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Trovato 5 risultati

  1. Andrea Ferrario

    Ferdinand Rebay - Works for guitar and piano

    Buongiorno a tutti, con enorme piacere condivido l'uscita del primo disco del duo Andrea Ferrario (chitarra) ed Elena Napoleone (pianoforte). Ferdinand Rebay - works for guitar and piano è la prima registrazione delle musiche per chitarra e pianoforte del compositore austriaco. Attualmente il cd è in vendita on line su iTunes, Amazon o scaricabile su Spotify, ma verrà stampato a breve.
  2. Cristiano Porqueddu

    Ferndinand Rebay Oboe and Guitar, Sanchez, Pilar- Noque

    La major discografica Naxos ha recentemente pubblicato un CD che raccoglie le opere per oboe e chitarra di Ferdinand Rebay Tracklist completa: Oboe Sonata in E minor Sanchez, Maria Pilar, oboe Noque, Gonzalo, guitar 1. I. Lebhaft bewegt, doch nicht zu schnell 00:08:21 2. II. Menuett - Trio 00:04:12 3. III. Sehr ruhig, doch nicht schleppend 00:03:44 4. IV. Rondo: Frisch bewegt 00:07:07 Oboe Sonata in C major Sanchez, Maria Pilar, oboe Noque, Gonzalo, guitar 5. I. Allegro moderato 00:09:07 6. II. Langsam und ausdrucksvoll 00:04:00 7. III. Scherzo: Presto - Trio 00:03:22 8. IV. Finale: Rondo: Allegretto grazioso 00:06:22 Bach, Johann Sebastian Rebay, Ferdinand, arranger(s) [show Details] Concerto in the Italian Style in F major, BWV 971, "Italian Concerto": II. Andante (arr. F. Rebay for oboe and guitar) Sanchez, Maria Pilar, oboe Noque, Gonzalo, guitar 9. Concerto in the Italian Style in F major, BWV 971, "Italian Concerto": II. Andante (arr. F. Rebay for oboe and guitar) 00:06:07 Dal sito dell'editore: After his death in 1953, the figure of Austrian composer Ferdinand Rebay faded into obscurity, his name associated only with the numerous piano reductions he produced for the publisher Schott. This only changed in recent years when Johann Gaitzsch, his interest in Rebay piqued after guitarist and publisher Simon Wynberg introduced him to the Sonata in E minor for oboe and guitar, published two articles¹ which shed new light on a prolific and talented composer, whose music for and with guitar occupies a unique and outstanding place in that instrument’s repertoire, in terms of both quality and quantity. (Most of the biographical information in these notes is drawn from Gaitzsch’s articles.) Born in Vienna on 11 June 1880, Rebay studied both the violin and the piano (the latter with his mother, Therese Rebay, who had herself been taught by Anton Bruckner). His father, another Ferdinand Rebay, owned a music shop and was also a partner in the publishing firm Rebay & Robitschek. In 1890, at the age of ten, the young Ferdinand became a chorister at Heiligenkreuz Abbey, where over the next five years he received a thorough musical education and became a solo alto. By the time he joined Joseph Hofmann’s piano class at the Vienna Conservatory (today’s Universität für Musik und darstellende Kunst) in 1901, Rebay had already begun to make a name for himself as a composer of Lieder and choral works. He went on to study composition at the Conservatory with Robert Fuchs (1847–1927), one of the few composers praised by Brahms and who also counted Mahler, Sibelius, Richard Strauss and Korngold among his star pupils. During this period of study with Fuchs, Rebay was awarded a number of prizes, including the Brahms Prize and the Gesellschaft der Musikfreunde’s silver medal. In 1904 he concluded his studies in triumph with his final academic work, Erlkönig, for large orchestra, which Fuchs labelled the finest work to have been produced in his 29 years at the Conservatory. In the same year Rebay became chorus master of the Wiener Chorverein. Some years later, in 1915, he took on the same rôle with the Wiener Schubertbund, remaining in the post until 1920 when he was appointed to teach the piano at the Vienna Music Academy. Following the Nazi Anschluss of Austria in 1938, Rebay lost his job (he was reinstated in 1945) along with his pension, probably because he was thought to have had Jewish origins. He died in Vienna, on 6 December 1953, penniless and unknown. Most of Rebay’s vast production survives in manuscript versions held by the Austrian National Library and the library of Heiligenkreuz Abbey. Though he also wrote choral