- published: 14 Apr 2014
- views: 13468
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State university system
A state university system in the United States is a group of public universities supported by an individual state, or a similar entity such as the District of Columbia. These systems constitute the majority of public-funded universities in the country. Each state supports at least one such system.
State university systems should not be confused with federally funded colleges and universities, at which attendance is limited to military personnel and government employees. Members of foreign militaries and governments also attend some schools. These schools include the United States military academies, Naval Postgraduate School, and military staff colleges.
A state university system normally means a single legal entity and administration, but may consist of several institutions, each with its own identity as a university. Some states—such as California and Texas—support more than one such system.
State universities get subsidies from their states. The amount of the subsidy varies from university to university and state to state, but the effect is to lower tuition costs below that of private universities for students from that state or district. As more and more Americans attend college, and private tuition rates increase well beyond the rate of inflation, admission to state universities is becoming more and more competitive.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/State_university_system
State Universities and Colleges (Philippines)
State Universities and Colleges (SUC) in the Philippines refers to any public institution of higher learning that was created by an Act passed by the Philippine Congress. These institutions are fully subsidized by the National Government, and may be considered as a corporate body.
Among the State Colleges and Universities in the country, the University of the Philippines has always been recognized as the nation's premier university and has likewise been strengthened by law (Republic Act 9500) as the "National University" of the Philippines.
Endowment
SUCs lamented the Philippine government's inadequate financial aid. For the 2003-2004, SUCs only had PHP 16.8 billion, and about 40 percent of it went to the University of the Philippines and the Mindanao State University. However, in 2008, the Philippine Congress allotted PHP 20.8 billion in subsidy for the operations of state universities and colleges.
Collectively, SUCs have a student population of approximately 865,000, which means that every student is subsidized by an average of PHP 24,000 per school year. Each Filipino family contributes PHP 1,185 a year to run these schools through their tax payments. Of the total amount, PHP 15.4 billion for the salaries of faculty members and employees.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/State_Universities_and_Colleges_(Philippines)
State university (disambiguation)
A state university is a state-funded institution in one of the state university systems in the United States.
State university may also refer to:
See also
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/State_university_(disambiguation)
State University of Music and Performing Arts Stuttgart
The State University of Music and Performing Arts Stuttgart is a professional school for musicians and performing artists in Stuttgart, Germany. Founded in 1857, it is one of the oldest schools of its kind in Germany.
The school was founded in 1857 as "Stuttgarter Musikschule" (Stuttgart music school) by Sigmund Lebert, Immanuel Faißt, Wilhelm Speidel and Ludwig Stark. It was named a conservatory in 1865. From 1869 it was named "Königliches Konservatorium für Musik" (Royal conservatory of music) of the Kingdom of Württemberg, and from 1921 "Württembergische Hochschule für Musik" (Wurttemberg university of music).
Notable teachers and students
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/State_University_of_Music_and_Performing_Arts_Stuttgart
Podcasts:
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Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart
Die HMDK Stuttgart wurde 1857 gegründet und ist damit die älteste und mit fast 800 Studierenden auch die größte Musikhochschule in Baden-Württemberg. Als Teil der Stuttgarter Kulturmeile ist sie nicht nur als Hochschule, sondern auch als Konzertveranstalter und kulturelles Zentrum für Stuttgart und die Region von großer Bedeutung. Machen Sie mit uns einen Rundgang durch die Hochschule und besuchen Sie uns unter http://www.hmdk-stuttgart.de/home/
published: 14 Apr 2014 -
Stuttgart Academic Orchestra perform Axel Ruoff “Belschazzar”
Belschazzar - a dance ritual for organ and orchestra - Axel Ruoff (* 1957) The Stuttgart Academic Orchestra Veronika Stoertzenbach, conductor Peter Schleicher, solo organ (State University of Music and the Performing Arts Stuttgart) Recorded Live at the Endler Hall, Stellenbosch, 2014. Programme note: Axel Ruoff has been a professor at the University of Music and the Performing Arts Stuttgart since 1992. His composition “Belschazzar” from 2004 – “a dance ritual for organ and orchestra” – was premiered in Stuttgart in 2008. The feast of Belschazzar is a Bible story that hearkens back to the Babylonian regents. A threatening, mysterious “writing on the wall” appeared to the renegade sovereign rebelling against God, and presaged the decline of Babylon. Axel Ruoff depicts the scenes – th...
published: 11 Nov 2020 -
Stuttgart Academic Orchestra Full Concert
The Stuttgard Academic Orchestra Veronika Stoertzenbach, conductor The is part of a nationwide tour that included concerts in Pretoria, Port Elizabeth, East London and several venues in the Western Cape. The varied program included: Suite from 'Die Fledermaus' by J. Strauss Jupiter The Bringer of Jollity from Holst's 'The Planets' - Gustav Holst Rococo Variations (original version) - P. I. Tchaikovsky Recorded Live at the Endler Hall, Stellenbosch, 2014. Licensed to YouTube by SME (on behalf of Sony Classical); LatinAutor - UMPG, Public Domain Compositions, LatinAutor, LatinAutor - Warner Chappell, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, and 1 Music Rights Societies --- The Academic Orchestra of the University of Stuttgart’s musical tour of South Africa, was co-hosted by th...
published: 17 Sep 2020 -
Inês Martins de Sousa - III. Stuttgart International Classic Guitar Competition 2024, 1st Round
00:00 1. Johann Sebastian Bach: from the 2nd Violin Sonata BWV 1003 Allegro 03:14 2. Leo Brouwer: Hika The competition takes place as part of the SICG Festival at the State University of Music and Performing Arts Stuttgart. http://www.sicg-festival.de
published: 25 May 2024 -
calens: 'Shenandoah' arr. Frederic Mattes
calens vocalensemble stuttgart sings the well known traditional American melody of "Shenandoah" in a new arrangement of Frederic Mattes within a Live concert at the State University of Music and the Performing Arts Stuttgart. S: Katariina Westhäußer-Kowalski & Frederika Westhäußer-Kowalski (sub. for Franziska Bubeck) A: Marlene Frisch & Maria Magdalena Wessel T: Yannick Federmann & Jakob Frisch B: Florian Wolf & Frederic Mattes Produktion: Künstlerisches Betriebsbüro: Jörg Schmidt Grafik/Print: Katrin Klappert Kamera: Hannes Kieselbach, Björn Hartmann, Lukas Knobloch Licht: Chris Beckett Bildregie: Johann Schimon Sendeton: Christian Tobias, Klara Schulmeyer Beschallung: Andreas Michel Aufnahmeleitung: Walter Schimon Produktionsleitung: Arne Morgner
published: 11 Jan 2024 -
Liebesleid 1911 / 2019 – Reenactment of Fritz Kreisler’s 1911 “Love’s Sorrow” Recording
Liebesleid 1911 / 2019 University of Music and Performing Arts Stuttgart, 2019 project leader: Frithjof Vollmer 1) Fritz Kreisler (vl), Haddon Squire (p): “Liebesleid”, recorded November 6th, 1911, Gramophone Company (“His Master’s Voice") London, sound engineer: Fred Gaisberg … reproduced on a HMV Model B (H.B.O., built between 1912–1915), soundbox: HMV No. 2. vs. 2) Johannes Brzoska (vl), Sophia Weidemann (p): “Liebesleid. Fassung der Produktion HMV London 1911 (Kreisler/Squire)”, recorded November 16th, 2019 at the University of Music and Performing Arts Stuttgart … digitally modified with 1) matched-filter estimation (impulse response) of Kreisler's original recording chain, 2) measured impulse response of the HMV Model B gramophone (impulse responses by Boris-Alexander Bolles, Detm...
published: 02 Nov 2020 -
Beethoven's Concerto for Piano and Orchestra No. 1
Elisabeth Hermelink plays a piano solo in Beethoven's Concerto for Piano and Orchestra No. 1, C-Major, Op. 15 - Part 1 - together with "Junges Kammerorchester Stuttgart der Stuttgarter Musikhochschule" (Young Chamber Orchestra of State University of Music and the Performing Arts Stuttgart, Germany)
published: 07 Sep 2013 -
Seonghyeon Cho - III. Stuttgart International Classic Guitar Competition 2024, 1st Round
Manuel Maria Ponce: from Sonata Romantic: 00:00 1. Allegro moderato 05:37 3. Allegretto Vivo The competition takes place as part of the SICG Festival at the State University of Music and Performing Arts Stuttgart. http://www.sicg-festival.de
published: 24 May 2024 -
Cheryl Studer; "Repentir"; Charles Gounod
This channel is the re-establishment of previous channels that have been sadly terminated. ========================= Cheryl Studer--soprano London Symphony Orchestra Ion Marin--conductor 1991 ================================= "Born in Midland, Michigan, American soprano Cheryl Studer studied piano and viola and at the age of 12 began voice lessons. She graduated from the University of Music and Acting in Vienna, where she studied with Hans Hotter. Her career took off in 1979 when Seiji Ozawa offered her a series of concerts with the Boston Symphony Orchestra. Since then, she has appeared regularly in leading opera houses (La Scala, Covent Garden, Metropolitan Opera New York, Vienna State Opera, Grand Opera of Paris), as well as with the most prestigious festivals such as Salzburg, Bayreu...
