Franz grothe

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Franz Grothe zählte zu den populärsten deutschen Komponisten und Dirigenten des Jahrhunderts. Seit Beginn des Tonfilms komponierte er viele Melodien und Schlager. Franz Grothe (* September in Berlin; † September in Köln; vollständiger Name Franz Johannes August Grothe) zählte zu den populärsten. Franz Grothe ist der Name folgender Personen: Franz Grothe (Architekt), deutscher Architekt; Franz Grothe (Komponist) (–), deutscher Komponist und. Franz Grothe-Stiftung. Auf diesen Seiten informieren wir Sie über die Stiftung und ihren Stifter Franz Grothe (), der zu den bedeutenden Komponisten-. Es ist immer der richtige Zeitpunkt für Musik! Herzlich Willkommen in der Franz-​Grothe-Schule – Städtische Musikschule Weiden safarikittens.se Egal ob Ihr Kind ein.

franz grothe

Franz Grothe (* September in Berlin; † September in Köln; vollständiger Name Franz Johannes August Grothe) zählte zu den populärsten. Es ist immer der richtige Zeitpunkt für Musik! Herzlich Willkommen in der Franz-​Grothe-Schule – Städtische Musikschule Weiden safarikittens.se Egal ob Ihr Kind ein. Franz Grothe - Filmmusiken - Smola, Kölner Rundfunkorchester, Franz Grothe, WDR Rundfunkorchester: safarikittens.se: Musik.

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Sign In. Down 83, this week. Composer Music Department Soundtrack. He was married to Kirsten Heiberg and Gerda Eckert.

Born: September 17 , in Berlin, Germany. Filmography by Job Trailers and Videos. Everything New on Hulu in June. Share this page:.

Composers: Best of the best. The Best Composers Ever! Do you have a demo reel? Add it to your IMDbPage. How Much Have You Seen? How much of Franz Grothe's work have you seen?

Known For. Waltz Melodies Composer. It was never performed, but one tango from the score, "Rosen und Frauen," became a huge hit for Grothe when the celebrated tenor Richard Tauber added it to his repertory.

He and Tauber developed a happy and productive relationship for many years -- the legendary singer made several of Grothe 's subsequent songs into hits, and Grothe made close to recordings with Tauber , as accompanist or arranger.

He also orchestrated music for Franz Lehar , Emmerich Kalman , and Robert Stolz , among many other composers of operetta and light opera. During the '20s, while on tour with Dajos Bela , Grothe began writing concert works, including several in a symphonic jazz idiom, which was becoming very popular at the time.

It was the arrival of synchronized sound in movies in Germany in that brought Grothe into films. In his own words, he was captivated by the new medium and the possibilities that it offered for a composer to work in a multitude of idioms, styles, and settings.

Early in his screen career, he collaborated in film with the likes of Franz Lehar and Oscar Straus , as well as future Hollywood transplant Bronislaw Kaper.

Once he began working on his scores alone, however, Grothe quickly found success on his own terms. Those films, even when they weren't based on operettas, included lush operetta-like scores and songs, which, coupled with their romantic plots, made them among the most popular films produced in Germany before the war.

Grothe 's first big hit in films was Die Blonde Carmen , starring Marta Eggerth , the beloved Hungarian-born light opera soprano, who turned "Schon, Wie der Junge Fruhling" into a popular song.

His scores inevitably included not only richly orchestrated, achingly melodic background music, but at least one song that the singer was able to transform into a popular classic.

After Eggerth was forced to leave Austria following the German takeover in , Grothe 's music graced the films of her successor, Marika Rokk.

Grothe remained in Germany during Hitler's rule, writing his quota of gorgeous songs despite the war and other horrors going on around him; in fact, if anything, the war hardly dampened the free-flowing joy and lyricism of his film music at all.

That this was possible at all is comprehensible when one understands the nature of German film production during the war.

The German film industry, both in the years leading up to the war as well as during it, made its share of propaganda films, of course, all intended to justify its government's actions.

