Capital
of Australia Mandolinata
Composers
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Capital
of Australia Mandolinata |
|
Composers
|
Born in Engen am Hegau,
Germany.25 Jul. 1897
Died Hamburg, Germany 25 Oct. 1983
Hermann studied musicology and mathematics in Leipzig after participating in World War 1; from 1923 he studied composition with Hans Pfitzner at the Akademie der Küste in Berlin; worked as a sound engineer and teacher from 1926 becoming Korrepetitor at the Neuen Theater, Leipzig; from 1945 he worked as a teacher and choral conductor; his compositions include symphonies, other orchestral works, works for and including accordian, and works for choir and for chamber orchestra
(b. 1955) is a Japanese composer and conductor.
He completed his composition
study at the Tokyo National University of Fine Arts and Music and graduated
1980 in its subject composition. It wrote a row of operas, choir works, for
blowing orchestras and various wind instruments. Now he is a professor at the
Tokyo National University of Fine Arts and Music and to the Tsuru University.
He is likewise a conductor of the Kanagawa Philharmonic Orchestra.
Works for Wind Bands
* 1979 parade for A Full
volume
* 1987 March: Fumon volume festival 1987
Stage Works
* 1981 Ôgon no
kuni opera
* 1983 Tasogare wa ôma no jikan opera
* 1987 Ryû no ame opera
Choir Works
* 1983 Taisei meika shu
* 1984 Mothergooth no Uta
* 1985 Juuippiki no neko
* 1987 Paul Bunyan
* 1988 Makuranososhi - Momojiri for woman choir and instruments
* 1988 Children's Crusade for mixed choir, Percussion and piano
* 1997 Hitoribocchi no Yorudakara
* Carnival
* Shoka no Junikagetsu
* The Advent Carol
* Yoru dake Mahoutsukai
Chamber Music
* 1972? The Zauberglockchen
(variations over the topic from “the magic flute”) for four flutes
* 1983 Kanashimi for Sopran and old block flute ensemble
1. Yorokobi
2. Toritachi no Sanka
* 1985 Onna no Heiwa (Aristophanes) for choir, block flute ensemble (Sopran,
alto) and guitar
* 1991 Green Sleeves for block flute ensemble (SATB)
* 1994 Suite kind décos for Mandolinenorchester
* 1995 Seven Colored Pieces (Preludes on Seven of key notes) for 2 guitar
* 2001 Three Songs for Sopran and old block flute and guitar
Piano
* 1985 Laughter RK the
Mt. Olympus (4 hands)
* 1991 old Famous Pictures
* 1997 - 2000 Mon père l'oie (4 hands)
* 2003 The Forest OF Manyo
* 19?? Sonatine on the Themes of the the Beatles
Richard Charlton
PO Box 405 Edgecliff NSW
2027 Australia
email: richardcharlton at bigpond.com
Richard is widely recognised as one of Australia's leading guitarist/composers. Born in the UK in 1955 he has lived in Australia since his parents emigrated in 1962. Largely self taught he initially started writing music to expand his own repertoire, but now his works have been performed and recorded by many leading Australian and international players and feature on more than 25 CDs. Richard's music combines a love of melody with a keen sense of harmonic & formal structure - music "to entice ear as well as the intellect" (Fred Blanks - Northern Herald). In 2004 Richard was awarded "Instrumental Work of the Year" at the APRA/AMC Classical Music Awards for his quartet "Stoneworks" commissioned by Saffire. In March 2005 the UK magazine Classical Guitar, described him as, "producing some of the most inspired and accessible guitar works of the present era."
In 2001 one of his works was featured on an ABC-TV documentary about the "Terrace Proms" in Perth. Richard has also had works premiered at many major festivals worldwide, including the Adelaide Festival, the Radio France International Guitar Week in Paris, the Sonorities Festival in Belfast and at Australia House and Bolivar Hall in London. In 2004 part of his concerto, "Rhapsody" for guitar duo & guitar orchestra, was included a live radio broadcast from the Concertgebouw in Amsterdam. Mr. Charlton has been a featured composer at the Darwin International Guitar Festival and was invited, three times, to be part of the adjudication panel for the Darwin Competition. He was also on the adjudication panel for the 1st and 3rd Australian Guitar Competitions in Newcastle.