published: 26 Jun 2024 -
Alexander Sonderegger | Joseph Haydn - Sonata Hob. XVI:32 in b minor, Allegro moderato
https://www.alexander-sonderegger.com/ Alexander Sonderegger has performed with orchestras including the Stuttgarter Philharmoniker, the Orquesta Sinfónica de la Región de Murcia, Spain, the Sinfonietta Lentua Orchestra in Kuhmo, Finnland, the Murmansk Philharmonic, Russia, and the Morocco Philharmonic Orchestra. He has also collaborated with the conductor Patrick Strub, performing concertos by Grieg and Tchaikovsky at the Liederhalle Beethoven Hall in Stuttgart. Alexander Sonderegger was born in 1991 in Petrozavodsk, Russia, to a family of musicians and studied at the Petrozavodsk State Glazunov Conservatory under Viktor Portnoi. In 2008, he attended the State University of Music and Performing Arts in Stuttgart where he was taught by Kirill Gerstein, Shoshana Rudiakov, Péter Nagy and F...
published: 04 Apr 2021
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6:11
Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart
- Order: Reorder
- Duration: 6:11
- Uploaded Date: 14 Apr 2014
- views: 13468
Die HMDK Stuttgart wurde 1857 gegründet und ist damit die älteste und mit fast 800 Studierenden auch die größte Musikhochschule in Baden-Württemberg.
Als Teil...
Die HMDK Stuttgart wurde 1857 gegründet und ist damit die älteste und mit fast 800 Studierenden auch die größte Musikhochschule in Baden-Württemberg.
Als Teil der Stuttgarter Kulturmeile ist sie nicht nur als Hochschule, sondern auch als Konzertveranstalter und kulturelles Zentrum für Stuttgart und die Region von großer Bedeutung.
Machen Sie mit uns einen Rundgang durch die Hochschule
und besuchen Sie uns unter http://www.hmdk-stuttgart.de/home/
https://wn.com/Staatliche_Hochschule_Für_Musik_Und_Darstellende_Kunst_Stuttgart
Die HMDK Stuttgart wurde 1857 gegründet und ist damit die älteste und mit fast 800 Studierenden auch die größte Musikhochschule in Baden-Württemberg.
Als Teil der Stuttgarter Kulturmeile ist sie nicht nur als Hochschule, sondern auch als Konzertveranstalter und kulturelles Zentrum für Stuttgart und die Region von großer Bedeutung.
Machen Sie mit uns einen Rundgang durch die Hochschule
und besuchen Sie uns unter http://www.hmdk-stuttgart.de/home/
14:49
Stuttgart Academic Orchestra perform Axel Ruoff “Belschazzar”
- Order: Reorder
- Duration: 14:49
- Uploaded Date: 11 Nov 2020
- views: 48
Belschazzar - a dance ritual for organ and orchestra - Axel Ruoff (* 1957)
The Stuttgart Academic Orchestra
Veronika Stoertzenbach, conductor
Peter Schleicher...
Belschazzar - a dance ritual for organ and orchestra - Axel Ruoff (* 1957)
The Stuttgart Academic Orchestra
Veronika Stoertzenbach, conductor
Peter Schleicher, solo organ (State University of Music and the Performing Arts Stuttgart)
Recorded Live at the Endler Hall, Stellenbosch, 2014.
Programme note:
Axel Ruoff has been a professor at the University of Music and the Performing Arts Stuttgart since 1992. His composition “Belschazzar” from 2004 – “a dance ritual for organ and orchestra” – was premiered in Stuttgart in 2008. The feast of Belschazzar is a Bible story that hearkens back to the Babylonian regents. A threatening, mysterious “writing on the wall” appeared to the renegade sovereign rebelling against God, and presaged the decline of Babylon. Axel Ruoff depicts the scenes – the adoration of the “gods of gold, silver, bronze, iron, wood, and stone” – as an orgiastic dance ritual. The organ plays a solo role acting as a second orchestra.
---
The Academic Orchestra of the University of Stuttgart’s musical tour of South Africa, was co-hosted by the University of the Western Cape (UWC) and the University of Stellenbosch.
The University of Stuttgart is one of Germany’s oldest technical-learning universities and enjoys an excellent international reputation.The roughly 70 musicians from the visiting orchestra performed together with the University of the Western Cape’s Wind Orchestra.
Prof Wolfgang Holtkamp, Director of the Department of International Relations at the University of Stuttgart said that it had been a unique experience for the orchestra to visit impressive classical music venues such as St Georges Cathedral and Endler Hall, and noting that the orchestra especially enjoyed the lively interaction at performances with communities of the New Apostolic Church Palmbridge in the Eastern Cape, while visiting the Nelson Mandela Metropolitan University in Port Elizabeth.
The tour started on 5 October 2014 and involved participants of the Academic Orchestra of the University of Stuttgart performing at its partner universities, along with a few other South African universities.
https://wn.com/Stuttgart_Academic_Orchestra_Perform_Axel_Ruoff_“Belschazzar”
Belschazzar - a dance ritual for organ and orchestra - Axel Ruoff (* 1957)
The Stuttgart Academic Orchestra
Veronika Stoertzenbach, conductor
Peter Schleicher, solo organ (State University of Music and the Performing Arts Stuttgart)
Recorded Live at the Endler Hall, Stellenbosch, 2014.
Programme note:
Axel Ruoff has been a professor at the University of Music and the Performing Arts Stuttgart since 1992. His composition “Belschazzar” from 2004 – “a dance ritual for organ and orchestra” – was premiered in Stuttgart in 2008. The feast of Belschazzar is a Bible story that hearkens back to the Babylonian regents. A threatening, mysterious “writing on the wall” appeared to the renegade sovereign rebelling against God, and presaged the decline of Babylon. Axel Ruoff depicts the scenes – the adoration of the “gods of gold, silver, bronze, iron, wood, and stone” – as an orgiastic dance ritual. The organ plays a solo role acting as a second orchestra.
---
The Academic Orchestra of the University of Stuttgart’s musical tour of South Africa, was co-hosted by the University of the Western Cape (UWC) and the University of Stellenbosch.
The University of Stuttgart is one of Germany’s oldest technical-learning universities and enjoys an excellent international reputation.The roughly 70 musicians from the visiting orchestra performed together with the University of the Western Cape’s Wind Orchestra.
Prof Wolfgang Holtkamp, Director of the Department of International Relations at the University of Stuttgart said that it had been a unique experience for the orchestra to visit impressive classical music venues such as St Georges Cathedral and Endler Hall, and noting that the orchestra especially enjoyed the lively interaction at performances with communities of the New Apostolic Church Palmbridge in the Eastern Cape, while visiting the Nelson Mandela Metropolitan University in Port Elizabeth.
The tour started on 5 October 2014 and involved participants of the Academic Orchestra of the University of Stuttgart performing at its partner universities, along with a few other South African universities.
- published: 11 Nov 2020
- views: 48
2:30:33
Stuttgart Academic Orchestra Full Concert
- Order: Reorder
- Duration: 2:30:33
- Uploaded Date: 17 Sep 2020
- views: 63
The Stuttgard Academic Orchestra
Veronika Stoertzenbach, conductor
The is part of a nationwide tour that included concerts in Pretoria, Port Elizabeth, East L...
The Stuttgard Academic Orchestra
Veronika Stoertzenbach, conductor
The is part of a nationwide tour that included concerts in Pretoria, Port Elizabeth, East London and several venues in the Western Cape.
The varied program included:
Suite from 'Die Fledermaus' by J. Strauss
Jupiter The Bringer of Jollity from Holst's 'The Planets' - Gustav Holst
Rococo Variations (original version) - P. I. Tchaikovsky
Recorded Live at the Endler Hall, Stellenbosch, 2014.
Licensed to YouTube by
SME (on behalf of Sony Classical); LatinAutor - UMPG, Public Domain Compositions, LatinAutor, LatinAutor - Warner Chappell, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, and 1 Music Rights Societies
---
The Academic Orchestra of the University of Stuttgart’s musical tour of South Africa, was co-hosted by the University of the Western Cape (UWC) and the University of Stellenbosch.
