- published: 13 Apr 2020
- views: 64838
Ernő Dohnányi
Ernő Dohnányi (Hungarian: [ˈɛrnøː ˈdohnaːɲi]; July 27, 1877 – February 9, 1960) was a Hungarian composer, pianist and conductor. He used a German form of his name, Ernst von Dohnányi, on most of his published compositions. The "von" implies nobility, and, according to the biography by his third wife, his family was ennobled in 1697 and given a "seal," which she describes in some detail.
Biography
Dohnányi was born in Pozsony, Kingdom of Hungary, Austria-Hungary (today Bratislava, capital of Slovakia). He first studied music with his father, a professor of mathematics and an amateur cellist, and then, when he was eight years old, with Carl Forstner, organist at the local cathedral. In 1894, in his seventeenth year, he moved to Budapest and enrolled in the Royal National Hungarian Academy of Music, studying piano with István Thomán and composition with Hans von Koessler, a cousin of Max Reger. István Thomán was a favorite student of Franz Liszt and Hans von Koessler was a devotee of Johannes Brahms music. These two influences played an important role during Dohnányi's entire life: Liszt in his way of playing piano and Brahms in his compositions. Dohnányi's first published composition, his Piano Quintet in C minor, earned the approval of Johannes Brahms, who promoted the work in Vienna.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Ernő_Dohnányi
Podcasts:
-
Ernő Dohnányi – Serenade
🎶 LIKE and SUBSCRIBE for more score videos! → https://www.youtube.com/StefanoPaparozzi Ernő Dohnányi (1877-1960) Serenade for String Trio, op. 10 (1902-03) I. Marcia. Allegro [00:00] II. Romanza. Adagio non troppo, quasi andante [02:06] III. Scherzo. Vivace [5:49] IV. Tema con variazioni. Andante con moto [10:18] V. Rondo (Finale). Allegro vivace [16:40] Audio from: https://www.youtube.com/watch?v=1tVIGGrLpGU Score from: https://imslp.org/wiki/Serenade%2C_Op.10_(Dohn%C3%A1nyi%2C_Ern%C5%91)
published: 13 Apr 2020 -
Ernst von Dohnányi/Ernő Dohnányi
My Patreon Side :https://www.patreon.com/billentyu007 ERNST VON DOHNÁNYI 1877-1960 Dohnányi Ernő Tanít a Zeneakadémián A Nagy Magyar Zongoraművész ,Karmester,Zeneszerző, #franzliszt , #dohnanyi
published: 24 May 2010 -
Ernő Dohnányi - 6 Concert Etudes Op. 28 (audio + sheet music)
The Six Concert Etudes, Op.28 are bravura pieces for steel fingers and marathon stamina - from start to finish there is no time to catch a breath. The first Etude's solemn, pounding melody, introduced at the beginning by the left hand, is literally showered by swift torrents of chords played initially by the right hand; the hands alternate in their roles, producing a spectacular effect. In the second Etude, three groups of two sixths in one hand whizz by three groups of three notes in the other; the listener hears a coy, playful scherzo, while the pianist contends with a significant test of dexterity. The third Etude deserves to be experienced not just aurally but also visually; the finger acrobatics, where the two hands play interlaced throughout, one under the other, are something ...
published: 08 Dec 2017 -
DOHNÁNYI ERNŐ - portréműsor
published: 30 Jan 2018 -
Ernő Dohnányi - Ruralia Hungarica, Op.32a
- - - - Intro : [0:00] I. Allegretto, molto tenero [0:05] II. Presto, ma non tanto [2:20] III. Andante poco moto, rubato [6:03] IV. Vivace [14:34] V. Allegro grazioso [17:57] VI. Adagio non troppo [20:04] VIII. Molto vivace [27:46] - - - - Piano : Valentina Tóth - - - - Ernst von Dohnányi was a Hungarian composer, pianist and conductor. He used the German form of his name on most published compositions. Dohnányi's composing style was personal, but very conservative. His music largely subscribes to the Romantic idiom. Although he used elements of Hungarian folk music, he is not seen to draw on folk traditions in the way that Bartók or Kodály do. Some characterize his style as traditional mainstream Euro-Germanic in the Brahmsian manner (structurally more than in the way the music actually...
published: 14 Oct 2024 -
Dohnanyi: Piano Concerto No.2 Op.42 / Shelley · Bamert · BBC Philharmonic Orchestra
This Video is for Educational Purpose only. Erno Dohnanyi: Piano Concerto No.2 Op.42 Piano: Howard Shelley Conduct: Matthias Bamert BBC Philharmonic Orchestra *Painting: Alexander Keirincx
published: 19 Oct 2018 -
Ernst von Dohnányi - Variations on a Nursery Tune, Op. 25 (1914)
Ernst von Dohnányi (Hungarian: Dohnányi Ernő 27 July 1877 – 9 February 1960) was a Hungarian composer, pianist and conductor. He used a German form of his name on most of his published compositions. Variaitions on a Nursery Tune, Op. 25 (1914) Introduction. Maestoso Theme. Allegro Variation I. Poco più mosso Variation II. Risoluto Variation III. L'istesso tempo Variation IV. Molto meno mosso (Allegretto moderato) Variation V. Più mosso Variation VI. Ancora più mosso (Allegro) Variation VII. Walzer (Tempo Giusto) Variation VIII. Alla marcia (Allegro moderato) Variation IX. Presto Variation X. Passacaglia (Adagio non troppo) Variation XI. Choral (Maestoso) Finale fugato (Allegro vivace) Victor Aller, piano and the Concert Arts Orchestra conducted by Felix Slatkin The Variations on a Nurs...
published: 04 Apr 2020 -
Ernő Dohnányi - Piano Quintet No. 1 in C minor Op. 1 [score + audio]
performed by Trio Nota Bene with Shmuel Ashkenasi (violin) and Nobuko Imai (viola) - http://www.trionotabene.ch/index.php?nav=11&subnav=18&sub=1 00:00 I Allegro 08:31 II Scherzo. Allegro 13:43 III Adagio, quasi andante 20:14 IV Finale. Allegro animato "Opus 1” in a musical oeuvre is rarely considered as a really significant piece of the given composer’s works. It seems that the Hungarian composer−pianist Ernst von (Ernő) Dohnányi (1877−1960) belongs to the few exceptions: his Piano Quintet in C Minor, op. 1, had always been one of his most popular works. Dohnányi’s case, however, is a rather special one. Firstly, because he was an extraordinarily mature musical talent at the age of 17 when this Quintet was written. (We should add, though, that “Opus 1” was preceded by a great amount of j...
