Isolde Ahlgrimm, Vienna and the Early Music Revival

Nonfiction, Entertainment, Music
Cover of the book Isolde Ahlgrimm, Vienna and the Early Music Revival by Peter Watchorn, Taylor and Francis
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Peter Watchorn ISBN: 9781351561969
Publisher: Taylor and Francis Publication: July 5, 2017
Imprint: Routledge Language: English
Author: Peter Watchorn
ISBN: 9781351561969
Publisher: Taylor and Francis
Publication: July 5, 2017
Imprint: Routledge
Language: English

Isolde Ahlgrimm (1914-1995) was an important pioneer in the revival of Baroque and Classical keyboard instruments in her native city, Vienna, and later, throughout Europe and the United States. She trained as a pianist at the Musikakademie in Vienna under the instruction of Viktor Ebenstein, Emil von Sauer and Franz Schmidt. In 1934 she met the musical instrument collector, Dr Erich Fiala, whom she married in 1938. His activities opened up the world of early instruments to her. Using a 1790 fortepiano by Michael Rosenberger, Isolde Ahlgrimm began her career as a specialist on early keyboard instruments with the first in her notable series of Concerte fur Kenner und Liebhaber, given in Vienna's Palais Palffy in February 1937. Ahlgrimm's career as a harpsichordist also began in 1937, when a new instrument was commissioned from the Ammer brothers in Eisenberg, Germany. In 1943 Ahlgrimm performed her first all-harpsichord programme, which consisted of the Goldberg Variations by J.S. Bach. From 1949 to 1956, she devoted herself to performing and recording nearly all of Bach's harpsichord music for the newly-founded Dutch label, Philips, presenting her new approach to the harpsichord to a wider audience. Ahlgrimm's performances of Baroque music represented a radical departure from the distinctly twentieth-century interpretations by the much more famous Wanda Landowska and her followers. Most obviously, Ahlgrimm's harpsichord performances eliminated frequent registration changes (her instrument had hand stops rather than pedals to change registers), and largely eschewed the massive ritardandi and other anachronistic performance practices that were hallmarks of Landowska's essentially Romantic style. Ahlgrimm researched and emphasized rhetorical traditions on which the music was based. This became more pronounced throughout the course of her later performing, writing and teaching career, and it was the beginning of an approach to the performance of eighteenth-century musi

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Isolde Ahlgrimm (1914-1995) was an important pioneer in the revival of Baroque and Classical keyboard instruments in her native city, Vienna, and later, throughout Europe and the United States. She trained as a pianist at the Musikakademie in Vienna under the instruction of Viktor Ebenstein, Emil von Sauer and Franz Schmidt. In 1934 she met the musical instrument collector, Dr Erich Fiala, whom she married in 1938. His activities opened up the world of early instruments to her. Using a 1790 fortepiano by Michael Rosenberger, Isolde Ahlgrimm began her career as a specialist on early keyboard instruments with the first in her notable series of Concerte fur Kenner und Liebhaber, given in Vienna's Palais Palffy in February 1937. Ahlgrimm's career as a harpsichordist also began in 1937, when a new instrument was commissioned from the Ammer brothers in Eisenberg, Germany. In 1943 Ahlgrimm performed her first all-harpsichord programme, which consisted of the Goldberg Variations by J.S. Bach. From 1949 to 1956, she devoted herself to performing and recording nearly all of Bach's harpsichord music for the newly-founded Dutch label, Philips, presenting her new approach to the harpsichord to a wider audience. Ahlgrimm's performances of Baroque music represented a radical departure from the distinctly twentieth-century interpretations by the much more famous Wanda Landowska and her followers. Most obviously, Ahlgrimm's harpsichord performances eliminated frequent registration changes (her instrument had hand stops rather than pedals to change registers), and largely eschewed the massive ritardandi and other anachronistic performance practices that were hallmarks of Landowska's essentially Romantic style. Ahlgrimm researched and emphasized rhetorical traditions on which the music was based. This became more pronounced throughout the course of her later performing, writing and teaching career, and it was the beginning of an approach to the performance of eighteenth-century musi

More books from Taylor and Francis

Cover of the book The Garden City by Peter Watchorn
Cover of the book Routledge Revivals: Case for the Prosecution (1991) by Peter Watchorn
Cover of the book Latin American and Iberian Perspectives on Literature and Medicine by Peter Watchorn
Cover of the book The Articulated Peasant by Peter Watchorn
Cover of the book Medical Law and Ethics by Peter Watchorn
Cover of the book The African Exception by Peter Watchorn
Cover of the book The Reflective Practice Guide by Peter Watchorn
Cover of the book The History of Korea by Peter Watchorn
Cover of the book The Market or the Public Domain by Peter Watchorn
Cover of the book The British Coal Industry by Peter Watchorn
Cover of the book Joycean Frames by Peter Watchorn
Cover of the book Homeland Security by Peter Watchorn
Cover of the book Community Literacies as Shared Resources for Transformation by Peter Watchorn
Cover of the book Risk and Crisis Management in the Public Sector by Peter Watchorn
Cover of the book Teaching Research Methods in the Social Sciences by Peter Watchorn
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy