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  • Furore Verlag: Music by women composers
    widmen 1934 heiratete sie den Kunsthistoriker Ferdinand Eckhardt mit dem sie zunächst in Berlin und ab 1939 in Wien lebte Von 1936 39 studierte sie an der Preußischen Akademie bei Max Trapp Komposition Während ihrer Wiener Zeit wurde sie auch als Komponistinin Europa immer bekannter Werke Annäherung IX an sieben Komponistinnen More Frederikke Egeberg 1815 in Oslo 1861 in Tønsberg Although the education of Frederikke Egeberg born on 23 November 1815 in Christiana now Oslo was intermitted she was the most distiguished Norwegian woman composer before Agathe Grøndahl Her compositions show formal and harmonic assurance allied to melodic imagination Among many piano pieces she published more than 50 songs many of which have survived in print to the present day She also wrote many piano pieces Frederikke Egeberg died on 6 May 1861 in Tønsberg No description available Werke Christmas Carols by women composers vol 1 More Siegrid Ernst 03 03 1929 in Ludwigshafen am Rhein Sigrid Ernst was born on 3 3 1929 in Ludwigshafen Rhine grew up in a musically very interested family Her piano lessons begun at the age of 7 and were completed by lessons in violin and music theory later on After her final school exams music studies in Heidelberg Frankfurt and Vienna with piano as main instrument as well as composition studies with Gerhard Formell for six years followed Congresses and courses for contemporary msuic in Darmstadt Donaueschingen Vienna and Paris with Stockhausen Ligeti and Xenakis and others gave her additional inspirations As a pianist her main interest focusses on contemporary music in solo and chamber music formations in numerous concerts and radio productions Her work as a composer however increasingly became the centre of her activities Besides that there was always a great variety of pedagogic activities in Heidelberg Mannheim and Bremen in

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  • Furore Verlag: Music by women composers
    of Filipowicz by whom she had a daughter In the course of the Polish Revolution her husband joined the army in 1831 and Elise Filipowicz and her daughter went to live in Paris There she earned her living by giving concerts teaching and accompanying ladies who play the piano letter to Louis Spohr of 2 June 1833 In the meantime her daughter completed her education as among other things a harpist In 1835 the family moved to London In a letter to Louis Spohr written on 20 October 1837 the violinist and composer describes her life in London We are now quite settled in London I give lessons in German French and Italian accompany ladies who play the piano or the harp on the violin and during the season I usually perform a proper concert My husband copies and transcribes music and my daughter is a governess with a family in the country and earns 150 guineas a year This is your doing dear Mister Spohr as it was through my talent that I was able to afford the best teachers for her She in turn now teaches German French Italian piano harp singing drawing and painting in addition to other sciences Elise Filipowicz died in 1841 She left numerous compositions for violin and pianoforte as well as the Warsovienne for solo violin and orchestra Werke Fantasy on Polish Songs More Tsippi Fleischer 1946 in Haifa Isarel Tsippi Fleischer was born in Haifa Israel in 1946 Her parents Polish born Jewish pioneers met in Palestine Before Tsippi was born her father s entire family had already perished during the Holocaust As a three year old she was already improvising at the piano In time she studied piano and theory formally at the Rubin Conservatory of Music in Haifa She grew up in a Jewish Arab environment and the ambience of co existence characterizing the city of Haifa flows naturally into her creative oeuvre Fleischer s style has diversified greatly during her creative life her many achievements are characterized by the dynamics of change In the operatic genre the Chamber Opera Medea world premiere Israel 1997 was followed by the Grand Chamber Opera Cain and Abel world premiere Israel 2002 Both these works were given their European premieres during 2004 and 2005 The opera Oasis entering into the world of Hebrew children and their Bedouin counterparts in the Sinai desert in the days of the Exodus from Egypt their first encounter and subsequent emotional parting marks one of the pinnacles of the composer s ideological and musical statement The opera was first performed by Cantus Juvenum in Karlsruhe on 12th of November 2010 Fleischer is one of the most active contributors to the ideology of the correlation between composition and music education in Israel advocating the synthesis between East and West This also demonstrates her profound pacifistic ideology It is this local view of the Semitic Mediterranean East in the language of the avantgarde and the personal original and feminine stamp