published: 22 Aug 2018 -
Ernő Dohnányi Sextet in C major, Op.37
Pf.배서현 Vn.하성민 Va.최석훈 Vc.이윤지 Hn.신승환 Cl.이정준
published: 25 Jan 2025 -
Ernő Dohnányi : Suite in F-sharp minor for orchestra Op. 19 (1908-09)
I. Andante con variazioni Tema. Andante con moto 0:00 Variation I. Piu animato 1:30 Variation II. Animato 2:50 Variation III. Andante tranquillo 4:15 Variation IV. Allegro 5:45 Variation V. Vivace 6:55 Variation VI. Adagio 7:55 II. Scherzo 11:00 III. Romanza 15:25 IV. Rondo 21:25 Performed by the BBC Philharmonic conducted by Matthias Bamert.
published: 12 Dec 2020
20:53
Ernő Dohnányi – Serenade
- Order: Reorder
- Duration: 20:53
- Uploaded Date: 13 Apr 2020
- views: 64838
🎶 LIKE and SUBSCRIBE for more score videos! → https://www.youtube.com/StefanoPaparozzi
Ernő Dohnányi (1877-1960)
Serenade for String Trio, op. 10 (1902-03)
I...
🎶 LIKE and SUBSCRIBE for more score videos! → https://www.youtube.com/StefanoPaparozzi
Ernő Dohnányi (1877-1960)
Serenade for String Trio, op. 10 (1902-03)
I. Marcia. Allegro [00:00]
II. Romanza. Adagio non troppo, quasi andante [02:06]
III. Scherzo. Vivace [5:49]
IV. Tema con variazioni. Andante con moto [10:18]
V. Rondo (Finale). Allegro vivace [16:40]
Audio from: https://www.youtube.com/watch?v=1tVIGGrLpGU
Score from: https://imslp.org/wiki/Serenade%2C_Op.10_(Dohn%C3%A1nyi%2C_Ern%C5%91)
https://wn.com/Ernő_Dohnányi_–_Serenade
🎶 LIKE and SUBSCRIBE for more score videos! → https://www.youtube.com/StefanoPaparozzi
Ernő Dohnányi (1877-1960)
Serenade for String Trio, op. 10 (1902-03)
I. Marcia. Allegro [00:00]
II. Romanza. Adagio non troppo, quasi andante [02:06]
III. Scherzo. Vivace [5:49]
IV. Tema con variazioni. Andante con moto [10:18]
V. Rondo (Finale). Allegro vivace [16:40]
Audio from: https://www.youtube.com/watch?v=1tVIGGrLpGU
Score from: https://imslp.org/wiki/Serenade%2C_Op.10_(Dohn%C3%A1nyi%2C_Ern%C5%91)
3:42
Ernst von Dohnányi/Ernő Dohnányi
- Order: Reorder
- Duration: 3:42
- Uploaded Date: 24 May 2010
- views: 25349
My Patreon Side :https://www.patreon.com/billentyu007
ERNST VON DOHNÁNYI 1877-1960
Dohnányi Ernő Tanít a Zeneakadémián
A Nagy Magyar Zongoraművész ,Karmester,Z...
My Patreon Side :https://www.patreon.com/billentyu007
ERNST VON DOHNÁNYI 1877-1960
Dohnányi Ernő Tanít a Zeneakadémián
A Nagy Magyar Zongoraművész ,Karmester,Zeneszerző,
#franzliszt , #dohnanyi
https://wn.com/Ernst_Von_Dohnányi_Ernő_Dohnányi
My Patreon Side :https://www.patreon.com/billentyu007
ERNST VON DOHNÁNYI 1877-1960
Dohnányi Ernő Tanít a Zeneakadémián
A Nagy Magyar Zongoraművész ,Karmester,Zeneszerző,
#franzliszt , #dohnanyi
- published: 24 May 2010
- views: 25349
20:31
Ernő Dohnányi - 6 Concert Etudes Op. 28 (audio + sheet music)
- Order: Reorder
- Duration: 20:31
- Uploaded Date: 08 Dec 2017
- views: 85411
The Six Concert Etudes, Op.28 are bravura pieces for steel fingers and marathon stamina - from start to finish there is no time to catch a breath.
The first E...
The Six Concert Etudes, Op.28 are bravura pieces for steel fingers and marathon stamina - from start to finish there is no time to catch a breath.
The first Etude's solemn, pounding melody, introduced at the beginning by the left hand, is literally showered by swift torrents of chords played initially by the right hand; the hands alternate in their roles, producing a spectacular effect.
In the second Etude, three groups of two sixths in one hand whizz by three groups of three notes in the other; the listener hears a coy, playful scherzo, while the pianist contends with a significant test of dexterity.
The third Etude deserves to be experienced not just aurally but also visually; the finger acrobatics, where the two hands play interlaced throughout, one under the other, are something unique that has to be seen to be believed.
Etude No.4 recalls the majestic march-like flavour of the first Etude; its insistent bass melody imbues the piece with both sadness and dignity.
Etude No.5 is a rush of demisemiquavers, an avalanche of sparkling musical frosting.
The sixth and final concert Etude, subtitled Capriccio, is the best known of the set, one of Dohnanyi's most popular piano solo compositions, and an enduring, favourite encore of virtuoso pianists everywhere.
(Naxos Music Library)
Please take note that the audio AND sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.
Original audio: naxosmusiclibrary.com
(Performance by: Markus Pawlik)
Original sheet music: http://imslp.org/wiki/6_Konzertet%C3%BCden%2C_Op.28_(Dohn%C3%A1nyi%2C_Ern%C5%91)
https://wn.com/Ernő_Dohnányi_6_Concert_Etudes_Op._28_(Audio_Sheet_Music)
The Six Concert Etudes, Op.28 are bravura pieces for steel fingers and marathon stamina - from start to finish there is no time to catch a breath.