In 2001 he toured to Argentina, England & Italy with the Sydney Guitar Trio promoting an all-Australian programme, including two of his own pieces. While in the UK Richard presented a lecture on "composition" at the Guildhall School of Music & Drama and (with other members of the trio) gave a "chamber music" masterclass at the Royal College of Music. In 2005 Richard also gave a masterclass and recital at St. Paul's Girls School in Hammersmith, London.
Many of Richard's pieces for students are currently in the AMEB Syllabus, including pieces in the new Series 8 "Violin" Syllabus. He has also contributed pieces to the student series "Modern Times" published by Chanterelle and to the "Ben Verdery Guitar Series" published by Frederick Harris Music in Canada.
As Director of Music at Ascham School since 1999, Richard has been involved with the creation of many new works for student orchestras & vocal ensembles. In 2005 Mr. Charlton conducted the school's Symphony Orchestra on a tour to central Europe performing two of his own works especially written for the occasion. As a conductor and educator he has worked with all kinds of groups from kindergarten to mature ages and has conducted a wide variety of orchestras ranging from 80 piece student guitar ensembles to school choirs and full symphony orchestras such as the St. Istvan Music School Orchestra (Budapest) and the SBS Youth Orchestra (Sydney). Highly sought after as teacher, composer and pedagogue, Richard has worked with children all over the world, conducting workshops at schools as diverse as Perth Modern (WA), Northlands High School (Buenos Aires), The Centre for Youth Music (Darwin NT), St. Paul's' Girls School (London), Associazione Musicale di Varese (Italy) and the Instituto Universitario Nacional del Arte (Buenos Aires, Argentina).
(Born 13 January 1848 in Merseburg; Died 6 December 1925 in Berlin) was a German composer.
His musical career/development began with the study the fan piano and composition. At 18 years old he composed his first work - a concert Overture. As a volunteer member of the army he participated in the French-German war 1870/71. In 1873 Eilenberg became director of music and conductor in Stettin and established himself 1889 in Berlin as a free composer, where he lived in second marriage with his wife Dorothee in that of Bremen road 73.
Eilenberg composed above all marches and dances for orchestras, harmony and military music, a ballet “Die Rose von Schiras” op. 134 and the Operetten “Comtess Cliquot” (1909), “King Midas”, “Marietta”, “Der tolle Prinz”. Of importance also the marches “Krönungsmarsch” (for Alexander III. of Russia), composed by it, are, “Janitscharen March” op. 295, which developed on the occasion of the price march competition.
Most well-known however its are the salon and/or maintenance music pieces of "Petersburger Schlittenfahrt" to which can be added. 52 and “The Mill in the Black Forest” op. 57 become. Eilenberg left approx. 350 compositions, under it to 10 Fantasies on melodies of large masters of "Ehrenkränze der Tonkunst" op. 268 - 277 and the Suite “By field and forest” op. 119. The evaluation of its pieces of character by contemporary music journalism (trivially, shallowly), rather devaluing, harmed their popularity in no way.
His grave is on the southwest cemetery citizens of Berlin of the Stadtsynodalverbandes in Stahnsdorf with Potsdam.
Hans Gal
The composer Hans Gál
was born near Vienna in 1890. Following considerable success in the 1920s, he
was appointed Director of the Conservatory in Mainz in 1929. Hitler's accession
to power in 1933 led to his instant dismissal and the banning of all his works.
He returned to Vienna, but was again to forced to flee by Hitler's annexation
of Austria in 1938. He emigrated to Britain and settled in Edinburgh, where
he remained active until his death in 1987. Clicke here
to open a PDF biography of Gal.
Hummel was born in 1778 to a musical family living in Pressburg, a lively town at the intersection of Austria, Slovakia and Hungary. When his father was appointed conductor of Schikaneder's theater in Vienna, the boy became a pupil of Mozart, and after two year was encouraged by his master to tour Europe. He was then ten years old. Four years on the road throughout northern Europe and Britain brought Hummel international fame, but upon returning to Vienna in 1793 the fourteen years old chose to retire from the concert stage and devote himself to studying theory and composition. Although he now performed only at private events, Viennese music lovers split into two camps of piano playing, centering upon Hummel and the slightly older Beethoven.