The University of Stuttgart is one of Germany’s oldest technical-learning universities and enjoys an excellent international reputation.The roughly 70 musicians from the visiting orchestra performed together with the University of the Western Cape’s Wind Orchestra.
Prof Wolfgang Holtkamp, Director of the Department of International Relations at the University of Stuttgart said that it had been a unique experience for the orchestra to visit impressive classical music venues such as St Georges Cathedral and Endler Hall, and noting that the orchestra especially enjoyed the lively interaction at performances with communities of the New Apostolic Church Palmbridge in the Eastern Cape, while visiting the Nelson Mandela Metropolitan University in Port Elizabeth.
The tour started on 5 October 2014 and involved participants of the Academic Orchestra of the University of Stuttgart performing at its partner universities, along with a few other South African universities.
https://wn.com/Stuttgart_Academic_Orchestra_Full_Concert
The Stuttgard Academic Orchestra
Veronika Stoertzenbach, conductor
The is part of a nationwide tour that included concerts in Pretoria, Port Elizabeth, East London and several venues in the Western Cape.
The varied program included:
Suite from 'Die Fledermaus' by J. Strauss
Jupiter The Bringer of Jollity from Holst's 'The Planets' - Gustav Holst
Rococo Variations (original version) - P. I. Tchaikovsky
Recorded Live at the Endler Hall, Stellenbosch, 2014.
Licensed to YouTube by
SME (on behalf of Sony Classical); LatinAutor - UMPG, Public Domain Compositions, LatinAutor, LatinAutor - Warner Chappell, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, and 1 Music Rights Societies
---
The Academic Orchestra of the University of Stuttgart’s musical tour of South Africa, was co-hosted by the University of the Western Cape (UWC) and the University of Stellenbosch.
The University of Stuttgart is one of Germany’s oldest technical-learning universities and enjoys an excellent international reputation.The roughly 70 musicians from the visiting orchestra performed together with the University of the Western Cape’s Wind Orchestra.
Prof Wolfgang Holtkamp, Director of the Department of International Relations at the University of Stuttgart said that it had been a unique experience for the orchestra to visit impressive classical music venues such as St Georges Cathedral and Endler Hall, and noting that the orchestra especially enjoyed the lively interaction at performances with communities of the New Apostolic Church Palmbridge in the Eastern Cape, while visiting the Nelson Mandela Metropolitan University in Port Elizabeth.
The tour started on 5 October 2014 and involved participants of the Academic Orchestra of the University of Stuttgart performing at its partner universities, along with a few other South African universities.
- published: 17 Sep 2020
- views: 63
9:47
Inês Martins de Sousa - III. Stuttgart International Classic Guitar Competition 2024, 1st Round
- Order: Reorder
- Duration: 9:47
- Uploaded Date: 25 May 2024
- views: 113
00:00 1. Johann Sebastian Bach: from the 2nd Violin Sonata BWV 1003
Allegro
03:14 2. Leo Brouwer: Hika
The competition takes place as part of th...
00:00 1. Johann Sebastian Bach: from the 2nd Violin Sonata BWV 1003
Allegro
03:14 2. Leo Brouwer: Hika
The competition takes place as part of the SICG Festival at the State University of Music and Performing Arts Stuttgart.
http://www.sicg-festival.de
https://wn.com/InêS_Martins_De_Sousa_Iii._Stuttgart_International_Classic_Guitar_Competition_2024,_1St_Round
00:00 1. Johann Sebastian Bach: from the 2nd Violin Sonata BWV 1003
Allegro
03:14 2. Leo Brouwer: Hika
The competition takes place as part of the SICG Festival at the State University of Music and Performing Arts Stuttgart.
http://www.sicg-festival.de
- published: 25 May 2024
- views: 113
3:38
calens: 'Shenandoah' arr. Frederic Mattes
- Order: Reorder
- Duration: 3:38
- Uploaded Date: 11 Jan 2024
- views: 564
calens vocalensemble stuttgart sings the well known traditional American melody of "Shenandoah" in a new arrangement of Frederic Mattes within a Live concert at...
calens vocalensemble stuttgart sings the well known traditional American melody of "Shenandoah" in a new arrangement of Frederic Mattes within a Live concert at the State University of Music and the Performing Arts Stuttgart.
S: Katariina Westhäußer-Kowalski & Frederika Westhäußer-Kowalski (sub. for Franziska Bubeck)
A: Marlene Frisch & Maria Magdalena Wessel
T: Yannick Federmann & Jakob Frisch
B: Florian Wolf & Frederic Mattes
Produktion:
Künstlerisches Betriebsbüro: Jörg Schmidt
Grafik/Print: Katrin Klappert
Kamera: Hannes Kieselbach, Björn Hartmann, Lukas Knobloch
Licht: Chris Beckett
Bildregie: Johann Schimon
Sendeton: Christian Tobias, Klara Schulmeyer
Beschallung: Andreas Michel
Aufnahmeleitung: Walter Schimon
Produktionsleitung: Arne Morgner
https://wn.com/Calens_'Shenandoah'_Arr._Frederic_Mattes
calens vocalensemble stuttgart sings the well known traditional American melody of "Shenandoah" in a new arrangement of Frederic Mattes within a Live concert at the State University of Music and the Performing Arts Stuttgart.
S: Katariina Westhäußer-Kowalski & Frederika Westhäußer-Kowalski (sub. for Franziska Bubeck)
A: Marlene Frisch & Maria Magdalena Wessel
T: Yannick Federmann & Jakob Frisch
B: Florian Wolf & Frederic Mattes
Produktion:
Künstlerisches Betriebsbüro: Jörg Schmidt
Grafik/Print: Katrin Klappert
Kamera: Hannes Kieselbach, Björn Hartmann, Lukas Knobloch
Licht: Chris Beckett
Bildregie: Johann Schimon
Sendeton: Christian Tobias, Klara Schulmeyer
Beschallung: Andreas Michel
Aufnahmeleitung: Walter Schimon
Produktionsleitung: Arne Morgner
- published: 11 Jan 2024
- views: 564
4:13
Liebesleid 1911 / 2019 – Reenactment of Fritz Kreisler’s 1911 “Love’s Sorrow” Recording
- Order: Reorder
- Duration: 4:13
- Uploaded Date: 02 Nov 2020
- views: 1011
Liebesleid 1911 / 2019
University of Music and Performing Arts Stuttgart, 2019
project leader: Frithjof Vollmer
1) Fritz Kreisler (vl), Haddon Squire (p): “Lie...
Liebesleid 1911 / 2019
University of Music and Performing Arts Stuttgart, 2019
project leader: Frithjof Vollmer
1) Fritz Kreisler (vl), Haddon Squire (p): “Liebesleid”, recorded November 6th, 1911, Gramophone Company (“His Master’s Voice") London, sound engineer: Fred Gaisberg
… reproduced on a HMV Model B (H.B.O., built between 1912–1915), soundbox: HMV No. 2.
vs.
2) Johannes Brzoska (vl), Sophia Weidemann (p): “Liebesleid. Fassung der Produktion HMV London 1911 (Kreisler/Squire)”, recorded November 16th, 2019 at the University of Music and Performing Arts Stuttgart
… digitally modified with 1) matched-filter estimation (impulse response) of Kreisler's original recording chain, 2) measured impulse response of the HMV Model B gramophone (impulse responses by Boris-Alexander Bolles, Detmold / partly processed by Christian Zwarg / “Truesound Transfers”, Berlin) plus surface noise, 3) concert hall (see video credits)
Inspired by the project “Chasing Dr. Joachim” (Reenactment of Joseph Joachim's 1903 “Romance C major” recording): https://www.youtube.com/watch?v=19_bwbDZAhU
*********
Fritz Kreisler (1875–1962), certainly one of the most influential violinists of the 20th century, produced a number of small “coffeehouse pieces” early in his recording career (1904–1914). From a today’s point of performance aesthetics they seem nothing less than astounding: For instance the overly present usage of continuous vibrato, ‚sharp‘ articulation, a high flexibility in tempo (“compensating rubato”, Sarah Martin), and – perhaps most strikingly – extensively and broadly performed portamenti. This particularly is the case when it comes to Kreisler’s second “Liebesleid” production, recorded on November 6th, 1911 in the London studios of the Gramophone Company (“His Master’s Voice”), which apparently reached enormous popularity and got re-pressed up to the early 1930s.
However, there are to remark serious concerns about directly deducing Kreisler’s actual performance practice from the 1911 record: As the DFG-founded project “Technologies of Singing” (ToS, 2016–2019, https://www.hfm-detmold.de/en/portrait/research/projects/technologies-of-singing-dfg/) proved, recorded sounds of the mechanical age (1877–1925) got modified remarkably by their recording and reproduction devices. In other words: When listening to the gramophone we do not really listen to Kreisler himself but to a partly independent artefact of historical sound technology. We cannot be sure how present his vibrato, portamento, articulation actually was and what might have been lost in the recording process (e. g. dynamic ranges, noisiness, balance). Nevertheless, the ToS project made it possible to let every (modern) record sound like a genuine record from the acousto-mechanical age by creating empirically grounded impulse responses of historical recording and reproduction devices, for the first time retracing both the recording and reproduction chains.