The first Etude's solemn, pounding melody, introduced at the beginning by the left hand, is literally showered by swift torrents of chords played initially by the right hand; the hands alternate in their roles, producing a spectacular effect.
In the second Etude, three groups of two sixths in one hand whizz by three groups of three notes in the other; the listener hears a coy, playful scherzo, while the pianist contends with a significant test of dexterity.
The third Etude deserves to be experienced not just aurally but also visually; the finger acrobatics, where the two hands play interlaced throughout, one under the other, are something unique that has to be seen to be believed.
Etude No.4 recalls the majestic march-like flavour of the first Etude; its insistent bass melody imbues the piece with both sadness and dignity.
Etude No.5 is a rush of demisemiquavers, an avalanche of sparkling musical frosting.
The sixth and final concert Etude, subtitled Capriccio, is the best known of the set, one of Dohnanyi's most popular piano solo compositions, and an enduring, favourite encore of virtuoso pianists everywhere.
(Naxos Music Library)
Please take note that the audio AND sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.
Original audio: naxosmusiclibrary.com
(Performance by: Markus Pawlik)
Original sheet music: http://imslp.org/wiki/6_Konzertet%C3%BCden%2C_Op.28_(Dohn%C3%A1nyi%2C_Ern%C5%91)
- published: 08 Dec 2017
- views: 85411
40:10
DOHNÁNYI ERNŐ - portréműsor
- Order: Reorder
- Duration: 40:10
- Uploaded Date: 30 Jan 2018
- views: 2119
- published: 30 Jan 2018
- views: 2119
30:02
Ernő Dohnányi - Ruralia Hungarica, Op.32a
- Order: Reorder
- Duration: 30:02
- Uploaded Date: 14 Oct 2024
- views: 258
- - - -
Intro : [0:00]
I. Allegretto, molto tenero [0:05]
II. Presto, ma non tanto [2:20]
III. Andante poco moto, rubato [6:03]
IV. Vivace [14:34]
V. Allegro gr...
- - - -
Intro : [0:00]
I. Allegretto, molto tenero [0:05]
II. Presto, ma non tanto [2:20]
III. Andante poco moto, rubato [6:03]
IV. Vivace [14:34]
V. Allegro grazioso [17:57]
VI. Adagio non troppo [20:04]
VIII. Molto vivace [27:46]
- - - -
Piano : Valentina Tóth
- - - -
Ernst von Dohnányi was a Hungarian composer, pianist and conductor. He used the German form of his name on most published compositions.
Dohnányi's composing style was personal, but very conservative. His music largely subscribes to the Romantic idiom. Although he used elements of Hungarian folk music, he is not seen to draw on folk traditions in the way that Bartók or Kodály do. Some characterize his style as traditional mainstream Euro-Germanic in the Brahmsian manner (structurally more than in the way the music actually sounds) rather than specifically Hungarian, while others hear very little of Brahms in his music. The very best of his works may be his Serenade in C major for string trio, Op. 10 (1902) and Variations on a Nursery Tune for piano and orchestra, Op. 25 (1914). His Second symphony is a major work which he composed during the Second World War. It is uncharacteristically sombre, notably in the third movement, which is grotesque and dissonant.
https://wn.com/Ernő_Dohnányi_Ruralia_Hungarica,_Op.32A
- - - -
Intro : [0:00]
I. Allegretto, molto tenero [0:05]
II. Presto, ma non tanto [2:20]
III. Andante poco moto, rubato [6:03]
IV. Vivace [14:34]
V. Allegro grazioso [17:57]
VI. Adagio non troppo [20:04]
VIII. Molto vivace [27:46]
- - - -
Piano : Valentina Tóth
- - - -
Ernst von Dohnányi was a Hungarian composer, pianist and conductor. He used the German form of his name on most published compositions.
Dohnányi's composing style was personal, but very conservative. His music largely subscribes to the Romantic idiom. Although he used elements of Hungarian folk music, he is not seen to draw on folk traditions in the way that Bartók or Kodály do. Some characterize his style as traditional mainstream Euro-Germanic in the Brahmsian manner (structurally more than in the way the music actually sounds) rather than specifically Hungarian, while others hear very little of Brahms in his music. The very best of his works may be his Serenade in C major for string trio, Op. 10 (1902) and Variations on a Nursery Tune for piano and orchestra, Op. 25 (1914). His Second symphony is a major work which he composed during the Second World War. It is uncharacteristically sombre, notably in the third movement, which is grotesque and dissonant.
- published: 14 Oct 2024
- views: 258
28:51
Dohnanyi: Piano Concerto No.2 Op.42 / Shelley · Bamert · BBC Philharmonic Orchestra
- Order: Reorder
- Duration: 28:51
- Uploaded Date: 19 Oct 2018
- views: 13935
This Video is for Educational Purpose only.
Erno Dohnanyi: Piano Concerto No.2 Op.42
Piano: Howard Shelley
Conduct: Matthias Bamert
BBC Philharmonic Orchestra
...
This Video is for Educational Purpose only.
Erno Dohnanyi: Piano Concerto No.2 Op.42
Piano: Howard Shelley
Conduct: Matthias Bamert
BBC Philharmonic Orchestra
*Painting: Alexander Keirincx
https://wn.com/Dohnanyi_Piano_Concerto_No.2_Op.42_Shelley_·_Bamert_·_BBC_Philharmonic_Orchestra
This Video is for Educational Purpose only.
Erno Dohnanyi: Piano Concerto No.2 Op.42
Piano: Howard Shelley
Conduct: Matthias Bamert
BBC Philharmonic Orchestra
*Painting: Alexander Keirincx
- published: 19 Oct 2018
- views: 13935
25:02
Ernst von Dohnányi - Variations on a Nursery Tune, Op. 25 (1914)
- Order: Reorder
- Duration: 25:02
- Uploaded Date: 04 Apr 2020
- views: 29502
Ernst von Dohnányi (Hungarian: Dohnányi Ernő 27 July 1877 – 9 February 1960) was a Hungarian composer, pianist and conductor. He used a German form of his name ...
Ernst von Dohnányi (Hungarian: Dohnányi Ernő 27 July 1877 – 9 February 1960) was a Hungarian composer, pianist and conductor. He used a German form of his name on most of his published compositions.
