Carl Gottlieb Reissiger (1798-1859) - Concertino, Op.63 (1830) скачать в хорошем качестве

Carl Gottlieb Reissiger (1798-1859) - Concertino, Op.63 (1830)

★ Follow music ►   / reciclassicat   Composer: Carl Gottlieb Reissiger (1798-1859) Work: Concertino, Op.63 (1830) arranged for military band in 1883 by Carl Johan Mard (1852-1917) Performers: Cindy Christеnsеn (clarinet); Don Christеnsеn (clarinet); Rundfunk-Blasorchester Leipzig; Mοtti Mirοn (conductor) Painting: Erik Henningsen (1855-1930) - Changing of the Guard (1888) Image in high resolution: https://flic.kr/p/2mHange Further info: https://www.amazon.com/Concertos-Clar... Listen free: No available --- Carl Gottlieb Reissiger (Belzig, 31 January 1798 - Dresden, 7 November 1859) German composer, conductor and teacher. He was the eldest son of Christian Gottlieb Reissiger, organist and choirmaster at Belzig, and had his first violin and piano lessons from his father. At the age of ten he was giving public piano recitals and accompanying community hymn-singing on the organ. From 1811 to 1818 he was a pupil at the Thomasschule in Leipzig, where he studied the piano and composition with Schicht, the musical director, as well as taking classes in the violin, viola and singing. He began studying theology at the University of Leipzig; in the same year Schicht advised him to abandon these studies in favour of a musical career, and two years later awarded him a bursary to further his musical studies elsewhere. In 1821 Reissiger left Leipzig for Vienna, where he took theory lessons from Salieri, and in 1822 he moved to Munich to study composition and singing with Winter. By that time his songs and piano pieces were gaining public favour, though he failed in his attempts to gain municipal posts at Leipzig in 1822 and Dresden in 1824. However, his first performed opera, Didone abbandonata, was given in Dresden in 1824 under the direction of Weber with moderate success, and Reissiger was given 500 thalers by the King of Prussia to study the methods of musical education in France and Italy and to advise on its reorganization in Berlin. In Rome he studied the music of the old masters with Baini, the greatest authority of his time on Palestrina. On his return to Berlin in 1825 he taught composition until invited in the following year to succeed Weber as director of the Hofoper in Dresden. As a champion of German opera, he was at first harassed by pro-Italian factions, but his excellent performances of Oberon and Euryanthe won him approval, and in 1828 he was appointed Hofkapellmeister with responsibility for sacred music, chamber music and the music for the court theatre, a post he held until his death. Besides his activities as Kapellmeister, his contract also obliged him to compose a mass annually for no extra fee. The records show that in all he composed 12 Latin masses and a Requiem during his term of office in Dresden. Under his direction the Dresden Opera became acknowledged as the best in Germany; in 1842 he gave the first performance of Wagner’s Rienzi and in 1843 welcomed its composer as second Kapellmeister. Relations between the two men deteriorated when Reissiger declined to set Wagner’s libretto Die hohe Braut, after which Wagner portrayed him, apparently quite falsely, as a philistine opponent of his progressive artistic views. Wagner was probably entirely responsible for this deterioration in the relationship between the two musicians; in fact in 1852, three years after Wagner’s flight from Dresden, Reissiger was planning to revive Tannhäuser there. Moreover, a textual analysis of Reissiger's sole oratorio, David, has revealed that the Bible texts were altered to form a tribute to the King of Saxony – something guaranteed to set the revolutionary Wagner against Reissiger. Reissiger was noted as a gifted conductor – in 1851 he was appointed principal Kapellmeister in recognition of his achievements, and in 1854 Berlioz wrote of the high standard of the Dresden orchestra – and he was also regularly called upon to direct music festivals, adjudicate at competitions and advise on musical education. Clara Schumann was one of his theory pupils, and Gustav Merkel and Joachim Raff also studied with him.