works, symphonies, an operetta, works for piano and piano four hands, and chamber works for various combinations of instruments, it is noteworthy just how many pieces he wrote for the guitar, probably encouraged by his niece, the guitarist Gertha Hammerschmied (1906–85). There are works for solo guitar (including seven sonatas), Lieder and choral works with guitar, and chamber works for two to seven players featuring the instrument. All in all, a veritable treasure trove which has lain undiscovered for years and is only now being brought back into the public domain, thanks to the efforts of Philomele Editions. Rebay’s style would definitely be classed as conservative, bearing in mind the musical revolutions that took place in the first half of the twentieth century. Brahms’s influence is very clear and, employing Classical and even Baroque forms such as the suite, his compositions frequently incorporate elements borrowed from German and Austrian folklore, with occasional touches of Impressionism as well. His guitar music, with its Brahmsian roots (virtually unique in the repertoire) combined with a sophisticated compositional technique, has therefore forged its own highly significant place in the history of the instrument. The works included here constitute Rebay’s entire output for the unusual instrumental combination of oboe and guitar. In addition to their intrinsic high quality, they are particularly notable for their quasi-pianistic treatment of the guitar, taking it far beyond its more usual function as an accompanist. As a result, these pieces are full of dialogue and enlivened by an admirable variety of textures. The E minor Sonata, composed in 1925 and dedicated to Alexander Wunderer, then principal oboist with the Vienna Philharmonic, was first performed on 31 March of the same year in Vienna by its dedicatee and guitarist Hans Schlagradl. Cast in the traditional four movements, it opens with a movement in sonata form (Lebhaft bewegt, doch nicht zu schnell) and of profoundly Germanic character, containing a delightful second subject and a concise development section defined by tonal instability. This is followed by a traditional Menuet and Trio, with some remarkably virtuosic writing for the guitar, full of complex passages in thirds and sixths. The slow movement, headed Sehr ruhig, doch nicht schleppend, is an emotional, cantabile piece in B minor, with a central section whose immobility emphasises the moving lyricism of the recapitulation that brings the movement to a close. The sonata ends with a Rondo in E major. A strong contrast to its martial symbolism (reminiscent of that of Wagner’s Ride of the Valkyries) is provided by a short central section in A flat in which folk-inspired elements prevail. There is a long gap between the E minor Sonata and the Sonata in C major (dated 17 January 1942), and the latter work consequently reflects a more open attitude towards other musical styles on the part of the composer. This sonata includes a number of Impressionistic elements, for example, which bring it a certain contemplative and nostalgic air, as can be heard in the opening movement, an Allegro moderato whose lyrical nature is very different from the martial tone that introduces its counterpart in the E minor Sonata. The slow movement, Langsam und ausdrucksvoll, is placed second here; a delicate piece with a Mediterranean feel, it recalls at times the writing of the Italian composer Mario Castelnuovo-Tedesco, while its central section is pure Brahms. The following Scherzo brings a return to the Germanic features of the earlier sonata, with some brilliant imitative play between the two instruments leading to a trio which, if not explicitly indicated so, nevertheless takes us into the world of the Ländler. To end, Rebay brings us back to the thoughtful nature of the first movement by means of a Rondo whose frequent changes of tempo and character, as well as its unexpected modulations, give it a fragmented aspect not often found in finales. The recording ends with an arrangement for oboe and guitar of the slow movement from Bach’s Italian Concerto. In this insightful adaptation, the pairing call to mind the quintessentially Baroque sonorites of sonatas for oboe and continuo. -Gonzalo Noqué
  3. Cristiano Porqueddu

