of several multi-author books.



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