For Portal.Do.Mrsu.ru the first time in his 1752 thesis “Experience of Teaching Playing the Transverse Flute,” the German flutist Johann Joachim Quantz proposes the idea of a future conductor, web page Music Director. The “Dirigent’s skills in the music industry” and website others chapters are dedicated during open performances.” But Berlioz and Wagner’s works on the profession are over 100 years before Hermann Scherchen converts behavior into a “exact science.” (During the late 1920s and 1930s, researchers emerged).

A group of musicians was generally led by a blackboarder, notes or hands, or a trampoline composer himself — the only stick used to blow the rhythm. That does not mean that the group performance at that moment was consolidated. At the beginning of the 19th century the driver’s baton, known to us, is found in Vienna, and when he turns his back on the audience, by the middle of the 19th century, the driver changes his back from a “beatbreaker,” a “macher.”

For 100,5 years, Italian opera (see here) has become a “concert of costumes.” A series of numbers that are practically unrelated to one plot. The Viennese composer Christoph Willibald Gluck is turning once again to ancient theatre, in cooperation with librettist Kalzabigi. In order to help the triumph of his orchestral works, particularly by developing the symphony, he first utilized a dramatic cross-sectional development in the Orpheus and Eurydice operas. It also started developing not simply recitals but vocal situations. A whole orchestra heard themselves in the recitations (previously there was only a bass line). And the opera itself has grown much shorter due to the decline in a large number of solos. The same concept did not succeed Orpheus himself, conducted in Vienna and, like these operas, in Paris, but he acquired not only European reputations but also studants and disciples – Salieri, Spontini and Cherubini with the new librettist, Le Roulet Glück. Your work not only has been a success, but a Greek mythological name (“Alcesta,” “Paris and Helena”).

Not many composers shared Gluk’s objectives but, save Italy, until Wagner revamped his opera House began to thrive in every nation.

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