    Rebay: Complete Music for Clarinet and Guitar

    Brilliant Classics pubblica il nuovo CD di Luigi Magistrelli e Massimo Laura: Ferdinand Rebay: Complete Music for Clarinet and Guitar Luigi Magistrelli (kl), Massimo Laura (chit) Tracklist: 1. Drei Vortragsstücke: I. Praeludium 2. Drei Vortragsstücke: II. Villanelle mit Variationen 3. Drei Vortragsstücke: III. Rondo Walzer 4. Dance No. 4 from 12 Deutsche Tänze, WoO 8 5. Kleine Variationen on a theme from Chopin’s Préludes, Op. 28 6. Dance No. 5 from 12 Deutsche Tänze, WoO 8 7. Sonata in D Minor: I. Allegro molto moderato 8. Sonata in D Minor: II. Thema und Variationen 9. Sonata in D Minor: III. Tanz Rondo 10. Dance No. 7 from 12 Deutsche Tänze, WoO 8 11. Sonata in A Minor: I. Sehr ruhig und Leise Beginnend 12. Sonata in A Minor: II. Variations on the ‘Volksliedchen’ from Schumann’s Album für die Jugend 13. Sonata in A Minor: III. Scherzo 14. Sonata in A Minor: IV. Finale: Allegretto moderato 15. Sonatina in B-Flat: I. Mässig Bewegt 16. Sonatina in B-Flat: II. Ruhig und Drucksvoll 17. Sonatina in B-Flat: III. Leichtbewegt mit Humor Rondo Dal sito dell'editore: Here’s a genuine rarity: Ferdinand Rebay (1878-1953) has been hitherto unknown outside a small circle of guitar connoiseurs, but that should change thanks to this attractive set of sonatas and dances, all receiving their first recordings at the hands of two talented young Italian musicians. Rebay was Viennese born and bred. In 1901 he entered the piano class of Joseph Hofmann at the Vienna Conservatory and studied composition with the eminent pedagogue Robert Fuchs, who counted Mahler, Wolf, Sibelius and von Zemlinsky among his students. Four years later, when leaving the Conservatory with a distinction in composition, Rebay's catalogue already numbered around 100 works, including a piano concerto dedicated to Prof. Hofmann. He continued to compose prolifically, mainly in the area of vocal music, pro-ducing around 100 choral works, 400 Lieder and two operas. After the Anschluss in 1938, Rebay lost his teaching positions as well as his pension and was reintegrated only in 1945, a few months before his definite retirement. Rebay's interest in writing for the guitar was triggered by his niece, the guitarist Gerta Hammerschmid (1906-1985) and by her teacher, his friend and colleague at the Musikakademie, Jakob Ortner (1879-1959), who probably introduced him to the technical possibilities of the instrument. He died, almost forgotten, in Vienna in 1953. Among Rebay's most ambitious and important guitar works are the duos for guitar and a string or wind instrument. Substantial works, with a duration between 15 and 25 minutes, these duos have no match in the guitar repertoire; the Sonatas on this disc are among their number, and complemented by stylish arrangements made by Rebay of several of Beethoven’s German Dances. The scarce original repertoire for clarinet and guitar, limited during the 19th century essentially to Heinrich Neumann's six serenades is almost trebled by Rebay's substantial contribution.
  4. Cristiano Porqueddu