Variaitions on a Nursery Tune, Op. 25 (1914)
Introduction. Maestoso
Theme. Allegro
Variation I. Poco più mosso
Variation II. Risoluto
Variation III. L'istesso tempo
Variation IV. Molto meno mosso (Allegretto moderato)
Variation V. Più mosso
Variation VI. Ancora più mosso (Allegro)
Variation VII. Walzer (Tempo Giusto)
Variation VIII. Alla marcia (Allegro moderato)
Variation IX. Presto
Variation X. Passacaglia (Adagio non troppo)
Variation XI. Choral (Maestoso)
Finale fugato (Allegro vivace)
Victor Aller, piano and the Concert Arts Orchestra conducted by Felix Slatkin
The Variations on a Nursery Tune, Op. 25 is subtitled For the enjoyment of humorous people and for the annoyance of others.
Written in 1914, it captures the spirit of Romanticism, and manages to delight and enthrall in its sparkling piano writing and lush orchestral textures, and its wit in the treatment of the theme – the French nursery song Ah, vous dirai-je, Maman, otherwise known as Twinkle Twinkle Little Star. Like Dohnányi, Mozart also wrote variations on this nursery tune (K. 265/300e).
The Introduction is Wagnerian in its writing, with faux pathos, brasses blaring and strings thick and dense. The outline of the theme appears indistinctly but unmistakably in the horns, a hint of what is to come. After a long drawn-out conclusion which grows ever quieter while continually building the tension, we have a belch from the orchestra and a short pause, followed by a quiet restatement of the theme on the piano accompanied by pizzicato strings.
What follows is a witty, artful set of variations ranging from the innocent first variation to the romantic third variation, the scurrying sixth variation, the boisterous, overcooked waltz in the seventh variation and the pathos-laden tenth variation which alludes to the Wagnerian opening. Dohnányi treats the piano and orchestra as equals – every instrument is given its chance to shine.
Dohnányi alludes to many different works, or composers' distinctive compositional styles, in the piece. For instance, variation 8 suggests the march from the second movement of Tchaikovsky's "Little Russian" Symphony. Debussy is alluded to, with the ethereal harmonies of the 11th variation. Dohnányi pokes fun at nearly every composer his audience of 1914 would have been familiar with.
https://wn.com/Ernst_Von_Dohnányi_Variations_On_A_Nursery_Tune,_Op._25_(1914)
Ernst von Dohnányi (Hungarian: Dohnányi Ernő 27 July 1877 – 9 February 1960) was a Hungarian composer, pianist and conductor. He used a German form of his name on most of his published compositions.
Variaitions on a Nursery Tune, Op. 25 (1914)
Introduction. Maestoso
Theme. Allegro
Variation I. Poco più mosso
Variation II. Risoluto
Variation III. L'istesso tempo
Variation IV. Molto meno mosso (Allegretto moderato)
Variation V. Più mosso
Variation VI. Ancora più mosso (Allegro)
Variation VII. Walzer (Tempo Giusto)
Variation VIII. Alla marcia (Allegro moderato)
Variation IX. Presto
Variation X. Passacaglia (Adagio non troppo)
Variation XI. Choral (Maestoso)
Finale fugato (Allegro vivace)
Victor Aller, piano and the Concert Arts Orchestra conducted by Felix Slatkin
The Variations on a Nursery Tune, Op. 25 is subtitled For the enjoyment of humorous people and for the annoyance of others.
Written in 1914, it captures the spirit of Romanticism, and manages to delight and enthrall in its sparkling piano writing and lush orchestral textures, and its wit in the treatment of the theme – the French nursery song Ah, vous dirai-je, Maman, otherwise known as Twinkle Twinkle Little Star. Like Dohnányi, Mozart also wrote variations on this nursery tune (K. 265/300e).
The Introduction is Wagnerian in its writing, with faux pathos, brasses blaring and strings thick and dense. The outline of the theme appears indistinctly but unmistakably in the horns, a hint of what is to come. After a long drawn-out conclusion which grows ever quieter while continually building the tension, we have a belch from the orchestra and a short pause, followed by a quiet restatement of the theme on the piano accompanied by pizzicato strings.
What follows is a witty, artful set of variations ranging from the innocent first variation to the romantic third variation, the scurrying sixth variation, the boisterous, overcooked waltz in the seventh variation and the pathos-laden tenth variation which alludes to the Wagnerian opening. Dohnányi treats the piano and orchestra as equals – every instrument is given its chance to shine.
Dohnányi alludes to many different works, or composers' distinctive compositional styles, in the piece. For instance, variation 8 suggests the march from the second movement of Tchaikovsky's "Little Russian" Symphony. Debussy is alluded to, with the ethereal harmonies of the 11th variation. Dohnányi pokes fun at nearly every composer his audience of 1914 would have been familiar with.
- published: 04 Apr 2020
- views: 29502
28:45
Ernő Dohnányi - Piano Quintet No. 1 in C minor Op. 1 [score + audio]
- Order: Reorder
- Duration: 28:45
- Uploaded Date: 22 Aug 2018
- views: 118039
performed by Trio Nota Bene with Shmuel Ashkenasi (violin) and Nobuko Imai (viola) - http://www.trionotabene.ch/index.php?nav=11&subnav=18&sub=1
00:00 I Allegr...
performed by Trio Nota Bene with Shmuel Ashkenasi (violin) and Nobuko Imai (viola) - http://www.trionotabene.ch/index.php?nav=11&subnav=18&sub=1
00:00 I Allegro
08:31 II Scherzo. Allegro
13:43 III Adagio, quasi andante
20:14 IV Finale. Allegro animato
"Opus 1” in a musical oeuvre is rarely considered as a really significant piece of the given composer’s works. It seems that the Hungarian composer−pianist Ernst von (Ernő) Dohnányi (1877−1960) belongs to the few exceptions: his Piano Quintet in C Minor, op. 1, had always been one of his most popular works. Dohnányi’s case, however, is a rather special one. Firstly, because he was an extraordinarily mature musical talent at the age of 17 when this Quintet was written. (We should add, though, that “Opus 1” was preceded by a great amount of juvenile works.) And secondly, only in a special situation could a very first adult work from 1895 remain emblematic throughout a long, 20th-century musical career – namely if the compositional style did not change much, and if the composer used approximately the same post-romantic musical language in his whole life. Was Dohnányi an extreme conservative thinker, or simply an old-fashioned musician, or maybe a bravely independent creator? Whatever our judgment is, the fact is that his musical style seems to be somewhat anachronistic in its age, but at the same time, his works are of a very high quality. This stirring duality makes his person more and more interesting among the 21st-century music-lovers.