Building on that, the “Liebesleid 1911 / 2019” study tried to reconstruct Kreisler’s real studio sound by means of an approximation method in reenacting his original 1911 record. It aimed (1) to trace Kreisler’s performance practice (e.g. possible correlations between portamento and vibrato use), (2) to reproduce Kreisler’s mysterious "golden tone” (as frequently described by contemporary critics) in a concert hall setting, and (3) to gain some general insight in the sound modification of western string instruments by recording processes of the mechanical age (1877–1925), which in turn might have affected the performance practice itself (cf. Mark Katz, 2010).
As part of the reenactment the (traceable) original conditions were sought to be reconstructed as closely as possible: First, the original Kreisler interpretation (which in parts diverges considerably from the composer’s 1910 first edition) got analysed and noted based on the record. This score includes originally non-noted, expressive means (like portamento, vibrato, tempo changes) and was closely studied by Violinists Johannes Brzoska. In the studio, Brzoska deployed sheep gut strings on a violin model similar to Kreisler’s Guarneri “del Gesù” as well as an historical “Tourte” bow by Hill with high tension, comparable to Kreisler’s assumed equipment for the 1911 recording. Likewise, the piano was tuned to a pitch of a4=435 Hz identical to the one in the London studio. Eventually, 17 historical gramophones with different soundboxes and horns were acoustically measured while playing Kreisler’s 1911 record in order to create genuine reproduction chain impulse responses (Boris-Alexander Bolles, Detmold). The remaining sound differences between the 1911 original and the 2019 reenactment are most likely due to ambiguities regarding Kreisler’s violin and performance practice as well as the unknown original recording studio acoustics.
The project findings will be published in early 2021. Further information under [email protected]
https://wn.com/Liebesleid_1911_2019_–_Reenactment_Of_Fritz_Kreisler’S_1911_“Love’S_Sorrow”_Recording
Liebesleid 1911 / 2019
University of Music and Performing Arts Stuttgart, 2019
project leader: Frithjof Vollmer
1) Fritz Kreisler (vl), Haddon Squire (p): “Liebesleid”, recorded November 6th, 1911, Gramophone Company (“His Master’s Voice") London, sound engineer: Fred Gaisberg
… reproduced on a HMV Model B (H.B.O., built between 1912–1915), soundbox: HMV No. 2.
vs.
2) Johannes Brzoska (vl), Sophia Weidemann (p): “Liebesleid. Fassung der Produktion HMV London 1911 (Kreisler/Squire)”, recorded November 16th, 2019 at the University of Music and Performing Arts Stuttgart
… digitally modified with 1) matched-filter estimation (impulse response) of Kreisler's original recording chain, 2) measured impulse response of the HMV Model B gramophone (impulse responses by Boris-Alexander Bolles, Detmold / partly processed by Christian Zwarg / “Truesound Transfers”, Berlin) plus surface noise, 3) concert hall (see video credits)
Inspired by the project “Chasing Dr. Joachim” (Reenactment of Joseph Joachim's 1903 “Romance C major” recording): https://www.youtube.com/watch?v=19_bwbDZAhU
*********
Fritz Kreisler (1875–1962), certainly one of the most influential violinists of the 20th century, produced a number of small “coffeehouse pieces” early in his recording career (1904–1914). From a today’s point of performance aesthetics they seem nothing less than astounding: For instance the overly present usage of continuous vibrato, ‚sharp‘ articulation, a high flexibility in tempo (“compensating rubato”, Sarah Martin), and – perhaps most strikingly – extensively and broadly performed portamenti. This particularly is the case when it comes to Kreisler’s second “Liebesleid” production, recorded on November 6th, 1911 in the London studios of the Gramophone Company (“His Master’s Voice”), which apparently reached enormous popularity and got re-pressed up to the early 1930s.
However, there are to remark serious concerns about directly deducing Kreisler’s actual performance practice from the 1911 record: As the DFG-founded project “Technologies of Singing” (ToS, 2016–2019, https://www.hfm-detmold.de/en/portrait/research/projects/technologies-of-singing-dfg/) proved, recorded sounds of the mechanical age (1877–1925) got modified remarkably by their recording and reproduction devices. In other words: When listening to the gramophone we do not really listen to Kreisler himself but to a partly independent artefact of historical sound technology. We cannot be sure how present his vibrato, portamento, articulation actually was and what might have been lost in the recording process (e. g. dynamic ranges, noisiness, balance). Nevertheless, the ToS project made it possible to let every (modern) record sound like a genuine record from the acousto-mechanical age by creating empirically grounded impulse responses of historical recording and reproduction devices, for the first time retracing both the recording and reproduction chains.
Building on that, the “Liebesleid 1911 / 2019” study tried to reconstruct Kreisler’s real studio sound by means of an approximation method in reenacting his original 1911 record. It aimed (1) to trace Kreisler’s performance practice (e.g. possible correlations between portamento and vibrato use), (2) to reproduce Kreisler’s mysterious "golden tone” (as frequently described by contemporary critics) in a concert hall setting, and (3) to gain some general insight in the sound modification of western string instruments by recording processes of the mechanical age (1877–1925), which in turn might have affected the performance practice itself (cf. Mark Katz, 2010).
As part of the reenactment the (traceable) original conditions were sought to be reconstructed as closely as possible: First, the original Kreisler interpretation (which in parts diverges considerably from the composer’s 1910 first edition) got analysed and noted based on the record. This score includes originally non-noted, expressive means (like portamento, vibrato, tempo changes) and was closely studied by Violinists Johannes Brzoska. In the studio, Brzoska deployed sheep gut strings on a violin model similar to Kreisler’s Guarneri “del Gesù” as well as an historical “Tourte” bow by Hill with high tension, comparable to Kreisler’s assumed equipment for the 1911 recording. Likewise, the piano was tuned to a pitch of a4=435 Hz identical to the one in the London studio. Eventually, 17 historical gramophones with different soundboxes and horns were acoustically measured while playing Kreisler’s 1911 record in order to create genuine reproduction chain impulse responses (Boris-Alexander Bolles, Detmold). The remaining sound differences between the 1911 original and the 2019 reenactment are most likely due to ambiguities regarding Kreisler’s violin and performance practice as well as the unknown original recording studio acoustics.
The project findings will be published in early 2021. Further information under [email protected]
- published: 02 Nov 2020
- views: 1011
3:35
Beethoven's Concerto for Piano and Orchestra No. 1
- Order: Reorder
- Duration: 3:35
- Uploaded Date: 07 Sep 2013
- views: 1867
Elisabeth Hermelink plays a piano solo in Beethoven's Concerto for Piano and Orchestra No. 1, C-Major, Op. 15 - Part 1 - together with "Junges Kammerorchester S...
Elisabeth Hermelink plays a piano solo in Beethoven's Concerto for Piano and Orchestra No. 1, C-Major, Op. 15 - Part 1 - together with "Junges Kammerorchester Stuttgart der Stuttgarter Musikhochschule" (Young Chamber Orchestra of State University of Music and the Performing Arts Stuttgart, Germany)
https://wn.com/Beethoven's_Concerto_For_Piano_And_Orchestra_No._1
Elisabeth Hermelink plays a piano solo in Beethoven's Concerto for Piano and Orchestra No. 1, C-Major, Op. 15 - Part 1 - together with "Junges Kammerorchester Stuttgart der Stuttgarter Musikhochschule" (Young Chamber Orchestra of State University of Music and the Performing Arts Stuttgart, Germany)
- published: 07 Sep 2013
- views: 1867
9:01
Seonghyeon Cho - III. Stuttgart International Classic Guitar Competition 2024, 1st Round
- Order: Reorder
- Duration: 9:01
- Uploaded Date: 24 May 2024
- views: 82
Manuel Maria Ponce: from Sonata Romantic:
00:00 1. Allegro moderato
05:37 3. Allegretto Vivo
The competition takes place as part of the SICG Festival at the S...