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  • Furore Verlag: Music by women composers
    Münchener Biennale und die Accademia di Santa Cecilia in Rom An Auszeichnungen sind zu nennen der Gaudeamus in Amsterdam 1982 und zwei Mal der ISCM in Budapest 1986 und in Essen 1995 Die Musiker die ihr am Nächsten standen waren Aldo Clementi Francesco Pennisi und unter den ausländischen die östliche Schule um Györgi Ligeti und György Kurtag und in Amerika Elliot Carter 1994 wurde bei der Münchner Biennale ihre Oper La liberazione di Ruggiero dall isola di Alcina uraufgeführt Neben der Tätigkeit als Komponistin unterrichtete Ada Gentile am Conservatorio di St Cecilia Außerdem war sie künstlerische Leiterin des Goffredo Petrassi Kammerorchesters 1986 88 Werke Annäherung XII an sieben Komponistinnen XII More Irene Giblin 12 08 1888 12 05 1974 Irene M Giblin was raised in Missouri living much of her life in St Louis Having been a good piano student showing a natural talent for the instrument in her adolescence Irene was first employed as a music demonstrator by Charles Daniels a k a Neil Moret at the Grand Leader department store in St Louis at the tender but eager age of 14 She was hired to play all of the latest hits from the Jerome Remick catalog and her sister Gertie was part of the deal further encouraging people to buy Remick wares She was later moved to the Stix Baer Fuller department store also in St Louis when she was right out of high school at the age of 17 Giblin ended up working five years missing only a week of work during that entire period In her positions playing the piano several hours every day for anyone who wanted to listen to the latest Remick wonders it was natural for someone of Irene s creativity to also write some of her own works Over a period of six years Giblin published nine rags most of them with Remick As was so often the story Giblin eventually gave up her composing and performing endeavors at least professionally after she married and had her first of two children Even though she devoted much of the rest of her life to raising a family Ms Giblin never stopped her desire for playing the piano Although she spent much of the Great Depression through World War II without an instrument her husband procured a Baldwin baby grand for her which she treasured through the rest of her life Mr O Brien passed away in early 1958 just short of their 50th anniversary As an indication of how hard it was for a woman to have a rag even considered by a publisher in this predominantly male city known for its ragtime not one of Giblin s pieces was actually published in St Louis even though she was its most prolific female composer at that time This was in part because of her job working with Remick but it seems that bulk of women composers were published in Kansas City Chicago or New York But her music was most certainly heard in

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  • Furore Verlag: Music by women composers
    her to concentrate on her future role as a wife and mother Her musical activities did not reach beyond the bounds of the Mendelssohn s circle public concerts and the publication of musical works were not deemed to be womanly activities As Jews who had converted to Protestantism the Mendelssohns were particularly eager to live according to bourgeois convention Restricted to the domestic realm the majority of Fanny Hensel s compositions were piano pieces and lieder which could be performed in the evening concerts held at the Mendelssohn s home Works such as the Piano Quartet written in 1822 remain unusual for her work during this time In an attempt to make her compositions known beyond the inner circle of family friends in 1827 and 1830 she found opportunity to publish five lieder and a duet with piano accompaniment under Felix Mendelssohn s name in his Liederheften