The Piano Quintet in C Minor was composed in Dohnányi’s first year at the Liszt Academy of Music in Budapest. He arrived there as a brilliant talent from his hometown, Pozsony (then rather Pressburg, now Bratislava, Slovakia), where he grew up in an intellectual and harmonic bourgeois family. His father, who navigated the son’s life in a strict though gentle way, did not allow Ernst to become a child prodigy, and tried to give his fabulously talented boy an ordinary life as long as he could. This job, however, was not easy: the seventeen-year-old musician was enthusiastically praised by his teachers, colleagues and audience, and the Piano Quintet in C Minor was even acclaimed by Johannes Brahms, who allegedly said that “nobody could write it better, neither did I”. Brahms’s reputed laudation became a crucial point in the reception of the Quintet: contemporary critics alongside with their recent colleagues agree that the piece is strongly influenced by Brahms, see for example its captivatingly intense and thick beginning. But it is not the only German maestro who appears in the young Dohnányi’s musical world. The greatest Hungarian composer, Béla Bartók, as a few-year younger friend and rival of Dohnányi drew attention to many reminiscences of the piece in a personal letter such as resemblances to certain Schumann- or Wagner-pieces. He must be right but these similarities do not really infect the genuineness of the piece: the almost combatively passionate climax of the main theme, the strikingly intimate tone of the second theme in the relative major, or the many enchantingly instrumentated moments (such as the pizzicato strings above the piano mixtures in the second theme) all seem to be deeply “true” for the listener. The only weaker point of the movement is provably its ending: the triumphant recapitulation of the major transformation of the first theme. Movements II and III, a volatile Scherzo and a perfectly-written Adagio, quasi andante also show well the young Dohnányi’s unforced link to the late-Romantic tradition. The finale is a large-scale musical buildup which is dominated by a youthfully dynamic main theme, full of exhilaration, and which ends, as a summary, with the Beethovenian recapitulations of some earlier themes of the previous movements
I do not own the content provided. The usage of copyrighted materials is solely for educational purposes.
subscribe for new videos each week
https://wn.com/Ernő_Dohnányi_Piano_Quintet_No._1_In_C_Minor_Op._1_Score_Audio
performed by Trio Nota Bene with Shmuel Ashkenasi (violin) and Nobuko Imai (viola) - http://www.trionotabene.ch/index.php?nav=11&subnav=18&sub=1
00:00 I Allegro
08:31 II Scherzo. Allegro
13:43 III Adagio, quasi andante
20:14 IV Finale. Allegro animato
"Opus 1” in a musical oeuvre is rarely considered as a really significant piece of the given composer’s works. It seems that the Hungarian composer−pianist Ernst von (Ernő) Dohnányi (1877−1960) belongs to the few exceptions: his Piano Quintet in C Minor, op. 1, had always been one of his most popular works. Dohnányi’s case, however, is a rather special one. Firstly, because he was an extraordinarily mature musical talent at the age of 17 when this Quintet was written. (We should add, though, that “Opus 1” was preceded by a great amount of juvenile works.) And secondly, only in a special situation could a very first adult work from 1895 remain emblematic throughout a long, 20th-century musical career – namely if the compositional style did not change much, and if the composer used approximately the same post-romantic musical language in his whole life. Was Dohnányi an extreme conservative thinker, or simply an old-fashioned musician, or maybe a bravely independent creator? Whatever our judgment is, the fact is that his musical style seems to be somewhat anachronistic in its age, but at the same time, his works are of a very high quality. This stirring duality makes his person more and more interesting among the 21st-century music-lovers.
The Piano Quintet in C Minor was composed in Dohnányi’s first year at the Liszt Academy of Music in Budapest. He arrived there as a brilliant talent from his hometown, Pozsony (then rather Pressburg, now Bratislava, Slovakia), where he grew up in an intellectual and harmonic bourgeois family. His father, who navigated the son’s life in a strict though gentle way, did not allow Ernst to become a child prodigy, and tried to give his fabulously talented boy an ordinary life as long as he could. This job, however, was not easy: the seventeen-year-old musician was enthusiastically praised by his teachers, colleagues and audience, and the Piano Quintet in C Minor was even acclaimed by Johannes Brahms, who allegedly said that “nobody could write it better, neither did I”. Brahms’s reputed laudation became a crucial point in the reception of the Quintet: contemporary critics alongside with their recent colleagues agree that the piece is strongly influenced by Brahms, see for example its captivatingly intense and thick beginning. But it is not the only German maestro who appears in the young Dohnányi’s musical world. The greatest Hungarian composer, Béla Bartók, as a few-year younger friend and rival of Dohnányi drew attention to many reminiscences of the piece in a personal letter such as resemblances to certain Schumann- or Wagner-pieces. He must be right but these similarities do not really infect the genuineness of the piece: the almost combatively passionate climax of the main theme, the strikingly intimate tone of the second theme in the relative major, or the many enchantingly instrumentated moments (such as the pizzicato strings above the piano mixtures in the second theme) all seem to be deeply “true” for the listener. The only weaker point of the movement is provably its ending: the triumphant recapitulation of the major transformation of the first theme. Movements II and III, a volatile Scherzo and a perfectly-written Adagio, quasi andante also show well the young Dohnányi’s unforced link to the late-Romantic tradition. The finale is a large-scale musical buildup which is dominated by a youthfully dynamic main theme, full of exhilaration, and which ends, as a summary, with the Beethovenian recapitulations of some earlier themes of the previous movements
I do not own the content provided. The usage of copyrighted materials is solely for educational purposes.