Manuel Maria Ponce: from Sonata Romantic:
00:00 1. Allegro moderato
05:37 3. Allegretto Vivo
The competition takes place as part of the SICG Festival at the State University of Music and Performing Arts Stuttgart.
http://www.sicg-festival.de
https://wn.com/Seonghyeon_Cho_Iii._Stuttgart_International_Classic_Guitar_Competition_2024,_1St_Round
Manuel Maria Ponce: from Sonata Romantic:
00:00 1. Allegro moderato
05:37 3. Allegretto Vivo
The competition takes place as part of the SICG Festival at the State University of Music and Performing Arts Stuttgart.
http://www.sicg-festival.de
- published: 24 May 2024
- views: 82
6:28
Cheryl Studer; "Repentir"; Charles Gounod
- Order: Reorder
- Duration: 6:28
- Uploaded Date: 26 Jun 2024
- views: 19
This channel is the re-establishment of previous channels that have been sadly terminated.
=========================
Cheryl Studer--soprano
London Symphony Orc...
This channel is the re-establishment of previous channels that have been sadly terminated.
=========================
Cheryl Studer--soprano
London Symphony Orchestra
Ion Marin--conductor
1991
=================================
"Born in Midland, Michigan, American soprano Cheryl Studer studied piano and viola and at the age of 12 began voice lessons. She graduated from the University of Music and Acting in Vienna, where she studied with Hans Hotter.
Her career took off in 1979 when Seiji Ozawa offered her a series of concerts with the Boston Symphony Orchestra. Since then, she has appeared regularly in leading opera houses (La Scala, Covent Garden, Metropolitan Opera New York, Vienna State Opera, Grand Opera of Paris), as well as with the most prestigious festivals such as Salzburg, Bayreuth, Pesaro and Munich. She has also appeared as a soloist with the Philharmonic Orchestras of Vienna, Berlin, Tokyo, London, Philadelphia, Academia of Santa Cecilia and others.
Her first appearance at Carnegie Hall was a recital in 1994, where she returned two years later with the Dresden Staatskapelle under the baton of Giuseppe Sinopoli performing Strauss' "Four Last Songs"
Her vast repertoire has included the roles of Aida and Arabella, performed at Covent Garden, Marshallin and Chrysothemis at the Salzburg Festival; Senta, Elisabeth, Elsa and Sieglinde for nine seasons of the Bayreuth Festival. Her US debut was at the Chicago Lyric Opera as Micaela in Carmen next to Placido Domingo in 1984. Her triumph as the Marshallin with the Vienna State Opera was followed by Ariadne auf Naxos (Japan tour), Der Rosenkavalier (Metropolitan), Frau ohne Schatten and Die Walküre in Vienna and Dresden, where she also performed Der Fliegende Holländer and Der Rosenkavalier, Tannhäuser in Hamburg, Munich and Rio de Janeiro, Elena (I Vespri Siciliani), Matilde (Guglielmo Tell), Odabella (Attila), all at Teatro alla Scala under Riccardo Muti. Mozart roles have included Donna Anna, Contessa, and Elettra (Idomeneo). She received rave reviews in Zurich when she sang Arabella in 2000.
Cheryl Studer has been honoured with many international prizes, including the Franz Schubert Institute Prize for her excellence in Lied performance, the High Fidelity Musical America Prize, the Grand Prix du Disque, the 1989 Maria Callas Prize for her superb performance as Sieglinde in Die Walküre (EMI) and as Empress in Frau ohne Schatten, and in 1992 the Edison Prize for her recording of Salome (Deutsche Grammophon). In the same year, she was awarded the International Classical Music Award as the best singer of the year (the first artist to receive this prize) followed by the Wilhelm Furtwängler Prize in 1994. She has most recently been awarded the ‘Terras sem Sombre’ (2011) and the Ovation Award (2012) for her life's work in the arts. In addition to numerous nominations, she has won two Grammy Awards.
Cheryl Studer has been a fulltime Professor at the University of Music in Würzburg, Germany since 2003, where she teaches voice, stage craft, Opera Ensemble and audition training. She has staged productions of Ariadne auf Naxos and Il barbiere di Siviglia. She also gives Master Classes internationally ( Beijing, Seoul, St. Petersburg, Berlin, Hamburg, Vienna, Los Angeles, Marseille, Athens ) and is often jury member for international voice competitions, including the Maria Callas Grand Prix in Athens and the Mt. Fuji International Opera Competition of Shizuoka.
Since 2011, Cheryl Studer has performed mezzo-soprano roles such as Gertrud in Haensel & Gretel and Adelaide (Arabella) at the Hamburg State Opera, Nettie Fowler (Carousel) at Theater Basel, Mamma Lucia (Cavalleria Rusticana) at Opera Graz, with Live-Recording, and the Aufseherin in the famed Chereau-production of Elektra under Barenboim at the State Opera of Berlin. In 2021, she sang the role of Tertullia in "Die Verurteilung des Lukullus" at the State Theater of Stuttgart to great acclaim. She most recently performed the role of Mamma Lucia at the Autumn Festival Baden-Baden under Thomas Hengelbrock. Future engagements include performances at the State Opera of Berlin in 2023."; operabase
https://wn.com/Cheryl_Studer_Repentir_Charles_Gounod
This channel is the re-establishment of previous channels that have been sadly terminated.
=========================
Cheryl Studer--soprano
London Symphony Orchestra
Ion Marin--conductor
1991
=================================
"Born in Midland, Michigan, American soprano Cheryl Studer studied piano and viola and at the age of 12 began voice lessons. She graduated from the University of Music and Acting in Vienna, where she studied with Hans Hotter.
Her career took off in 1979 when Seiji Ozawa offered her a series of concerts with the Boston Symphony Orchestra. Since then, she has appeared regularly in leading opera houses (La Scala, Covent Garden, Metropolitan Opera New York, Vienna State Opera, Grand Opera of Paris), as well as with the most prestigious festivals such as Salzburg, Bayreuth, Pesaro and Munich. She has also appeared as a soloist with the Philharmonic Orchestras of Vienna, Berlin, Tokyo, London, Philadelphia, Academia of Santa Cecilia and others.
Her first appearance at Carnegie Hall was a recital in 1994, where she returned two years later with the Dresden Staatskapelle under the baton of Giuseppe Sinopoli performing Strauss' "Four Last Songs"
Her vast repertoire has included the roles of Aida and Arabella, performed at Covent Garden, Marshallin and Chrysothemis at the Salzburg Festival; Senta, Elisabeth, Elsa and Sieglinde for nine seasons of the Bayreuth Festival. Her US debut was at the Chicago Lyric Opera as Micaela in Carmen next to Placido Domingo in 1984. Her triumph as the Marshallin with the Vienna State Opera was followed by Ariadne auf Naxos (Japan tour), Der Rosenkavalier (Metropolitan), Frau ohne Schatten and Die Walküre in Vienna and Dresden, where she also performed Der Fliegende Holländer and Der Rosenkavalier, Tannhäuser in Hamburg, Munich and Rio de Janeiro, Elena (I Vespri Siciliani), Matilde (Guglielmo Tell), Odabella (Attila), all at Teatro alla Scala under Riccardo Muti. Mozart roles have included Donna Anna, Contessa, and Elettra (Idomeneo). She received rave reviews in Zurich when she sang Arabella in 2000.
Cheryl Studer has been honoured with many international prizes, including the Franz Schubert Institute Prize for her excellence in Lied performance, the High Fidelity Musical America Prize, the Grand Prix du Disque, the 1989 Maria Callas Prize for her superb performance as Sieglinde in Die Walküre (EMI) and as Empress in Frau ohne Schatten, and in 1992 the Edison Prize for her recording of Salome (Deutsche Grammophon). In the same year, she was awarded the International Classical Music Award as the best singer of the year (the first artist to receive this prize) followed by the Wilhelm Furtwängler Prize in 1994. She has most recently been awarded the ‘Terras sem Sombre’ (2011) and the Ovation Award (2012) for her life's work in the arts. In addition to numerous nominations, she has won two Grammy Awards.
Cheryl Studer has been a fulltime Professor at the University of Music in Würzburg, Germany since 2003, where she teaches voice, stage craft, Opera Ensemble and audition training. She has staged productions of Ariadne auf Naxos and Il barbiere di Siviglia. She also gives Master Classes internationally ( Beijing, Seoul, St. Petersburg, Berlin, Hamburg, Vienna, Los Angeles, Marseille, Athens ) and is often jury member for international voice competitions, including the Maria Callas Grand Prix in Athens and the Mt. Fuji International Opera Competition of Shizuoka.
