Folk1:28Просматривайте 1 партитуру
Сортировать:
Библиотека песен
Изучайте фортепианные ноты Paul Lincke в Zen Virtual Piano. August Lincke, a magistrate, and his wife Emilie were Paul's parents; the father also played violin, in several small orchestras. The German Neue Deutsche Biographie says that his father died early, which forced his mother to work as a seamstress, and that he won a free place at a private school and received violin lessons from the age of nine. A household that lost its father but kept a violin suggests that music was an early companion in a modest childhood. Set on a musician's career from early on, he was taken on after school as an apprentice with the town orchestra in Wittenberge by its director, Kleinow, and trained as a bassoonist; the piano he taught himself. Rather than become a military musician, he found a post as bassoonist at Berlin's Central Theatre under Adolf Ernst, and after a year he moved to the orchestra of the Ostend Theatre. Choosing a theatre orchestra over military music hints at an early preference for the stage. There he befriended Bolten-Baeckers, who later wrote the libretti for most of his stage works. An apprentice bassoonist who picked up the piano on his own suggests a musician who learned through whatever instruments were within reach. His rise came in 1893, when he was engaged at the Apollo variety theatre as first conductor and house composer. The year of his return to Berlin brought a decisive stage success with the operetta Frau Luna, first performed on 2 May 1899, and its songs, among them Laßt den Kopf nicht hängen and O Theophil, o Theophil. A post as house composer followed by a hit operetta shows how a theatre appointment could turn into a broader public name. Berliner Luft, meaning Berlin Air, is a march that he composed, with lyrics by Bolten-Baeckers, and it has become an unofficial anthem of Berlin. The Berlin Philharmonic traditionally plays it as an encore. The piece, originally from Lincke's 1904 burlesque, entered Frau Luna, his 1899 operetta about a trip to the moon, in the 1922 revision. The German biography credits the originality and popular appeal of his works to a talent for inventing amusing, brisk and easily grasped melodies, together with a robust, cheerful rhythmic drive. A tune that an orchestra keeps as an encore and that a city treats as its own hints at how deeply a simple melody can settle into a place.
Изучайте фортепианные ноты Paul Lincke в Zen Virtual Piano.
August Lincke, a magistrate, and his wife Emilie were Paul's parents; the father also played violin, in several small orchestras. The German Neue Deutsche Biographie says that his father died early, which forced his mother to work as a seamstress, and that he won a free place at a private school and received violin lessons from the age of nine. A household that lost its father but kept a violin suggests that music was an early companion in a modest childhood.
Set on a musician's career from early on, he was taken on after school as an apprentice with the town orchestra in Wittenberge by its director, Kleinow, and trained as a bassoonist; the piano he taught himself. Rather than become a military musician, he found a post as bassoonist at Berlin's Central Theatre under Adolf Ernst, and after a year he moved to the orchestra of the Ostend Theatre. Choosing a theatre orchestra over military music hints at an early preference for the stage. There he befriended Bolten-Baeckers, who later wrote the libretti for most of his stage works. An apprentice bassoonist who picked up the piano on his own suggests a musician who learned through whatever instruments were within reach.
His rise came in 1893, when he was engaged at the Apollo variety theatre as first conductor and house composer. The year of his return to Berlin brought a decisive stage success with the operetta Frau Luna, first performed on 2 May 1899, and its songs, among them Laßt den Kopf nicht hängen and O Theophil, o Theophil. A post as house composer followed by a hit operetta shows how a theatre appointment could turn into a broader public name.
Berliner Luft, meaning Berlin Air, is a march that he composed, with lyrics by Bolten-Baeckers, and it has become an unofficial anthem of Berlin. The Berlin Philharmonic traditionally plays it as an encore. The piece, originally from Lincke's 1904 burlesque, entered Frau Luna, his 1899 operetta about a trip to the moon, in the 1922 revision. The German biography credits the originality and popular appeal of his works to a talent for inventing amusing, brisk and easily grasped melodies, together with a robust, cheerful rhythmic drive. A tune that an orchestra keeps as an encore and that a city treats as its own hints at how deeply a simple melody can settle into a place.
Поиск в библиотеке