subscribe for new videos each week
- published: 22 Aug 2018
- views: 118039
30:23
Ernő Dohnányi Sextet in C major, Op.37
- Order: Reorder
- Duration: 30:23
- Uploaded Date: 25 Jan 2025
- views: 139
Pf.배서현
Vn.하성민
Va.최석훈
Vc.이윤지
Hn.신승환
Cl.이정준
Pf.배서현
Vn.하성민
Va.최석훈
Vc.이윤지
Hn.신승환
Cl.이정준
https://wn.com/Ernő_Dohnányi_Sextet_In_C_Major,_Op.37
Pf.배서현
Vn.하성민
Va.최석훈
Vc.이윤지
Hn.신승환
Cl.이정준
- published: 25 Jan 2025
- views: 139
28:51
Ernő Dohnányi : Suite in F-sharp minor for orchestra Op. 19 (1908-09)
- Order: Reorder
- Duration: 28:51
- Uploaded Date: 12 Dec 2020
- views: 4374
I. Andante con variazioni
Tema. Andante con moto 0:00
Variation I. Piu animato 1:30
Variation II. Animato 2:50
Variation III. Andante tranquillo 4:15
Variation...
I. Andante con variazioni
Tema. Andante con moto 0:00
Variation I. Piu animato 1:30
Variation II. Animato 2:50
Variation III. Andante tranquillo 4:15
Variation IV. Allegro 5:45
Variation V. Vivace 6:55
Variation VI. Adagio 7:55
II. Scherzo 11:00
III. Romanza 15:25
IV. Rondo 21:25
Performed by the BBC Philharmonic conducted by Matthias Bamert.
https://wn.com/Ernő_Dohnányi_Suite_In_F_Sharp_Minor_For_Orchestra_Op._19_(1908_09)
I. Andante con variazioni
Tema. Andante con moto 0:00
Variation I. Piu animato 1:30
Variation II. Animato 2:50
Variation III. Andante tranquillo 4:15
Variation IV. Allegro 5:45
Variation V. Vivace 6:55
Variation VI. Adagio 7:55
II. Scherzo 11:00
III. Romanza 15:25
IV. Rondo 21:25
Performed by the BBC Philharmonic conducted by Matthias Bamert.
- published: 12 Dec 2020
- views: 4374
PLAYLIST TIME:
PLAYLIST TIME:
20:53
Ernő Dohnányi – Serenade
🎶 LIKE and SUBSCRIBE for more score videos! → https://www.youtube.com/StefanoPaparozzi
Er...
published: 13 Apr 2020
Ernő Dohnányi – Serenade
Ernő Dohnányi – Serenade
- Report rights infringement
- published: 13 Apr 2020
- views: 64838
🎶 LIKE and SUBSCRIBE for more score videos! → https://www.youtube.com/StefanoPaparozzi
Ernő Dohnányi (1877-1960)
Serenade for String Trio, op. 10 (1902-03)
I. Marcia. Allegro [00:00]
II. Romanza. Adagio non troppo, quasi andante [02:06]
III. Scherzo. Vivace [5:49]
IV. Tema con variazioni. Andante con moto [10:18]
V. Rondo (Finale). Allegro vivace [16:40]
Audio from: https://www.youtube.com/watch?v=1tVIGGrLpGU
Score from: https://imslp.org/wiki/Serenade%2C_Op.10_(Dohn%C3%A1nyi%2C_Ern%C5%91)
3:42
Ernst von Dohnányi/Ernő Dohnányi
My Patreon Side :https://www.patreon.com/billentyu007
ERNST VON DOHNÁNYI 1877-1960
Dohnán...
published: 24 May 2010
Ernst von Dohnányi/Ernő Dohnányi
Ernst von Dohnányi/Ernő Dohnányi
- Report rights infringement
- published: 24 May 2010
- views: 25349
My Patreon Side :https://www.patreon.com/billentyu007
ERNST VON DOHNÁNYI 1877-1960
Dohnányi Ernő Tanít a Zeneakadémián
A Nagy Magyar Zongoraművész ,Karmester,Zeneszerző,
#franzliszt , #dohnanyi
20:31
Ernő Dohnányi - 6 Concert Etudes Op. 28 (audio + sheet music)
The Six Concert Etudes, Op.28 are bravura pieces for steel fingers and marathon stamina - ...
published: 08 Dec 2017
Ernő Dohnányi - 6 Concert Etudes Op. 28 (audio + sheet music)
Ernő Dohnányi - 6 Concert Etudes Op. 28 (audio + sheet music)
- Report rights infringement
- published: 08 Dec 2017
- views: 85411
The Six Concert Etudes, Op.28 are bravura pieces for steel fingers and marathon stamina - from start to finish there is no time to catch a breath.
The first Etude's solemn, pounding melody, introduced at the beginning by the left hand, is literally showered by swift torrents of chords played initially by the right hand; the hands alternate in their roles, producing a spectacular effect.
In the second Etude, three groups of two sixths in one hand whizz by three groups of three notes in the other; the listener hears a coy, playful scherzo, while the pianist contends with a significant test of dexterity.
The third Etude deserves to be experienced not just aurally but also visually; the finger acrobatics, where the two hands play interlaced throughout, one under the other, are something unique that has to be seen to be believed.
Etude No.4 recalls the majestic march-like flavour of the first Etude; its insistent bass melody imbues the piece with both sadness and dignity.
Etude No.5 is a rush of demisemiquavers, an avalanche of sparkling musical frosting.
The sixth and final concert Etude, subtitled Capriccio, is the best known of the set, one of Dohnanyi's most popular piano solo compositions, and an enduring, favourite encore of virtuoso pianists everywhere.
(Naxos Music Library)
Please take note that the audio AND sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.
Original audio: naxosmusiclibrary.com
(Performance by: Markus Pawlik)
Original sheet music: http://imslp.org/wiki/6_Konzertet%C3%BCden%2C_Op.28_(Dohn%C3%A1nyi%2C_Ern%C5%91)
40:10
DOHNÁNYI ERNŐ - portréműsor
published: 30 Jan 2018
DOHNÁNYI ERNŐ - portréműsor
30:02
Ernő Dohnányi - Ruralia Hungarica, Op.32a
- - - -
Intro : [0:00]
I. Allegretto, molto tenero [0:05]
II. Presto, ma non tanto [2:20]
...
published: 14 Oct 2024
Ernő Dohnányi - Ruralia Hungarica, Op.32a
Ernő Dohnányi - Ruralia Hungarica, Op.32a
- Report rights infringement
- published: 14 Oct 2024
- views: 258
- - - -
Intro : [0:00]
I. Allegretto, molto tenero [0:05]
II. Presto, ma non tanto [2:20]
III. Andante poco moto, rubato [6:03]
IV. Vivace [14:34]
V. Allegro grazioso [17:57]
VI. Adagio non troppo [20:04]
VIII. Molto vivace [27:46]
- - - -
Piano : Valentina Tóth
- - - -
Ernst von Dohnányi was a Hungarian composer, pianist and conductor. He used the German form of his name on most published compositions.