    Rebay: Complete Music for Clarinet and Guitar

    Brilliant Classics pubblica il nuovo CD di Luigi Magistrelli e Massimo Laura: Ferdinand Rebay: Complete Music for Clarinet and Guitar Luigi Magistrelli (kl), Massimo Laura (chit) Tracklist: 1. Drei Vortragsstücke: I. Praeludium 2. Drei Vortragsstücke: II. Villanelle mit Variationen 3. Drei Vortragsstücke: III. Rondo Walzer 4. Dance No. 4 from 12 Deutsche Tänze, WoO 8 5. Kleine Variationen on a theme from Chopin’s Préludes, Op. 28 6. Dance No. 5 from 12 Deutsche Tänze, WoO 8 7. Sonata in D Minor: I. Allegro molto moderato 8. Sonata in D Minor: II. Thema und Variationen 9. Sonata in D Minor: III. Tanz Rondo 10. Dance No. 7 from 12 Deutsche Tänze, WoO 8 11. Sonata in A Minor: I. Sehr ruhig und Leise Beginnend 12. Sonata in A Minor: II. Variations on the ‘Volksliedchen’ from Schumann’s Album für die Jugend 13. Sonata in A Minor: III. Scherzo 14. Sonata in A Minor: IV. Finale: Allegretto moderato 15. Sonatina in B-Flat: I. Mässig Bewegt 16. Sonatina in B-Flat: II. Ruhig und Drucksvoll 17. Sonatina in B-Flat: III. Leichtbewegt mit Humor Rondo Dal sito dell'editore: Here’s a genuine rarity: Ferdinand Rebay (1878-1953) has been hitherto unknown outside a small circle of guitar connoiseurs, but that should change thanks to this attractive set of sonatas and dances, all receiving their first recordings at the hands of two talented young Italian musicians. Rebay was Viennese born and bred. In 1901 he entered the piano class of Joseph Hofmann at the Vienna Conservatory and studied composition with the eminent pedagogue Robert Fuchs, who counted Mahler, Wolf, Sibelius and von Zemlinsky among his students. Four years later, when leaving the Conservatory with a distinction in composition, Rebay's catalogue already numbered around 100 works, including a piano concerto dedicated to Prof. Hofmann. He continued to compose prolifically, mainly in the area of vocal music, pro-ducing around 100 choral works, 400 Lieder and two operas. After the Anschluss in 1938, Rebay lost his teaching positions as well as his pension and was reintegrated only in 1945, a few months before his definite retirement. Rebay's interest in writing for the guitar was triggered by his niece, the guitarist Gerta Hammerschmid (1906-1985) and by her teacher, his friend and colleague at the Musikakademie, Jakob Ortner (1879-1959), who probably introduced him to the technical possibilities of the instrument. He died, almost forgotten, in Vienna in 1953. Among Rebay's most ambitious and important guitar works are the duos for guitar and a string or wind instrument. Substantial works, with a duration between 15 and 25 minutes, these duos have no match in the guitar repertoire; the Sonatas on this disc are among their number, and complemented by stylish arrangements made by Rebay of several of Beethoven’s German Dances. The scarce original repertoire for clarinet and guitar, limited during the 19th century essentially to Heinrich Neumann's six serenades is almost trebled by Rebay's substantial contribution. Maggiori informazioni: http://www.brilliantclassics.com/articles/r/rebay-complete-music-for-clarinet-guitar/ Leggi la scheda di questo/a novità discografica
  5. La major discografica Naxos ha recentemente pubblicato un CD che raccoglie le opere per oboe e chitarra di Ferdinand Rebay Tracklist completa: Oboe Sonata in E minor Sanchez, Maria Pilar, oboe Noque, Gonzalo, guitar 1. I. Lebhaft bewegt, doch nicht zu schnell 00:08:21 2. II. Menuett - Trio 00:04:12 3. III. Sehr ruhig, doch nicht schleppend 00:03:44 4. IV. Rondo: Frisch bewegt 00:07:07 Oboe Sonata in C major Sanchez, Maria Pilar, oboe Noque, Gonzalo, guitar 5. I. Allegro moderato 00:09:07 6. II. Langsam und ausdrucksvoll 00:04:00 7. III. Scherzo: Presto - Trio 00:03:22 8. IV. Finale: Rondo: Allegretto grazioso 00:06:22 Bach, Johann Sebastian Rebay, Ferdinand, arranger(s) [show Details] Concerto in the Italian Style in F major, BWV 971, "Italian Concerto": II. Andante (arr. F. Rebay for oboe and guitar) Sanchez, Maria Pilar, oboe Noque, Gonzalo, guitar 9. Concerto in the Italian Style in F major, BWV 971, "Italian Concerto": II. Andante (arr. F. Rebay for oboe and guitar) 00:06:07 Dal sito dell'editore: After his death in 1953, the figure of Austrian composer Ferdinand Rebay faded into obscurity, his name associated only with the numerous piano reductions he produced for the publisher Schott. This only changed in recent years when Johann Gaitzsch, his interest in Rebay piqued after guitarist and publisher Simon Wynberg introduced him to the Sonata in E minor for oboe and guitar, published two articles¹ which shed new light on a prolific and talented composer, whose music for and with guitar occupies a unique and outstanding place in that instrument’s repertoire, in terms of both quality and quantity. (Most of the biographical information in these notes is drawn from Gaitzsch’s articles.) Born in Vienna on 11 June 1880, Rebay studied both the violin and the piano (the latter with his mother, Therese Rebay, who had herself been taught by Anton Bruckner). His father, another Ferdinand Rebay, owned a music shop and was also a partner in the publishing firm Rebay & Robitschek. In 1890, at the age of ten, the young Ferdinand became a chorister at Heiligenkreuz Abbey, where over the next five years he received a thorough musical education and became a solo alto. By the time he joined Joseph Hofmann’s piano class at the Vienna Conservatory (today’s Universität für Musik und darstellende Kunst) in 1901, Rebay had already begun to make a name for himself as a composer of Lieder and choral works. He went on to study