After working on a two-year project (1999–2000) sponsored by the German Research Foundation (DFG) preparing a new Beethoven Catalogue of Works, he became a scholarly editor at G. Henle Publishers, initially as an editor for electronic publishing. In the following year, he began work at G. In 1996 he wrote his doctoral thesis on Ludwig van Beethoven’s Missa solemnis (as part of the New Complete Edition) under Ludwig Finscher. Norbert Gertsch, born in 1967 in Rheinkamp/Moers, studied piano solo at the Mozarteum in Salzburg and read musicology and philosophy at the Paris Lodron University in Salzburg and the Ruperto Carola University Heidelberg on a scholarship from the “Studienstiftung des Deutschen Volkes”. Premiere in London of “Oberon.” Death in London on June 5. 79, which paves the way for one-movement concerto compositions in the nineteenth century. Konzertstück in F minor for Piano and Orchestra, Op. 77 it is received as an archetypal German opera due to its subject matter and music, although it integrates German, French, and Italian elements. Premiere in Berlin of his Romantic opera “Der Freischütz,” Op. Trio in G minor for piano, flute, and cello, Op. 65 “Polacca brillante” in E-flat major, Op. 62 “Aufforderung zum Tanze” (“Invitation to the Dance”) in D-flat major, Op. Piano pieces: “Rondo brillante” in E-flat major, Op. From 1817 onward,courtl music director in Dresden. Opera director and music director of the Estates Theater in Prague. 74, commissioned by Maximilian of Bavaria in 1812, Piano Concerto No. Premiere in Frankfurt am Main of the Romantic opera “Silvana.” Piano Concerto No. Years of study in Vienna with Georg Josef Vogler.įirst appointment as music director in Breslau (Wrocław). Premiere in Freiberg of his first Romantic, comic opera, “Das Waldmädchen” (“The Forest Maiden”). The troupe comes to Salzburg, where he studies composition with Michael Haydn from 1798. Journeyman years with the “Webersche Schauspielergesellschaft,” a wandering acting troupe. His instrumental works (orchestral pieces, solo concerti, chamber music, piano works) are largely based on Classical models though already anticipate the Romantic sound. His fame is predicated on “Der Freischütz,” which was received emphatically as a German nationalist opera. One of the most important German opera composers before Wagner, he advocated for a German opera through his own output and in his writings.
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