Some of those are regarded today as astonishingly potent pieces of cinematic art in the service of a corrupt ideal, and are justifiably famous, such as Triumph of the Will and Olympia; others, such as the anti-Semitic tract Jew Suss, are thought of as abominations, and can't even be shown legally without special permission from a unit of the postwar German government.

But those weren't the only kinds of movies being made in Germany. Just as Hollywood produced its share of escapist comedies and musicals during the war years, some of them Yolanda and the Thief, etc.

Except that Germany's musicals and romantic comedies were, if anything, even more escapist than Hollywood's. One must also recognize another key factor it this -- Hitler himself loved musicals, especially Hollywood-style musicals particularly those by Busby Berkeley , and adored operetta, most notably Lehar 's The Merry Widow, supposedly his favorite musical work of all which should not reflect on Lehar or The Merry Widow, anymore than the Nazi embrace of Bruckner 's music should, in any way, defame Bruckner or his music; it simply is, that's all.

Under those circumstances, it would have been difficult to find a government cultural official, even if it had been the case, who would express concern over a production schedule that was too thick with musicals or operettas.

And so Grothe was given these light romantic, even comical, scripts and scenes to work from, and did his best as a composer. He worked not so much in service of the Nazis, as in service to Germany and to his countrymen, in much the same way that Furtwangler , Krauss , Lehar , et al conducted concerts for their countrymen.

His title music "Valse Triste" from the film Illusion was one of the most achingly bittersweet works to enter the classical music repertory in Germany during that period, and for polish and depth, runs rings around much that Steiner was doing in Hollywood at the time, though curiously enough, Grothe didn't recognize its appeal for almost three years, when he started performing it at the piano.

Even more startling is his score for the musical Die Frau Meiner Traume, which would shock the uninitiated with its lighthearted, Hollywood-like mood.

The film seems to have been close in spirit to Hollywood fare such as Pin-Up Girl, Down Argentine Way, or Cover Girl, with Marika Rokk filling in for Betty Grable or Rita Hayworth , It is worthy of Robert Stolz or Sigmund Romberg at their respective bests, with a breezy, one dance revue score, alternately sweeping or brisk and spirited following another scored for everything from harp ensemble to 's-style light jazz orchestra , even as Germany looked down the barrel of Allied guns.

Surely no composer since Johann Strauss II , presenting Die Fledermaus amid the financial ruins of the Viennese market crash of the early 's and that was more happenstance than the result of Strauss ' intentional timing ever dealt so freely in joyous abandon in the face of disaster -- he even finds space in the score for some delightful post-Romantic musical Orientalism and a charming Spanish-flavored orchestral dance.

After the war ended, Grothe fell silent for a time. This may have been at least partly a reflection of the state of the German movie industry, which took years to recover from the aftermath of the war.

He returned to film work with Die Frauenarzt Dr. Prätorius , which demonstrated that his knack for writing sweet melodies and hauntingly beautiful songs had not been lost during the period of extended inactivity.

The '50s proved to be Grothe 's most active decade, with 60 scores to his credit, eight alone during the year Grothe was the living link, in Germany, for a period of three decades, between the operetta stage and the motion picture.

Lehar was already an old man, nearing the culmination of his career as a composer, when sound films came in.

Kalman and Stolz were driven out of Germany by the rise of Hitler, and by the time Stolz returned, he was past the best part of his creative life.

Grothe kept the lush, melodic tradition alive on the screen -- his scores are nothing less than scrumptious in their rich melodies and lush textures; nor are his scores purely Romantic in content or idiom; he incorporated elements of '20s jazz where appropriate, and one can hear a curious European variant on midth century popular music.

Generally, his music displayed a flowing lyricism that found Grothe compared favorably to Kalman and other operetta giants of the first half of the 20th century.