Since 2011, Cheryl Studer has performed mezzo-soprano roles such as Gertrud in Haensel & Gretel and Adelaide (Arabella) at the Hamburg State Opera, Nettie Fowler (Carousel) at Theater Basel, Mamma Lucia (Cavalleria Rusticana) at Opera Graz, with Live-Recording, and the Aufseherin in the famed Chereau-production of Elektra under Barenboim at the State Opera of Berlin. In 2021, she sang the role of Tertullia in "Die Verurteilung des Lukullus" at the State Theater of Stuttgart to great acclaim. She most recently performed the role of Mamma Lucia at the Autumn Festival Baden-Baden under Thomas Hengelbrock. Future engagements include performances at the State Opera of Berlin in 2023."; operabase
- published: 26 Jun 2024
- views: 19
3:50
Alexander Sonderegger | Joseph Haydn - Sonata Hob. XVI:32 in b minor, Allegro moderato
- Order: Reorder
- Duration: 3:50
- Uploaded Date: 04 Apr 2021
- views: 236
https://www.alexander-sonderegger.com/
Alexander Sonderegger has performed with orchestras including the Stuttgarter Philharmoniker, the Orquesta Sinfónica de ...
https://www.alexander-sonderegger.com/
Alexander Sonderegger has performed with orchestras including the Stuttgarter Philharmoniker, the Orquesta Sinfónica de la Región de Murcia, Spain, the Sinfonietta Lentua Orchestra in Kuhmo, Finnland, the Murmansk Philharmonic, Russia, and the Morocco Philharmonic Orchestra. He has also collaborated with the conductor Patrick Strub, performing concertos by Grieg and Tchaikovsky at the Liederhalle Beethoven Hall in Stuttgart.
Alexander Sonderegger was born in 1991 in Petrozavodsk, Russia, to a family of musicians and studied at the Petrozavodsk State Glazunov Conservatory under Viktor Portnoi. In 2008, he attended the State University of Music and Performing Arts in Stuttgart where he was taught by Kirill Gerstein, Shoshana Rudiakov, Péter Nagy and Florian Wiek. Alexander graduated from Stuttgart, passing his soloist concert exam with distinction.
Alexander has garnered prizes at many international competitions, including first prize and "The Czech Radio Prize" at the Carl Czerny International Piano Competition in Prague, first prize at the 16. International Piano Competition in Rome, second prize at the ClaMo Competition in Murcia and first prize at the Clara Schumann Competition in Stuttgart. In 2019, Alexander has won the first prize at the 21st International Piano Competition of Ile de France and the IKIF Artist Recognition Scholarship Award at the International Keyboard Institut & Festival“ in New York.
Together with his brother Eduard Sonderegger (violin) he has been performing for over 20 years as the SONDEREGGER DUO. In 2019, the Duo has released its first CD with works by Brahms, Szymanowski, and Enesco. The SONDEREGGER DUO will be represented through Massa Konzertmanagement and will make a debut at the Gasteig München in June 2021.
From 2018 to 2019 Alexander Sonderegger held a position as lecturer and accompanist at the Strings Department of the State University of Music and Performing Arts in Stuttgart. In 2019 he was offered a position at the university as a piano teacher, position which he currently holds.
https://wn.com/Alexander_Sonderegger_|_Joseph_Haydn_Sonata_Hob._Xvi_32_In_B_Minor,_Allegro_Moderato
https://www.alexander-sonderegger.com/
Alexander Sonderegger has performed with orchestras including the Stuttgarter Philharmoniker, the Orquesta Sinfónica de la Región de Murcia, Spain, the Sinfonietta Lentua Orchestra in Kuhmo, Finnland, the Murmansk Philharmonic, Russia, and the Morocco Philharmonic Orchestra. He has also collaborated with the conductor Patrick Strub, performing concertos by Grieg and Tchaikovsky at the Liederhalle Beethoven Hall in Stuttgart.
Alexander Sonderegger was born in 1991 in Petrozavodsk, Russia, to a family of musicians and studied at the Petrozavodsk State Glazunov Conservatory under Viktor Portnoi. In 2008, he attended the State University of Music and Performing Arts in Stuttgart where he was taught by Kirill Gerstein, Shoshana Rudiakov, Péter Nagy and Florian Wiek. Alexander graduated from Stuttgart, passing his soloist concert exam with distinction.
Alexander has garnered prizes at many international competitions, including first prize and "The Czech Radio Prize" at the Carl Czerny International Piano Competition in Prague, first prize at the 16. International Piano Competition in Rome, second prize at the ClaMo Competition in Murcia and first prize at the Clara Schumann Competition in Stuttgart. In 2019, Alexander has won the first prize at the 21st International Piano Competition of Ile de France and the IKIF Artist Recognition Scholarship Award at the International Keyboard Institut & Festival“ in New York.
Together with his brother Eduard Sonderegger (violin) he has been performing for over 20 years as the SONDEREGGER DUO. In 2019, the Duo has released its first CD with works by Brahms, Szymanowski, and Enesco. The SONDEREGGER DUO will be represented through Massa Konzertmanagement and will make a debut at the Gasteig München in June 2021.
From 2018 to 2019 Alexander Sonderegger held a position as lecturer and accompanist at the Strings Department of the State University of Music and Performing Arts in Stuttgart. In 2019 he was offered a position at the university as a piano teacher, position which he currently holds.
- published: 04 Apr 2021
- views: 236
6:11
Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart
Die HMDK Stuttgart wurde 1857 gegründet und ist damit die älteste und mit fast 800 Studier...
published: 14 Apr 2014
Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart
Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart
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- published: 14 Apr 2014
- views: 13468
Die HMDK Stuttgart wurde 1857 gegründet und ist damit die älteste und mit fast 800 Studierenden auch die größte Musikhochschule in Baden-Württemberg.
Als Teil der Stuttgarter Kulturmeile ist sie nicht nur als Hochschule, sondern auch als Konzertveranstalter und kulturelles Zentrum für Stuttgart und die Region von großer Bedeutung.
Machen Sie mit uns einen Rundgang durch die Hochschule
und besuchen Sie uns unter http://www.hmdk-stuttgart.de/home/
14:49
Stuttgart Academic Orchestra perform Axel Ruoff “Belschazzar”
Belschazzar - a dance ritual for organ and orchestra - Axel Ruoff (* 1957)
The Stuttgart ...
published: 11 Nov 2020
Stuttgart Academic Orchestra perform Axel Ruoff “Belschazzar”
Stuttgart Academic Orchestra perform Axel Ruoff “Belschazzar”
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- published: 11 Nov 2020
- views: 48
Belschazzar - a dance ritual for organ and orchestra - Axel Ruoff (* 1957)
The Stuttgart Academic Orchestra
Veronika Stoertzenbach, conductor
Peter Schleicher, solo organ (State University of Music and the Performing Arts Stuttgart)
Recorded Live at the Endler Hall, Stellenbosch, 2014.
Programme note:
Axel Ruoff has been a professor at the University of Music and the Performing Arts Stuttgart since 1992. His composition “Belschazzar” from 2004 – “a dance ritual for organ and orchestra” – was premiered in Stuttgart in 2008. The feast of Belschazzar is a Bible story that hearkens back to the Babylonian regents. A threatening, mysterious “writing on the wall” appeared to the renegade sovereign rebelling against God, and presaged the decline of Babylon. Axel Ruoff depicts the scenes – the adoration of the “gods of gold, silver, bronze, iron, wood, and stone” – as an orgiastic dance ritual. The organ plays a solo role acting as a second orchestra.
---
The Academic Orchestra of the University of Stuttgart’s musical tour of South Africa, was co-hosted by the University of the Western Cape (UWC) and the University of Stellenbosch.
The University of Stuttgart is one of Germany’s oldest technical-learning universities and enjoys an excellent international reputation.The roughly 70 musicians from the visiting orchestra performed together with the University of the Western Cape’s Wind Orchestra.
Prof Wolfgang Holtkamp, Director of the Department of International Relations at the University of Stuttgart said that it had been a unique experience for the orchestra to visit impressive classical music venues such as St Georges Cathedral and Endler Hall, and noting that the orchestra especially enjoyed the lively interaction at performances with communities of the New Apostolic Church Palmbridge in the Eastern Cape, while visiting the Nelson Mandela Metropolitan University in Port Elizabeth.
The tour started on 5 October 2014 and involved participants of the Academic Orchestra of the University of Stuttgart performing at its partner universities, along with a few other South African universities.
2:30:33
Stuttgart Academic Orchestra Full Concert
The Stuttgard Academic Orchestra
Veronika Stoertzenbach, conductor
The is part of a nati...
published: 17 Sep 2020
Stuttgart Academic Orchestra Full Concert
Stuttgart Academic Orchestra Full Concert
- Report rights infringement
- published: 17 Sep 2020
- views: 63
The Stuttgard Academic Orchestra
Veronika Stoertzenbach, conductor
The is part of a nationwide tour that included concerts in Pretoria, Port Elizabeth, East London and several venues in the Western Cape.
The varied program included:
Suite from 'Die Fledermaus' by J. Strauss
Jupiter The Bringer of Jollity from Holst's 'The Planets' - Gustav Holst
Rococo Variations (original version) - P. I. Tchaikovsky
Recorded Live at the Endler Hall, Stellenbosch, 2014.