op 8 and 9 She made presents of copies of her lieder and piano pieces to friends and acquaintances Nevertheless Fanny Hensel was able to reach at least a small circle of concert goers by presenting her works in the Sonntagsmusiken which were established during the early 1820s In 1829 when Felix left home to embark upon his first extended trip to England the Sonntagsmusiken were not continued In the spring of 1831 Fanny who had married the artist Wilhelm Hensel in October 1829 decided to reinstate these concerts Fanny Hensel conducted and accompanied her choir which consisted of about twenty singers joined by instrumentalists who were friends of hers high level performances of oratorios opera arias and chamber music by Bach Mozart Beethoven Weber and Mendelssohn Here she was also able to make her own works known These concerts became increasingly well attended over the years with Fanny presenting her works for piano solo her lieder duets choral songs the scene Hero and Leander for Soprano and Piano or Orchestra the Piano Trio which appeared posthumously as op 2 as well as the orchestral Ouverture of 1830 for the première of which the Orchestra of the Königstädter Theater was engaged In addition to the friends and acquaintances who came to the Sonntagsmusiken quite a number of famous people attended the Humboldt brothers Franz Liszt Clara Wieck Schumann Johanna Kinkel Heinrich Heine etc These concerts with which according to Rellstab Fanny Hensel to whom we are much indebted enriched the artistic life in our town made up for some of the restrictions she was forced to live with Conducting such concerts had a positive effect on her work as a composer In 1831 she composed larger works for soloists choir and orchestra such as the cantatas Hiob and Lobgesang and an Oratorio In 1839 40 the Hensel family was finally able to fulfil a long standing wish they spent a year travelling in Italy This year was among the happiest in Fanny s life In Italy she finally received recognition for her work beyond the family circle and became acquainted with various musicians who thought highly of her work and were supportive of her creativity The young Charles Gounod for example wrote the following in his memories Mrs Hensel was an extremely learned musician and played the piano very well Despite her small slight figure she was a woman of excellent intellect and full of energy that could be read in her deep fiery eyes Along with all this she was an extremely talented pianist After returning to Berlin Fanny composed her most important piano work the biographical cycle Das Jahr 1841 During the epoch in which she lived Fanny was the only composer to use the idea of depicting each of the twelve months of the year musically She was not to carry through further publications of her works Fanny Hensel died of a stroke suffered during a rehearsal for one of her Sonntagsmusiken on May 14th 1847 Following the death of his sister Felix Mendelssohn fell into a deep depression he died suddenly on November 4th of the same year Upon the request of his brother in law Wilhelm Hensel he had arranged for several of Fanny s further works to be published They appeared in 1850 In 1987 the Furore Verlag began publishing those of her works which had remained unprinted Today Fanny Hensel born Mendelssohn is considered to be one of the most important composers of the romantic era Werke 2 Heine Duets a cappella 3 Goethe Duets 3 Heine Duets Achmed an Irza Eight Lieder for high voice on texts by Wilhelm Mueller Eight Songs on poems by Wilhelm Müller for medium voice mezzo soprano baritone and piano Adagio Adagio for Viola and Piano Andante con moto in E 1846 Andante Klaviersätze und Notturno napolitano Annäherung IV an sieben Komponistinnen Aria Arias from Opera and Oratorio Arie O daß ich tausend Zungen hätte Character Pieces Das Jahr The year A Piano Cycle modern type setted edition Das Jahr The year 12 characterpieces for piano 1841 Das Jahr The year The piano cycle arr for orchestra Das Jahr The year The piano cycle arr for orchestra Das Jahr The year A Piano Cycle Facsimile of the illustrated fair copy Drei Stücke zu vier Händen Three character pieces Duets vol 1 5 Duets vol 1 S S with piano Duets vol 2 S S with piano Duets vol 3 a cappella duets Duets vol 4 S T with piano Duets vol 5 S T Baritone with piano Eichendorff a cappella Etudes Vol 1 Etudes Vol 2 Faust II Cantata Faust II Cantata score Festspiel Die Hochzeit kommt score Fischers Klage Early French Songs for voice and guitar Early French songs for voice and piano Early Piano Pieces Vol 1 Easy Pieces Early Piano Pieces 2 Pieces of Medium Difficulty Fünf Terzette Gartenlieder op 3 Weltliche a cappella Chöre von 1846 Hero und Leander Soprano and Piano Hero und Leander Hiob Cantata score Klaviermusik Eine Auswahl Piano Quartet score and parts Piano Pieces 1821 1824 Piano Pieces 1828 1830 Lieder ohne