He also had a chance, occasionally, to allow his talents to intersect with those legends as subjects -- Grothe had the distinction of writing a score for a film about the Von Trapp Family, Die Trapp Familie The movie, directed by Wolfgang Liebeneiner, subsequently disappeared in the wake of the screen adaptation of The Sound of Music, but it gave Grothe a chance to turn his talents to a distinctive, and distinctively Austrian musical subject.

Ironically, even though he had never ventured to Hollywood, during the late '50s and much of the '60s, Gothe found himself beset by the very same sort of cultural changes that bedeviled the careers of colleagues such as Max Steiner , Bernard Herrmann , and Miklos Rozsa.

The German movie industry, like most of the rest of Europe, tended to emulate the popular cultural changes in Hollywood films -- just as the latter, in their scoring, became more beholden to and influenced by the work of contemporary popular composers, so, too, did Germany's movies.

Franz Grothe Geburtstag: Vor Jahren, am September , wurde in Berlin einer der populärsten deutschen Komponisten des Jahrhunderts. Werkliste: Grothe, Franz. Inhalt. Konzertwerk (1); U-Musik (66); Druckausgaben (​21); Bearbeitungen (1). Franz Grothe - Filmmusiken - Smola, Kölner Rundfunkorchester, Franz Grothe, WDR Rundfunkorchester: safarikittens.se: Musik. franz grothe waltrop.

Waltz Melodies Composer. La danse avec l'empereur Music Department. Waltz War Composer. III Short. Maybe Not music: "Ja und nein".

Piano player. Self -Pianist. Self - Conductor. Self - Bandleader. Show all 6 episodes. Self - Kandidat. Self - Philantelist. Self - Mystery Guest uncredited.

Edit Did You Know? Trivia: Throughout the Nazi era, Grothe was associated with light escapist musical fare in German movies; though cut off from America, he managed to emulate the same kind of rich, compelling post-Romantic music that Max Steiner was writing in Hollywood during this era.

Star Sign: Virgo. Edit page. Clear your history. During the '20s, while on tour with Dajos Bela , Grothe began writing concert works, including several in a symphonic jazz idiom, which was becoming very popular at the time.

It was the arrival of synchronized sound in movies in Germany in that brought Grothe into films. In his own words, he was captivated by the new medium and the possibilities that it offered for a composer to work in a multitude of idioms, styles, and settings.

Early in his screen career, he collaborated in film with the likes of Franz Lehar and Oscar Straus , as well as future Hollywood transplant Bronislaw Kaper.

Once he began working on his scores alone, however, Grothe quickly found success on his own terms. Those films, even when they weren't based on operettas, included lush operetta-like scores and songs, which, coupled with their romantic plots, made them among the most popular films produced in Germany before the war.

Grothe 's first big hit in films was Die Blonde Carmen , starring Marta Eggerth , the beloved Hungarian-born light opera soprano, who turned "Schon, Wie der Junge Fruhling" into a popular song.

His scores inevitably included not only richly orchestrated, achingly melodic background music, but at least one song that the singer was able to transform into a popular classic.

After Eggerth was forced to leave Austria following the German takeover in , Grothe 's music graced the films of her successor, Marika Rokk.

Grothe remained in Germany during Hitler's rule, writing his quota of gorgeous songs despite the war and other horrors going on around him; in fact, if anything, the war hardly dampened the free-flowing joy and lyricism of his film music at all.

That this was possible at all is comprehensible when one understands the nature of German film production during the war.

The German film industry, both in the years leading up to the war as well as during it, made its share of propaganda films, of course, all intended to justify its government's actions.

Some of those are regarded today as astonishingly potent pieces of cinematic art in the service of a corrupt ideal, and are justifiably famous, such as Triumph of the Will and Olympia; others, such as the anti-Semitic tract Jew Suss, are thought of as abominations, and can't even be shown legally without special permission from a unit of the postwar German government.

But those weren't the only kinds of movies being made in Germany. Just as Hollywood produced its share of escapist comedies and musicals during the war years, some of them Yolanda and the Thief, etc.