Licensed to YouTube by
SME (on behalf of Sony Classical); LatinAutor - UMPG, Public Domain Compositions, LatinAutor, LatinAutor - Warner Chappell, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, and 1 Music Rights Societies
---
The Academic Orchestra of the University of Stuttgart’s musical tour of South Africa, was co-hosted by the University of the Western Cape (UWC) and the University of Stellenbosch.
The University of Stuttgart is one of Germany’s oldest technical-learning universities and enjoys an excellent international reputation.The roughly 70 musicians from the visiting orchestra performed together with the University of the Western Cape’s Wind Orchestra.
Prof Wolfgang Holtkamp, Director of the Department of International Relations at the University of Stuttgart said that it had been a unique experience for the orchestra to visit impressive classical music venues such as St Georges Cathedral and Endler Hall, and noting that the orchestra especially enjoyed the lively interaction at performances with communities of the New Apostolic Church Palmbridge in the Eastern Cape, while visiting the Nelson Mandela Metropolitan University in Port Elizabeth.
The tour started on 5 October 2014 and involved participants of the Academic Orchestra of the University of Stuttgart performing at its partner universities, along with a few other South African universities.
9:47
Inês Martins de Sousa - III. Stuttgart International Classic Guitar Competition 2024, 1st Round
00:00 1. Johann Sebastian Bach: from the 2nd Violin Sonata BWV 1003
Allegro...
published: 25 May 2024
Inês Martins de Sousa - III. Stuttgart International Classic Guitar Competition 2024, 1st Round
Inês Martins de Sousa - III. Stuttgart International Classic Guitar Competition 2024, 1st Round
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- published: 25 May 2024
- views: 113
00:00 1. Johann Sebastian Bach: from the 2nd Violin Sonata BWV 1003
Allegro
03:14 2. Leo Brouwer: Hika
The competition takes place as part of the SICG Festival at the State University of Music and Performing Arts Stuttgart.
http://www.sicg-festival.de
3:38
calens: 'Shenandoah' arr. Frederic Mattes
calens vocalensemble stuttgart sings the well known traditional American melody of "Shenan...
published: 11 Jan 2024
calens: 'Shenandoah' arr. Frederic Mattes
calens: 'Shenandoah' arr. Frederic Mattes
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- published: 11 Jan 2024
- views: 564
calens vocalensemble stuttgart sings the well known traditional American melody of "Shenandoah" in a new arrangement of Frederic Mattes within a Live concert at the State University of Music and the Performing Arts Stuttgart.
S: Katariina Westhäußer-Kowalski & Frederika Westhäußer-Kowalski (sub. for Franziska Bubeck)
A: Marlene Frisch & Maria Magdalena Wessel
T: Yannick Federmann & Jakob Frisch
B: Florian Wolf & Frederic Mattes
Produktion:
Künstlerisches Betriebsbüro: Jörg Schmidt
Grafik/Print: Katrin Klappert
Kamera: Hannes Kieselbach, Björn Hartmann, Lukas Knobloch
Licht: Chris Beckett
Bildregie: Johann Schimon
Sendeton: Christian Tobias, Klara Schulmeyer
Beschallung: Andreas Michel
Aufnahmeleitung: Walter Schimon
Produktionsleitung: Arne Morgner
4:13
Liebesleid 1911 / 2019 – Reenactment of Fritz Kreisler’s 1911 “Love’s Sorrow” Recording
Liebesleid 1911 / 2019
University of Music and Performing Arts Stuttgart, 2019
project lea...
published: 02 Nov 2020
Liebesleid 1911 / 2019 – Reenactment of Fritz Kreisler’s 1911 “Love’s Sorrow” Recording
Liebesleid 1911 / 2019 – Reenactment of Fritz Kreisler’s 1911 “Love’s Sorrow” Recording
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- published: 02 Nov 2020
- views: 1011
Liebesleid 1911 / 2019
University of Music and Performing Arts Stuttgart, 2019
project leader: Frithjof Vollmer
1) Fritz Kreisler (vl), Haddon Squire (p): “Liebesleid”, recorded November 6th, 1911, Gramophone Company (“His Master’s Voice") London, sound engineer: Fred Gaisberg
… reproduced on a HMV Model B (H.B.O., built between 1912–1915), soundbox: HMV No. 2.
vs.
2) Johannes Brzoska (vl), Sophia Weidemann (p): “Liebesleid. Fassung der Produktion HMV London 1911 (Kreisler/Squire)”, recorded November 16th, 2019 at the University of Music and Performing Arts Stuttgart
… digitally modified with 1) matched-filter estimation (impulse response) of Kreisler's original recording chain, 2) measured impulse response of the HMV Model B gramophone (impulse responses by Boris-Alexander Bolles, Detmold / partly processed by Christian Zwarg / “Truesound Transfers”, Berlin) plus surface noise, 3) concert hall (see video credits)
Inspired by the project “Chasing Dr. Joachim” (Reenactment of Joseph Joachim's 1903 “Romance C major” recording): https://www.youtube.com/watch?v=19_bwbDZAhU
*********
Fritz Kreisler (1875–1962), certainly one of the most influential violinists of the 20th century, produced a number of small “coffeehouse pieces” early in his recording career (1904–1914). From a today’s point of performance aesthetics they seem nothing less than astounding: For instance the overly present usage of continuous vibrato, ‚sharp‘ articulation, a high flexibility in tempo (“compensating rubato”, Sarah Martin), and – perhaps most strikingly – extensively and broadly performed portamenti. This particularly is the case when it comes to Kreisler’s second “Liebesleid” production, recorded on November 6th, 1911 in the London studios of the Gramophone Company (“His Master’s Voice”), which apparently reached enormous popularity and got re-pressed up to the early 1930s.
However, there are to remark serious concerns about directly deducing Kreisler’s actual performance practice from the 1911 record: As the DFG-founded project “Technologies of Singing” (ToS, 2016–2019, https://www.hfm-detmold.de/en/portrait/research/projects/technologies-of-singing-dfg/) proved, recorded sounds of the mechanical age (1877–1925) got modified remarkably by their recording and reproduction devices. In other words: When listening to the gramophone we do not really listen to Kreisler himself but to a partly independent artefact of historical sound technology. We cannot be sure how present his vibrato, portamento, articulation actually was and what might have been lost in the recording process (e. g. dynamic ranges, noisiness, balance). Nevertheless, the ToS project made it possible to let every (modern) record sound like a genuine record from the acousto-mechanical age by creating empirically grounded impulse responses of historical recording and reproduction devices, for the first time retracing both the recording and reproduction chains.
Building on that, the “Liebesleid 1911 / 2019” study tried to reconstruct Kreisler’s real studio sound by means of an approximation method in reenacting his original 1911 record. It aimed (1) to trace Kreisler’s performance practice (e.g. possible correlations between portamento and vibrato use), (2) to reproduce Kreisler’s mysterious "golden tone” (as frequently described by contemporary critics) in a concert hall setting, and (3) to gain some general insight in the sound modification of western string instruments by recording processes of the mechanical age (1877–1925), which in turn might have affected the performance practice itself (cf. Mark Katz, 2010).
As part of the reenactment the (traceable) original conditions were sought to be reconstructed as closely as possible: First, the original Kreisler interpretation (which in parts diverges considerably from the composer’s 1910 first edition) got analysed and noted based on the record. This score includes originally non-noted, expressive means (like portamento, vibrato, tempo changes) and was closely studied by Violinists Johannes Brzoska. In the studio, Brzoska deployed sheep gut strings on a violin model similar to Kreisler’s Guarneri “del Gesù” as well as an historical “Tourte” bow by Hill with high tension, comparable to Kreisler’s assumed equipment for the 1911 recording. Likewise, the piano was tuned to a pitch of a4=435 Hz identical to the one in the London studio. Eventually, 17 historical gramophones with different soundboxes and horns were acoustically measured while playing Kreisler’s 1911 record in order to create genuine reproduction chain impulse responses (Boris-Alexander Bolles, Detmold). The remaining sound differences between the 1911 original and the 2019 reenactment are most likely due to ambiguities regarding Kreisler’s violin and performance practice as well as the unknown original recording studio acoustics.