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  • Furore Verlag: Music by women composers
    R S T U V W X Y Z Basket 0 Wishlist 0 Overview A Z Blog Music from Kassel Copyright 2010 2011 by Furore Naumburger Straße 40 34127 Kassel Germany Tel 49 0 561 500 493 11 Fax 49

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  • Furore Verlag: Music by women composers
    is the preponderance of slow finales eight of the twelve pieces conclude with either an adagio or an aria The arias are particularly notable for their changes of instrumentation and for their soloistic use of the melodic bass instrument Although La Guerre s sonatas display a considerable variety of compositional techniques they nonetheless exhibit several characteristic features namely simple yet artful melodies repeated note patterns syncopations major minor inflections and harmonic mutations Frequent changes of mode and an occasional incorporation of contrasting keys attest to La Guerre s love of tonal contrast La Guerre s sonatas of 1707 display freer handling of the violin increased rhythmic subtlety and greater expressiveness than do her unpublished works for violin Interestingly Sonatas V and VI of 1707 include recastings of portions of her first unpublished solo sonata these provide valuable insight into the evolution of La Guerre s compositional techniques Werke Aria Arias from Opera and Oratorio Esther Cantata Jacob et Rachel Jonas Cantata Judith Cantata Le Sommeil d Ulisse Odysseus sleep Cantata for MS T violin and B c Le Sommeil d Ulisse Odysseus sleep Cantata for MS T violin and B c Sonates pour le Viollon et pour le clavecin Vol 3 Sonata V a Sonata VI A Sonates pour le Viollon et pour le clavecin Vol 1 Sonata I d Sonata II D Sonates pour le Viollon et pour le clavecin Vol 2 Sonata III F Sonata IV G Sonates pour violon et basse continuo Triosonaten Band 1 Triosonaten Band 2 More Viera Janárceková 1941 Viera Janárceková hat Musik in Bratislava und Prag studiert Sie lebt in der Nähe von Kassel seit 1981 ist sie als freischaffende Komponistin tätig Von zuerst traditionell orientierten Stücken entwickelte sie nach und nach einen experimentellen eigenwilligen Stil dazu entsprechende Schreibweisen Auftragswerke Preise Rundfunksendungen und Veröffentlichungen zeugen von steigendem Interesse und Anerkennung von Janárcekovás Musik No description available Werke Abgestaubte Saiten Annäherung IV an sieben Komponistinnen Drei Chansons für Mascha Dreiwinkelwege Horn Music for Horn solo La Palmera Music for Flute and Piano Lieder auf der Flucht Orie Janik Orie Umspielte Weihnachtslieder Unterirdisch Vier Schnulzen fl clar hrn bs Vier Schnulzen saxophone quartet pian é forte Music for piano More Sr Leonore Jenny 24 12 1923 in Grosswangen Kt Luzern Geistliche und weltliche Musik zu Ehren Gottes Ihr Taufname Marie Cecile Vater Jenny war als Lehrer wie damals üblich auch noch Organist Chor und Orchesterleiter In der Familie wurde viel gesungen und musiziert Die drei Schwestern und der Bruder spielten Streichinstrumente oder Klavier Durch das Wirken ihres Vaters kam Marie Cecile früh auch mit der Kirchenmusik in Kontakt die später zu ihrer Berufung werden sollte Im Seminar Baldegg schloß sie 1945 mit dem Patent als Primarlehrerin ab Anschließend erfolgte das Musikstudium Hauptfach Violine am Konservatorium in Luzern Während der Kandidatur im Kloster Baldegg setzte sie ihr Studium an der Musikakademie in Zürich fort Diplom für Schulmusik Gleichzeitig gab sie Musikunterricht an der Schule in Baldegg 1949 50 Noviziat im Kloster Baldegg mit ausschließlicher Berufsausbildung für

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  • Furore Verlag: Music by women composers