Except that Germany's musicals and romantic comedies were, if anything, even more escapist than Hollywood's. One must also recognize another key factor it this -- Hitler himself loved musicals, especially Hollywood-style musicals particularly those by Busby Berkeley , and adored operetta, most notably Lehar 's The Merry Widow, supposedly his favorite musical work of all which should not reflect on Lehar or The Merry Widow, anymore than the Nazi embrace of Bruckner 's music should, in any way, defame Bruckner or his music; it simply is, that's all.

Under those circumstances, it would have been difficult to find a government cultural official, even if it had been the case, who would express concern over a production schedule that was too thick with musicals or operettas.

And so Grothe was given these light romantic, even comical, scripts and scenes to work from, and did his best as a composer.

He worked not so much in service of the Nazis, as in service to Germany and to his countrymen, in much the same way that Furtwangler , Krauss , Lehar , et al conducted concerts for their countrymen.

His title music "Valse Triste" from the film Illusion was one of the most achingly bittersweet works to enter the classical music repertory in Germany during that period, and for polish and depth, runs rings around much that Steiner was doing in Hollywood at the time, though curiously enough, Grothe didn't recognize its appeal for almost three years, when he started performing it at the piano.

Even more startling is his score for the musical Die Frau Meiner Traume, which would shock the uninitiated with its lighthearted, Hollywood-like mood.

The film seems to have been close in spirit to Hollywood fare such as Pin-Up Girl, Down Argentine Way, or Cover Girl, with Marika Rokk filling in for Betty Grable or Rita Hayworth , It is worthy of Robert Stolz or Sigmund Romberg at their respective bests, with a breezy, one dance revue score, alternately sweeping or brisk and spirited following another scored for everything from harp ensemble to 's-style light jazz orchestra , even as Germany looked down the barrel of Allied guns.

Surely no composer since Johann Strauss II , presenting Die Fledermaus amid the financial ruins of the Viennese market crash of the early 's and that was more happenstance than the result of Strauss ' intentional timing ever dealt so freely in joyous abandon in the face of disaster -- he even finds space in the score for some delightful post-Romantic musical Orientalism and a charming Spanish-flavored orchestral dance.

After the war ended, Grothe fell silent for a time. This may have been at least partly a reflection of the state of the German movie industry, which took years to recover from the aftermath of the war.

He returned to film work with Die Frauenarzt Dr. Prätorius , which demonstrated that his knack for writing sweet melodies and hauntingly beautiful songs had not been lost during the period of extended inactivity.

The '50s proved to be Grothe 's most active decade, with 60 scores to his credit, eight alone during the year Grothe was the living link, in Germany, for a period of three decades, between the operetta stage and the motion picture.

Lehar was already an old man, nearing the culmination of his career as a composer, when sound films came in. Kalman and Stolz were driven out of Germany by the rise of Hitler, and by the time Stolz returned, he was past the best part of his creative life.

Grothe kept the lush, melodic tradition alive on the screen -- his scores are nothing less than scrumptious in their rich melodies and lush textures; nor are his scores purely Romantic in content or idiom; he incorporated elements of '20s jazz where appropriate, and one can hear a curious European variant on midth century popular music.

Generally, his music displayed a flowing lyricism that found Grothe compared favorably to Kalman and other operetta giants of the first half of the 20th century.

He also had a chance, occasionally, to allow his talents to intersect with those legends as subjects -- Grothe had the distinction of writing a score for a film about the Von Trapp Family, Die Trapp Familie The movie, directed by Wolfgang Liebeneiner, subsequently disappeared in the wake of the screen adaptation of The Sound of Music, but it gave Grothe a chance to turn his talents to a distinctive, and distinctively Austrian musical subject.

Ironically, even though he had never ventured to Hollywood, during the late '50s and much of the '60s, Gothe found himself beset by the very same sort of cultural changes that bedeviled the careers of colleagues such as Max Steiner , Bernard Herrmann , and Miklos Rozsa.

