Jovan Stosic
In music, hemiola (also hemiolia) is the ratio3:2. The equivalent Latin term is sesquialtera. In pitch, hemiola refers to the interval of a perfect fifth. In rhythm, hemiola refers to three beats of equal value in the time normally occupied by two beats
Jovan Stosic
Anton Felix Schindler (13 June 1795 – 16 January 1864) was an associate, secretary, and early biographer of Ludwig van Beethoven. He was born in Meedel, Moravia, and died in Bockenheim (Frankfurt am Main).
Schindler moved to Vienna in 1813 to study law, and from 1817 to 1822 was a clerk in a law office there. He was a competent, though not an exceptional violinist, and played in various musical ensembles, first meeting Beethoven in 1814. He gave up his law career, becoming in 1822 first violinist at the Theater in der Josefstadt, and from 1825 first violinist at the Theater am Kärntnertor. His acquaintance with Beethoven continued, and from 1822, he lived in the composer’s house, as his unpaid secretary.
There was a break in the relationship in March 1825, and Karl Holz, a young violinist and friend of Beethoven, became Beethoven’s secretary; Schindler made amends with Beethoven and returned in August 1826.
After Beethoven’s death in 1827, Schindler moved to Budapest where he was a music teacher, returning to Vienna in 1829. In 1831, he moved to Münster where he was a musical director; from 1835 he lived in Aachen, where he was municipal music director until 1840. In 1840, his biography of Beethoven was published in Münster. Later editions appeared in 1845, 1860 and 1871.
In 1841–42 he visited Paris, and met famous musicians of the day.
He possessed a great part of Beethoven’s estate, in particular around 400 conversation books that people used to converse with Beethoven in his later years. Beethoven’s estate, purchased by the Royal Prussian Library in Berlin in 1845, included 136 conversation books. Schindler retained the remainder, which were likely destroyed.
Although as early as the 1850s the inconsistencies of Schindler’s account were clear enough to lead Alexander Wheelock Thayer to commence research for his own pioneering biography, it was a series of musicological articles published since the 1970s that essentially destroyed Schindler’s reputation of reliability. It was demonstrated that he had falsified entries in Beethoven’s Conversation Books (into which he inserted many spurious entries after the composer’s death in 1827), and that he had exaggerated his period of close association with Beethoven (his claimed ’11 or 12 years’ was likely no more than five or six). It was also believed that Schindler burned more than half of Beethoven’s conversation books and removed countless pages from those that survived. The Beethoven Compendium (Cooper 1991, p. 52) goes so far as to say that Schindler’s propensity for inaccuracy and fabrication was so great that virtually nothing he has recorded can be relied on unless it is supported by other evidence. More recently, Theodore Albrecht has re-examined the question of Schindler’s reliability, and as to his presumed destruction of a huge number of conversation books, concludes that this widespread belief could not be true.
Although Anton Schindler forged documents and otherwise became notorious as an unreliable biographer and music historian, his accounts on Beethoven’s style of performing his own piano works are indispensable sources. Dr. George Barth, in his book The Pianist as Orator (Ithaca, NY: Cornell University Press, 1992) brings to light an approach to bringing the Beethoven keyboard literature to life, based on Schindler and his testimonies, quite different from the Carl Czerny angle on Beethoven the world has grown used to since Schindler’s forgeries compromised the latter’s credibility. Discrepancies in metronome markings by Czerny as well as accounts of Beethoven’s own rhythm and tempo choices create a worthier image of Schindler’s credibility in that regard, and his valuable perspective on interpretation of Beethoven’s piano music.
Source: Anton Schindler – Wikipedia
Jovan Stosic
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor.
Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
In 1776 Neefe joined the Seyler theatrical company of Abel Seyler (then) in Dresden, and inherited the position of musical director from his mentor, Hiller. He later became court organist in Bonn and was the principal piano teacher of Ludwig van Beethoven. He helped Beethoven produce some of his first works. His best known work was a Singspiel called Adelheit von Veltheim (1780). In Bonn, Neefe became prefect of the local chapter of the Illuminati, the Minervalkirche Stagira. He died in Dessau.
Jovan Stosic
The Piano Concerto No. 5 in E♭ major, Op. 73, by Ludwig van Beethoven, popularly known as the Emperor Concerto, was his last completed piano concerto. It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf, Beethoven’s patron and pupil. The first performance took place on 13 January 1811 at the Palace of Prince Joseph Lobkowitz in Vienna, with Archduke Rudolf as the soloist, followed by a public concert on 28 November 1811 at the Gewandhaus in Leipzig under conductor Johann Philipp Christian Schulz, the soloist being Friedrich Schneider. On 12 February 1812, Carl Czerny, another student of Beethoven’s, gave the Vienna debut of this work.
The epithet of Emperor for this concerto was not Beethoven’s own but was coined by Johann Baptist Cramer, the English publisher of the concerto.[4] Its duration is approximately forty minutes.
Source: Piano Concerto No. 5 (Beethoven) – Wikipedia
Jovan Stosic
Egmont, Op. 84 by Ludwig van Beethoven, is a set of incidental music pieces for the 1787 play of the same name by Johann Wolfgang von Goethe. It consists of an overture followed by a sequence of nine pieces for soprano, male narrator, and full symphony orchestra. (The male narrator is optional; he is not used in the play and does not appear in all recordings of the complete incidental music.) Beethoven wrote it between October 1809 and June 1810, and it was premiered on 15 June 1810.
Source: Egmont (Beethoven) – Wikipedia