Dohnányi's composing style was personal, but very conservative. His music largely subscribes to the Romantic idiom. Although he used elements of Hungarian folk music, he is not seen to draw on folk traditions in the way that Bartók or Kodály do. Some characterize his style as traditional mainstream Euro-Germanic in the Brahmsian manner (structurally more than in the way the music actually sounds) rather than specifically Hungarian, while others hear very little of Brahms in his music. The very best of his works may be his Serenade in C major for string trio, Op. 10 (1902) and Variations on a Nursery Tune for piano and orchestra, Op. 25 (1914). His Second symphony is a major work which he composed during the Second World War. It is uncharacteristically sombre, notably in the third movement, which is grotesque and dissonant.
28:51
Dohnanyi: Piano Concerto No.2 Op.42 / Shelley · Bamert · BBC Philharmonic Orchestra
This Video is for Educational Purpose only.
Erno Dohnanyi: Piano Concerto No.2 Op.42
Pian...
published: 19 Oct 2018
Dohnanyi: Piano Concerto No.2 Op.42 / Shelley · Bamert · BBC Philharmonic Orchestra
Dohnanyi: Piano Concerto No.2 Op.42 / Shelley · Bamert · BBC Philharmonic Orchestra
- Report rights infringement
- published: 19 Oct 2018
- views: 13935
This Video is for Educational Purpose only.
Erno Dohnanyi: Piano Concerto No.2 Op.42
Piano: Howard Shelley
Conduct: Matthias Bamert
BBC Philharmonic Orchestra
*Painting: Alexander Keirincx
25:02
Ernst von Dohnányi - Variations on a Nursery Tune, Op. 25 (1914)
Ernst von Dohnányi (Hungarian: Dohnányi Ernő 27 July 1877 – 9 February 1960) was a Hungari...
published: 04 Apr 2020
Ernst von Dohnányi - Variations on a Nursery Tune, Op. 25 (1914)
Ernst von Dohnányi - Variations on a Nursery Tune, Op. 25 (1914)
- Report rights infringement
- published: 04 Apr 2020
- views: 29502
Ernst von Dohnányi (Hungarian: Dohnányi Ernő 27 July 1877 – 9 February 1960) was a Hungarian composer, pianist and conductor. He used a German form of his name on most of his published compositions.
Variaitions on a Nursery Tune, Op. 25 (1914)
Introduction. Maestoso
Theme. Allegro
Variation I. Poco più mosso
Variation II. Risoluto
Variation III. L'istesso tempo
Variation IV. Molto meno mosso (Allegretto moderato)
Variation V. Più mosso
Variation VI. Ancora più mosso (Allegro)
Variation VII. Walzer (Tempo Giusto)
Variation VIII. Alla marcia (Allegro moderato)
Variation IX. Presto
Variation X. Passacaglia (Adagio non troppo)
Variation XI. Choral (Maestoso)
Finale fugato (Allegro vivace)
Victor Aller, piano and the Concert Arts Orchestra conducted by Felix Slatkin
The Variations on a Nursery Tune, Op. 25 is subtitled For the enjoyment of humorous people and for the annoyance of others.
Written in 1914, it captures the spirit of Romanticism, and manages to delight and enthrall in its sparkling piano writing and lush orchestral textures, and its wit in the treatment of the theme – the French nursery song Ah, vous dirai-je, Maman, otherwise known as Twinkle Twinkle Little Star. Like Dohnányi, Mozart also wrote variations on this nursery tune (K. 265/300e).
The Introduction is Wagnerian in its writing, with faux pathos, brasses blaring and strings thick and dense. The outline of the theme appears indistinctly but unmistakably in the horns, a hint of what is to come. After a long drawn-out conclusion which grows ever quieter while continually building the tension, we have a belch from the orchestra and a short pause, followed by a quiet restatement of the theme on the piano accompanied by pizzicato strings.
What follows is a witty, artful set of variations ranging from the innocent first variation to the romantic third variation, the scurrying sixth variation, the boisterous, overcooked waltz in the seventh variation and the pathos-laden tenth variation which alludes to the Wagnerian opening. Dohnányi treats the piano and orchestra as equals – every instrument is given its chance to shine.
Dohnányi alludes to many different works, or composers' distinctive compositional styles, in the piece. For instance, variation 8 suggests the march from the second movement of Tchaikovsky's "Little Russian" Symphony. Debussy is alluded to, with the ethereal harmonies of the 11th variation. Dohnányi pokes fun at nearly every composer his audience of 1914 would have been familiar with.
28:45
Ernő Dohnányi - Piano Quintet No. 1 in C minor Op. 1 [score + audio]
performed by Trio Nota Bene with Shmuel Ashkenasi (violin) and Nobuko Imai (viola) - http:...
published: 22 Aug 2018
Ernő Dohnányi - Piano Quintet No. 1 in C minor Op. 1 [score + audio]
Ernő Dohnányi - Piano Quintet No. 1 in C minor Op. 1 [score + audio]
- Report rights infringement
- published: 22 Aug 2018
- views: 118039
performed by Trio Nota Bene with Shmuel Ashkenasi (violin) and Nobuko Imai (viola) - http://www.trionotabene.ch/index.php?nav=11&subnav=18&sub=1
00:00 I Allegro
08:31 II Scherzo. Allegro
13:43 III Adagio, quasi andante
20:14 IV Finale. Allegro animato
"Opus 1” in a musical oeuvre is rarely considered as a really significant piece of the given composer’s works. It seems that the Hungarian composer−pianist Ernst von (Ernő) Dohnányi (1877−1960) belongs to the few exceptions: his Piano Quintet in C Minor, op. 1, had always been one of his most popular works. Dohnányi’s case, however, is a rather special one. Firstly, because he was an extraordinarily mature musical talent at the age of 17 when this Quintet was written. (We should add, though, that “Opus 1” was preceded by a great amount of juvenile works.) And secondly, only in a special situation could a very first adult work from 1895 remain emblematic throughout a long, 20th-century musical career – namely if the compositional style did not change much, and if the composer used approximately the same post-romantic musical language in his whole life. Was Dohnányi an extreme conservative thinker, or simply an old-fashioned musician, or maybe a bravely independent creator? Whatever our judgment is, the fact is that his musical style seems to be somewhat anachronistic in its age, but at the same time, his works are of a very high quality. This stirring duality makes his person more and more interesting among the 21st-century music-lovers.