In 1804, Hummel, recommended by Haydn, became Konzertmeister to Prince Nikolaus Esterhazy, despite having a compositional reputation centering almost exclusively on the piano and chamber music. Now he found himself writing sacred music, occasional music, and operas. The intense pressures at the Esterhazy palace in Eisenstadt, however, did not deter him from pursuing a career in Vienna, thirty miles away. Unfortunately, the more the fashionable ballrooms resounded to his minuets and waltzes, the more irritated the Prince became at Hummel's purported dereliction of duty. After a final rupture of his relationship with the Prince in 1811, Hummel moved back to Vienna, installing himself as a popular teacher, a society composer, and a family man.
In 1814, the endless parties
of the Congress of Vienna provided an ideal arena for musicians, and tempted
Hummel to re-enter the concert stage. At one party Hummel left the connoisseurs
in awe as he improvised a long suite of waltzes based on themes from a concert
earlier that evening, climaxing with a grand fugue in waltz time. After hearing
Hummel, young Giacomo Meyerbeer abandoned hopes of a concert career. Success
piled upon success ; but Hummel, married with two children, worried increasingly
about financial security, and sought a new court position. After a disastrous
year in Stuttgart ( 1818 ), he found a perfect job as Kapellmeister to the Grand
Duke of Weimar. In that picturesque cultural center nestled in the heart of
the German countryside, he had a small but excellent orchestra, an opera company,
and superb theater. Best of all, his contract gave him three months annual leave
right at the height of the European concert and social season.
Hummel, now without rivals as a pianist ( Beethoven could no longer perform
), and with an excellent reputation as a composer, toured almost every year
during the 1820s and early 1830s, ranging throughout Europe, from Russia to
Britain and France.
New claimants to the musical throne - such as Ignaz Moscheles - did little to
retard Hummel's progress. In 1831, however, his popularity abruptly ended. The
public, dazzled by the super virtuosity of Liszt and Paganini, abandoned the
elegant, refined playing of Hummel. To his credit he did not join the many of
his contemporaries who affected the athletic style of the new generation, and
although at his death in 1837 many regarded him as a relic of the past, he was
revered by true music lovers as the last representative of a great epoch.
It would stretch a point to make Hummel into a second Beethoven. Nevertheless, his music is superbly and elegantly wrought, full of good melodies skillfully handled, and never trivial. In many respects his classical style already incorporated the complexities and passions of the Romantics who were to displace him, and his position astride two generations makes him a compelling figure for lovers of nineteenth-century music. Quite naturally, he wrote with a special flair for the piano ; like most virtuoso-composers, he played only his own music ( although he conducted works by many others ). However, he also left a considerable vocal and choral output, the result in part of his responsibilities to the various courts that employed him. The fact that he never wrote a symphony may be explained by his own admission that he found Beethoven's talent overwhelming.
Hummel's reputation was eclipsed for many decades, and even now, with a substantial revival, he is still best known for the Piano Concertos in A minor, Op.85, and in B minor, Op.89. The vast body of his music for piano, however, remains largely unavailable. Pianists will find many compositions worth studying and performing, and students of the history of music will gain a new source for insights into the fascinating world of early nineteenth-century bourgeois society and its entertainment's.
After studying guitar and music, Otto Jezek (born 11th November 1967 in Vienna)
had his first work published in 1995, and recorded a CD "Danza Latina"
the following year. In the following years he won several composition prizes.
The Heavy Metal Peppi uses musical ideas and idioms typically found in heavy
metal music.
(Bass Guitar player,
WA Mandolin Orchestra).
Freelance Musician (Bass Guitar, Choral Singer, Conductor, Composer /Arranger).
Rob has played bass guitar
since school (1964) and sung in choirs since university days (1968) and have
continued in both streams of music ever since.
He has conducted choirs from 1973 to 2000, served on the national executive
of the Australian National Choral Association in 1992-93 and was WA State President
for several years from 1995. He convened two national Choral Festivals, one
for the Australian InterVarsity in 1980, and the 3rd ANCA Choral Conference
in 1995.
He was a founder member in 1983 of the mandolin/guitar quartet StringyBach,
and continue to play when engagements come in.
He joined WAMO at the beginning of 2003.
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Last updated 8 July 2007