composition at the Conservatory with Robert Fuchs (1847–1927), one of the few composers praised by Brahms and who also counted Mahler, Sibelius, Richard Strauss and Korngold among his star pupils. During this period of study with Fuchs, Rebay was awarded a number of prizes, including the Brahms Prize and the Gesellschaft der Musikfreunde’s silver medal. In 1904 he concluded his studies in triumph with his final academic work, Erlkönig, for large orchestra, which Fuchs labelled the finest work to have been produced in his 29 years at the Conservatory. In the same year Rebay became chorus master of the Wiener Chorverein. Some years later, in 1915, he took on the same rôle with the Wiener Schubertbund, remaining in the post until 1920 when he was appointed to teach the piano at the Vienna Music Academy. Following the Nazi Anschluss of Austria in 1938, Rebay lost his job (he was reinstated in 1945) along with his pension, probably because he was thought to have had Jewish origins. He died in Vienna, on 6 December 1953, penniless and unknown. Most of Rebay’s vast production survives in manuscript versions held by the Austrian National Library and the library of Heiligenkreuz Abbey. Though he also wrote choral works, symphonies, an operetta, works for piano and piano four hands, and chamber works for various combinations of instruments, it is noteworthy just how many pieces he wrote for the guitar, probably encouraged by his niece, the guitarist Gertha Hammerschmied (1906–85). There are works for solo guitar (including seven sonatas), Lieder and choral works with guitar, and chamber works for two to seven players featuring the instrument. All in all, a veritable treasure trove which has lain undiscovered for years and is only now being brought back into the public domain, thanks to the efforts of Philomele Editions. Rebay’s style would definitely be classed as conservative, bearing in mind the musical revolutions that took place in the first half of the twentieth century. Brahms’s influence is very clear and, employing Classical and even Baroque forms such as the suite, his compositions frequently incorporate elements borrowed from German and Austrian folklore, with occasional touches of Impressionism as well. His guitar music, with its Brahmsian roots (virtually unique in the repertoire) combined with a sophisticated compositional technique, has therefore forged its own highly significant place in the history of the instrument. The works included here constitute Rebay’s entire output for the unusual instrumental combination of oboe and guitar. In addition to their intrinsic high quality, they are particularly notable for their quasi-pianistic treatment of the guitar, taking it far beyond its more usual function as an accompanist. As a result, these pieces are full of dialogue and enlivened by an admirable variety of textures. The E minor Sonata, composed in 1925 and dedicated to Alexander Wunderer, then principal oboist with the Vienna Philharmonic, was first performed on 31 March of the same year in Vienna by its dedicatee and guitarist Hans Schlagradl. Cast in the traditional four movements, it opens with a movement in sonata form (Lebhaft bewegt, doch nicht zu schnell) and of profoundly Germanic character, containing a delightful second subject and a concise development section defined by tonal instability. This is followed by a traditional Menuet and Trio, with some remarkably virtuosic writing for the guitar, full of complex passages in thirds and sixths. The slow movement, headed Sehr ruhig, doch nicht schleppend, is an emotional, cantabile piece in B minor, with a central section whose immobility emphasises the moving lyricism of the recapitulation that brings the movement to a close. The sonata ends with a Rondo in E major. A strong contrast to its martial symbolism (reminiscent of that of Wagner’s Ride of the Valkyries) is provided by a short central section in A flat in which folk-inspired elements prevail. There is a long gap between the E minor Sonata and the Sonata in C major (dated 17 January 1942), and the latter work consequently reflects a more open attitude towards other musical styles on the part of the composer. This sonata includes a number of Impressionistic elements, for example, which bring it a certain contemplative and nostalgic air, as can be heard in the opening movement, an Allegro moderato whose lyrical nature is very different from the martial tone that introduces its counterpart in the E minor Sonata. The slow movement, Langsam und ausdrucksvoll, is placed second here; a delicate piece with a Mediterranean feel, it recalls at times the writing of the Italian composer Mario Castelnuovo-Tedesco, while its central section is pure Brahms. The following Scherzo brings a return to the Germanic features of the earlier sonata, with some brilliant imitative play between the two instruments leading to a trio which, if not explicitly indicated so, nevertheless takes us into the world of the Ländler. To end, Rebay brings us back to the thoughtful nature of the first movement by means of a Rondo whose frequent changes of tempo and character, as well as its unexpected modulations, give it a fragmented aspect not often found in finales. The recording ends with an arrangement for oboe and guitar of the slow movement from Bach’s Italian Concerto. In this insightful adaptation, the pairing call to mind the quintessentially Baroque sonorites of sonatas for oboe and continuo. -Gonzalo Noqué Maggiori informazioni: https://www.naxos.com/catalogue/item.asp?item_code=9.70073 Leggi la scheda di questo/a novità discografica
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