The Piano Quintet in C Minor was composed in Dohnányi’s first year at the Liszt Academy of Music in Budapest. He arrived there as a brilliant talent from his hometown, Pozsony (then rather Pressburg, now Bratislava, Slovakia), where he grew up in an intellectual and harmonic bourgeois family. His father, who navigated the son’s life in a strict though gentle way, did not allow Ernst to become a child prodigy, and tried to give his fabulously talented boy an ordinary life as long as he could. This job, however, was not easy: the seventeen-year-old musician was enthusiastically praised by his teachers, colleagues and audience, and the Piano Quintet in C Minor was even acclaimed by Johannes Brahms, who allegedly said that “nobody could write it better, neither did I”. Brahms’s reputed laudation became a crucial point in the reception of the Quintet: contemporary critics alongside with their recent colleagues agree that the piece is strongly influenced by Brahms, see for example its captivatingly intense and thick beginning. But it is not the only German maestro who appears in the young Dohnányi’s musical world. The greatest Hungarian composer, Béla Bartók, as a few-year younger friend and rival of Dohnányi drew attention to many reminiscences of the piece in a personal letter such as resemblances to certain Schumann- or Wagner-pieces. He must be right but these similarities do not really infect the genuineness of the piece: the almost combatively passionate climax of the main theme, the strikingly intimate tone of the second theme in the relative major, or the many enchantingly instrumentated moments (such as the pizzicato strings above the piano mixtures in the second theme) all seem to be deeply “true” for the listener. The only weaker point of the movement is provably its ending: the triumphant recapitulation of the major transformation of the first theme. Movements II and III, a volatile Scherzo and a perfectly-written Adagio, quasi andante also show well the young Dohnányi’s unforced link to the late-Romantic tradition. The finale is a large-scale musical buildup which is dominated by a youthfully dynamic main theme, full of exhilaration, and which ends, as a summary, with the Beethovenian recapitulations of some earlier themes of the previous movements
I do not own the content provided. The usage of copyrighted materials is solely for educational purposes.
subscribe for new videos each week
30:23
Ernő Dohnányi Sextet in C major, Op.37
Pf.배서현
Vn.하성민
Va.최석훈
Vc.이윤지
Hn.신승환
Cl.이정준
published: 25 Jan 2025
Ernő Dohnányi Sextet in C major, Op.37
Ernő Dohnányi Sextet in C major, Op.37
- Report rights infringement
- published: 25 Jan 2025
- views: 139
Pf.배서현
Vn.하성민
Va.최석훈
Vc.이윤지
Hn.신승환
Cl.이정준
28:51
Ernő Dohnányi : Suite in F-sharp minor for orchestra Op. 19 (1908-09)
I. Andante con variazioni
Tema. Andante con moto 0:00
Variation I. Piu animato 1:30
Varia...
published: 12 Dec 2020
Ernő Dohnányi : Suite in F-sharp minor for orchestra Op. 19 (1908-09)
Ernő Dohnányi : Suite in F-sharp minor for orchestra Op. 19 (1908-09)
- Report rights infringement
- published: 12 Dec 2020
- views: 4374
I. Andante con variazioni
Tema. Andante con moto 0:00
Variation I. Piu animato 1:30
Variation II. Animato 2:50
Variation III. Andante tranquillo 4:15
Variation IV. Allegro 5:45
Variation V. Vivace 6:55
Variation VI. Adagio 7:55
II. Scherzo 11:00
III. Romanza 15:25
IV. Rondo 21:25
Performed by the BBC Philharmonic conducted by Matthias Bamert.
Ernő Dohnányi
Ernő Dohnányi (Hungarian: [ˈɛrnøː ˈdohnaːɲi]; July 27, 1877 – February 9, 1960) was a Hungarian composer, pianist and conductor. He used a German form of his name, Ernst von Dohnányi, on most of his published compositions. The "von" implies nobility, and, according to the biography by his third wife, his family was ennobled in 1697 and given a "seal," which she describes in some detail.
Biography
Dohnányi was born in Pozsony, Kingdom of Hungary, Austria-Hungary (today Bratislava, capital of Slovakia). He first studied music with his father, a professor of mathematics and an amateur cellist, and then, when he was eight years old, with Carl Forstner, organist at the local cathedral. In 1894, in his seventeenth year, he moved to Budapest and enrolled in the Royal National Hungarian Academy of Music, studying piano with István Thomán and composition with Hans von Koessler, a cousin of Max Reger. István Thomán was a favorite student of Franz Liszt and Hans von Koessler was a devotee of Johannes Brahms music. These two influences played an important role during Dohnányi's entire life: Liszt in his way of playing piano and Brahms in his compositions. Dohnányi's first published composition, his Piano Quintet in C minor, earned the approval of Johannes Brahms, who promoted the work in Vienna.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Ernő_Dohnányi
Ernő Dohnányi – Serenade...
Ernst von Dohnányi/Ernő Dohnányi...
Ernő Dohnányi - 6 Concert Etudes Op. 28 (audio + s...
DOHNÁNYI ERNŐ - portréműsor...
Ernő Dohnányi - Ruralia Hungarica, Op.32a...
Dohnanyi: Piano Concerto No.2 Op.42 / Shelley · Ba...
Ernst von Dohnányi - Variations on a Nursery Tune,...
Ernő Dohnányi - Piano Quintet No. 1 in C minor Op....
Ernő Dohnányi Sextet in C major, Op.37...