The project findings will be published in early 2021. Further information under [email protected]
3:35
Beethoven's Concerto for Piano and Orchestra No. 1
Elisabeth Hermelink plays a piano solo in Beethoven's Concerto for Piano and Orchestra No....
published: 07 Sep 2013
Beethoven's Concerto for Piano and Orchestra No. 1
Beethoven's Concerto for Piano and Orchestra No. 1
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- published: 07 Sep 2013
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Elisabeth Hermelink plays a piano solo in Beethoven's Concerto for Piano and Orchestra No. 1, C-Major, Op. 15 - Part 1 - together with "Junges Kammerorchester Stuttgart der Stuttgarter Musikhochschule" (Young Chamber Orchestra of State University of Music and the Performing Arts Stuttgart, Germany)
9:01
Seonghyeon Cho - III. Stuttgart International Classic Guitar Competition 2024, 1st Round
Manuel Maria Ponce: from Sonata Romantic:
00:00 1. Allegro moderato
05:37 3. Allegretto V...
published: 24 May 2024
Seonghyeon Cho - III. Stuttgart International Classic Guitar Competition 2024, 1st Round
Seonghyeon Cho - III. Stuttgart International Classic Guitar Competition 2024, 1st Round
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- published: 24 May 2024
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Manuel Maria Ponce: from Sonata Romantic:
00:00 1. Allegro moderato
05:37 3. Allegretto Vivo
The competition takes place as part of the SICG Festival at the State University of Music and Performing Arts Stuttgart.
http://www.sicg-festival.de
6:28
Cheryl Studer; "Repentir"; Charles Gounod
This channel is the re-establishment of previous channels that have been sadly terminated....
published: 26 Jun 2024
Cheryl Studer; "Repentir"; Charles Gounod
Cheryl Studer; "Repentir"; Charles Gounod
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- published: 26 Jun 2024
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This channel is the re-establishment of previous channels that have been sadly terminated.
=========================
Cheryl Studer--soprano
London Symphony Orchestra
Ion Marin--conductor
1991
=================================
"Born in Midland, Michigan, American soprano Cheryl Studer studied piano and viola and at the age of 12 began voice lessons. She graduated from the University of Music and Acting in Vienna, where she studied with Hans Hotter.
Her career took off in 1979 when Seiji Ozawa offered her a series of concerts with the Boston Symphony Orchestra. Since then, she has appeared regularly in leading opera houses (La Scala, Covent Garden, Metropolitan Opera New York, Vienna State Opera, Grand Opera of Paris), as well as with the most prestigious festivals such as Salzburg, Bayreuth, Pesaro and Munich. She has also appeared as a soloist with the Philharmonic Orchestras of Vienna, Berlin, Tokyo, London, Philadelphia, Academia of Santa Cecilia and others.
Her first appearance at Carnegie Hall was a recital in 1994, where she returned two years later with the Dresden Staatskapelle under the baton of Giuseppe Sinopoli performing Strauss' "Four Last Songs"
Her vast repertoire has included the roles of Aida and Arabella, performed at Covent Garden, Marshallin and Chrysothemis at the Salzburg Festival; Senta, Elisabeth, Elsa and Sieglinde for nine seasons of the Bayreuth Festival. Her US debut was at the Chicago Lyric Opera as Micaela in Carmen next to Placido Domingo in 1984. Her triumph as the Marshallin with the Vienna State Opera was followed by Ariadne auf Naxos (Japan tour), Der Rosenkavalier (Metropolitan), Frau ohne Schatten and Die Walküre in Vienna and Dresden, where she also performed Der Fliegende Holländer and Der Rosenkavalier, Tannhäuser in Hamburg, Munich and Rio de Janeiro, Elena (I Vespri Siciliani), Matilde (Guglielmo Tell), Odabella (Attila), all at Teatro alla Scala under Riccardo Muti. Mozart roles have included Donna Anna, Contessa, and Elettra (Idomeneo). She received rave reviews in Zurich when she sang Arabella in 2000.
Cheryl Studer has been honoured with many international prizes, including the Franz Schubert Institute Prize for her excellence in Lied performance, the High Fidelity Musical America Prize, the Grand Prix du Disque, the 1989 Maria Callas Prize for her superb performance as Sieglinde in Die Walküre (EMI) and as Empress in Frau ohne Schatten, and in 1992 the Edison Prize for her recording of Salome (Deutsche Grammophon). In the same year, she was awarded the International Classical Music Award as the best singer of the year (the first artist to receive this prize) followed by the Wilhelm Furtwängler Prize in 1994. She has most recently been awarded the ‘Terras sem Sombre’ (2011) and the Ovation Award (2012) for her life's work in the arts. In addition to numerous nominations, she has won two Grammy Awards.
Cheryl Studer has been a fulltime Professor at the University of Music in Würzburg, Germany since 2003, where she teaches voice, stage craft, Opera Ensemble and audition training. She has staged productions of Ariadne auf Naxos and Il barbiere di Siviglia. She also gives Master Classes internationally ( Beijing, Seoul, St. Petersburg, Berlin, Hamburg, Vienna, Los Angeles, Marseille, Athens ) and is often jury member for international voice competitions, including the Maria Callas Grand Prix in Athens and the Mt. Fuji International Opera Competition of Shizuoka.
Since 2011, Cheryl Studer has performed mezzo-soprano roles such as Gertrud in Haensel & Gretel and Adelaide (Arabella) at the Hamburg State Opera, Nettie Fowler (Carousel) at Theater Basel, Mamma Lucia (Cavalleria Rusticana) at Opera Graz, with Live-Recording, and the Aufseherin in the famed Chereau-production of Elektra under Barenboim at the State Opera of Berlin. In 2021, she sang the role of Tertullia in "Die Verurteilung des Lukullus" at the State Theater of Stuttgart to great acclaim. She most recently performed the role of Mamma Lucia at the Autumn Festival Baden-Baden under Thomas Hengelbrock. Future engagements include performances at the State Opera of Berlin in 2023."; operabase
3:50
Alexander Sonderegger | Joseph Haydn - Sonata Hob. XVI:32 in b minor, Allegro moderato
https://www.alexander-sonderegger.com/
Alexander Sonderegger has performed with orchestra...
published: 04 Apr 2021
Alexander Sonderegger | Joseph Haydn - Sonata Hob. XVI:32 in b minor, Allegro moderato
Alexander Sonderegger | Joseph Haydn - Sonata Hob. XVI:32 in b minor, Allegro moderato
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- published: 04 Apr 2021
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https://www.alexander-sonderegger.com/
Alexander Sonderegger has performed with orchestras including the Stuttgarter Philharmoniker, the Orquesta Sinfónica de la Región de Murcia, Spain, the Sinfonietta Lentua Orchestra in Kuhmo, Finnland, the Murmansk Philharmonic, Russia, and the Morocco Philharmonic Orchestra. He has also collaborated with the conductor Patrick Strub, performing concertos by Grieg and Tchaikovsky at the Liederhalle Beethoven Hall in Stuttgart.
Alexander Sonderegger was born in 1991 in Petrozavodsk, Russia, to a family of musicians and studied at the Petrozavodsk State Glazunov Conservatory under Viktor Portnoi. In 2008, he attended the State University of Music and Performing Arts in Stuttgart where he was taught by Kirill Gerstein, Shoshana Rudiakov, Péter Nagy and Florian Wiek. Alexander graduated from Stuttgart, passing his soloist concert exam with distinction.
Alexander has garnered prizes at many international competitions, including first prize and "The Czech Radio Prize" at the Carl Czerny International Piano Competition in Prague, first prize at the 16. International Piano Competition in Rome, second prize at the ClaMo Competition in Murcia and first prize at the Clara Schumann Competition in Stuttgart. In 2019, Alexander has won the first prize at the 21st International Piano Competition of Ile de France and the IKIF Artist Recognition Scholarship Award at the International Keyboard Institut & Festival“ in New York.
Together with his brother Eduard Sonderegger (violin) he has been performing for over 20 years as the SONDEREGGER DUO. In 2019, the Duo has released its first CD with works by Brahms, Szymanowski, and Enesco. The SONDEREGGER DUO will be represented through Massa Konzertmanagement and will make a debut at the Gasteig München in June 2021.
From 2018 to 2019 Alexander Sonderegger held a position as lecturer and accompanist at the Strings Department of the State University of Music and Performing Arts in Stuttgart. In 2019 he was offered a position at the university as a piano teacher, position which he currently holds.
State university system
A state university system in the United States is a group of public universities supported by an individual state, or a similar entity such as the District of Columbia. These systems constitute the majority of public-funded universities in the country. Each state supports at least one such system.
State university systems should not be confused with federally funded colleges and universities, at which attendance is limited to military personnel and government employees. Members of foreign militaries and governments also attend some schools. These schools include the United States military academies, Naval Postgraduate School, and military staff colleges.
A state university system normally means a single legal entity and administration, but may consist of several institutions, each with its own identity as a university. Some states—such as California and Texas—support more than one such system.
State universities get subsidies from their states. The amount of the subsidy varies from university to university and state to state, but the effect is to lower tuition costs below that of private universities for students from that state or district. As more and more Americans attend college, and private tuition rates increase well beyond the rate of inflation, admission to state universities is becoming more and more competitive.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/State_university_system
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