    performed in Fanny Henselâ s Sunday Musicals The most famous houses and salons were open to her During these exciting years her Lieder Op 6 12 were published Important critics among them Ludwig Rellstab and Robert Schumann wrote glowingly about her compositions Because of pending divorce proceedings Johanna returned in 1839 to provincial Bonn She was soon involved again as a conductor performer and composer with various chamber music and vocal ensembles in her home Johannaâ s Gesangverein was one of the first choral groups in Germany to be conducted by a woman In 1842 she a Catholic divorce married the Protestant theologian poet and university lecturer Gottfried Kinkel Together they founded a literary group the Maikà ferbund Johanna Kinkel s literary and musical circles collapsed in 1848 the year of revolutionary upheaval in Germany Gottfried Kinkel was chosen by the democratic electorate to represent Bonn in the National Assembly in Berlin There he was arrested and condemned to death for his political activities Johanna with the help of Bettina von Arnim and others was able to have his death sentence overturned and changed to life imprisonment Karl Schurz organized Gottfried s escape from Spandau prison and helped him to find exile in London Johanna and their four children joined him there in 1851 She fully supported her husband in his political pursuits in their adopted country and the Kinkels soon became the center of the expatriate German community To earn a livelihood Johanna whose English was very good gave piano lessons taught singing to small children and published two books on music education She again directed a choir and wrote music librettos poetry and a two volume novel An article on Frederic Chopin as Composer and another on the works of Felix Mendelssohn published after her death come from his period But it was also a time of depression and despair Besides her many musical activities she was almost solely responsible for the household and their children Gottfried continued his political activities and was perhaps unfaithful On 15 November 1858 Johanna s body was found in the garden of her home She had either fallen or had jumped from the window of her third floor bedroom While suicide was suspected it could not be proven Johanna was not forgotten in her native country She lived in the memory of German intellectuals as an eccentric revolutionary and as a musician with a broad cultural background The words Freiheit Liebe und Dichtung Freedom Love and Poetry were inscribed on her tombstone See also Von Goethe inspiriert gleichnamiger Notenband und CD auf CD siehe CD Werke Annäherung IX an sieben Komponistinnen Inspired by Goethe Songs by women composers of the 18 th and 19 th Centuries More Barbara Kolb 1939 No description available No description available Werke Annäherung IV an sieben Komponistinnen More Mathilde Kralik von Meyrswalden 03 12 1857 in Linz 08 03 1944 in Wien Mathilde was born on 3 December 1857 in Linz on the Danube the daughter of

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  • Furore Verlag: Music by women composers
    piece And the End is the Beginning for solo accordion Her choice of instruments is precise reflecting personalities individualized through colour and texture designed precisely to support movement in space and time She chiseled her subject matter into miniatures that are cemented in a kaleidoscope of transformations seeking attachment to other delineated sound sources The development of her material is organized and controlled by her immense imagination viewed under a microscope surgically manipulated with careful precision thereby achieving a magnificent language and voice truly her own In this massive cycle Voices in Time one of an extensive compositional catalogue she reveals her inspiration and I quote her The work is based on a central concept in Chinese philosophy that heaven earth and men are one music is a reflection of nature and is able to transform human feelings in time each sound interacts with the ensemble and is transformed throughout connecting one s aural sense stimulated by the sounds of nature from the outer world to one s inner sensibility represented by the instrumental sounds the aural transformation of sound suggests emotional territories whether innocence longing for the unattainable suffering for the forever lost It is a song of all voices yours and mine present and past Hope Lee s voice is a discriminating one complex and personal truly significant revealing an important unique Canadian composer Hope Happy Birthday Joseph Macerollo O C More about Hope Lee here Foto Neil Spears Werke Across the veiled distances And the end is the beginning Annäherung VII an sieben Komponistinnen Arrow of being arrow of becoming Ballad of endless woe Ballad of endless woe for vocal quartet and percussion ensemble Ballad of endless woe for vocal quartet and percussion ensemble Days beyond Dindle Duo Solista Fei Yang Flake upon Flake upon Flower Drum Dance Four Winds from Heaven Hsieh Lu Hsing Imaginary Garden I snow in summer In a mirror of light In the beginning was the end Jygge Somebody s Jygge Somebody s Nobody s Konductus Luminare M NABRI March3rd 1911 Melboac NABRIPAMO NOHR No word no whisper no cry Onomatopoeia Chan Chan for string orchestra Onomatopoeia Chan Chan for string orchestra Onomatopoeia Jia Yuan Onomatopoeia Tiáo Tiáo Parting at Yang Kuan for ensemble Prelude to and the end is the beginning Rubbing Stone for alto saxophone Secret of the Seven Stars Secret of the Seven Stars score Shadows of an Uncounted Journey Shadows of an Uncounted Journey II Tangram Voices in Time Voices in Time entends entends la passé qui marche flashing into the dark forever after gently rings in autumn wind o som do desassossego reflection on recollection pian é forte Music for piano von einem fremden stern I Laika More Isabella Leonarda 1620 1704 In northern Italy in the sixteenth and seventeenth centuries a good deal of music was composed by women One of the most productive composers was the noblewoman Isabella Leonarda She left almost 200 compositions in 20 volumes including mostly sacred vocal music such as motets for soloist and continuo as well as a mass for soloists choir strings and continuo Her only purely instrumental opus is no 16 which is made up of the 12 sonate da chiesa These works were used in the celebration of the Catholic Mass Why did a 73 year old woman nun and composer La Sorella Isabella diverge from her usual compositional habits the composition of vocal music and start to write a new kind of music We will never know but maybe she was encouraged by the honour accorded to her by the church when she became Madre Vicaria of her convent The sonatas were written in the same year that she was named to that office In the original edition the words Con licenza de Superiori can be found meaning that the church had permitted these works to be written The Opus 16 sonatas are among the first instrumental pieces written by a woman This fact was probably not known to Isabella Leonarda herself Perhaps the composer was interested in writing music without texts as a contrast to all her vocal works or maybe she was just eager to try out the new trio sonata style Compared with contemporary composers e g Corelli her sonatas are longer sometimes containing six movements rather than the usual four She was also more generous than some with modulations using a large number of related keys within the same sonata Leonarda was born on the 6 September 1620 in Novara and at the age of 16 she entered the convent Collegio di Sant Orsola In 1686 she became Madre Superior of this convent and in 1693 Madre Vicaria This convent was closed in 1811 In the 17th century it was a kind of teaching school for girls the curriculum of which certainly included music It is not known who taught Leonarda to compose but in his Dizionario Ricordi della Musica e di Musicisti Ricordi Milan 1959 Sartori makes the assumption that the Maestro di Capella of the Novara Cathedral Gasparo Casati was her teacher Her first composition appears in a printed work which he published around 1640 This was a common way for first works of composers to be presented to the public at the time The French music lover and collector Sebastien de Brossard 1655 1730 knew Leonarda s music well and appreciated it especially This is documented by him in Catalogue des livres de musique theorique et pratique Paris 1724 Considering her large compositional production Isabella Leonarda has been almost fully ignored by today s musicians music students and music scholars However given a chance to hear it many people discover the creative force of her music Literature Bowers Tick Women making music the Western Art Tradition 1150 1950 MacMillan Press 1986 Caldwell J Editing Early Music Early Music series 5 Clarendon Press 1985 Carter Stewart Arlen The Music of Isabella Leonarda Diss 1982 Stanford University Pendle K Women Music A History Indiana University Press 1991 Werke Annäherung VIII an

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