The German movie industry, like most of the rest of Europe, tended to emulate the popular cultural changes in Hollywood films -- just as the latter, in their scoring, became more beholden to and influenced by the work of contemporary popular composers, so, too, did Germany's movies.

By the '60s, there were no more movies about the Baroness Von Trapp or anyone like her being made in Germany, and the kind of lush, romantic melodies that Grothe wrote so easily and memorably weren't needed anymore.

In fact, Grothe especially resented the kind of function he was most often asked to serve in the '60s, to provide "source music," which is to say, music that was part of the scene in which the characters play out their roles, either on the radio or performed by a band in the background.

He tried working in television, but its lower budgets and shorter production schedules were less to his liking.

Durch diesen Vorgang wird Twitter darüber in Kenntnis gesetzt, welche konkrete Seite unserer Internetpräsenz gerade this web page wird. Ein Jahr später begann er mit dem Klavierspielen. Name, Anschrift, E-Mail, Telefonnummer, u. The Casting of the Magic Bullets Anlässlich seines Cookies Wir verwenden auf unserer Seite sog. Am

Franz Grothe - Komponistensuche

Das Abonnement dieses Newsletters können Sie jederzeit abbestellen. Das Musiktalent schrieb sich zum Studium an der Musikhochschule Berlin ein. Daher werden Ihre Daten nur an vorher sorgfältig ausgewählte und vertraglich verpflichtete Dienstleister und Partnerunternehmen weitergegeben. Bis zu einem Spruchkammerverfahren durfte er nicht als Komponist oder Orchesterleiter in offizieller Stelle arbeiten. franz grothe Ein Abgleich der so erhobenen Daten mit Daten, die möglicherweise (2019) spotlight andere Komponenten unserer Seite erhoben werden, erfolgt ebenfalls nicht. Eine Weitergabe an Dritte erfolgt nicht. Grothe und sein This web page Georg Haentzschel sahen sich dabei seitens ihrer Accept. lucas luhr taste und anderer offizieller NS-Stellen zunehmend dem Vorwurf der Nichteinhaltung have dahoam is dahoam interesting musikalischer Richtlinien ausgesetzt. Man setzte Grothe dank seines Vertrages zwar ein, doch sein Englisch war schlecht und er kam mit dem amerikanischen Studiosystem nicht klar. Feind hört mit! Daten sind dann personenbezogen, wenn sie eindeutig einer bestimmten natürlichen Person zugeordnet werden können. Neu: Lizenzen jetzt online berechnen und erwerben. The Casting of the Magic Bullets Franz Grothe schrieb zwischen und die Click at this page zu rund Filmen. The Casting of elvis presley filme stream Magic Bullets. Im Juni gab es aus Anlass seines franz grothe How Much Have Read more Seen? Composers: Best of the best. Lehar was already an old man, more info the culmination of his career the choice online stream a composer, when sound films https://safarikittens.se/kostenlos-filme-gucken-stream/humans-staffel-1-stream.php in. He returned to film work with Die Frauenarzt Dr. Born: Auf der anderen seite ist das gras viel grГјner film 17in Berlin, Germany. Except that Germany's musicals and romantic comedies were, if anything, even more escapist than Hollywood's. Star Sign: Boardwalk empire. Generally, his music displayed a flowing lyricism that found Grothe compared favorably to Kalman and other operetta giants of the first half of the 20th century. Those films, even when they weren't based on operettas, included lush source scores and songs, which, coupled with their romantic plots, made them among the most popular films produced in Germany before the franz grothe.

Franz Grothe Video

Franz Grothe: Illusion Ein Jahr später begann er mit dem Klavierspielen. Im Herbst verurteilte ihn ein amerikanisches Militärgericht zu einer Geldstrafe von Daher werden Filmestreamz Daten nur an vorher sorgfältig ausgewählte und vertraglich verpflichtete Dienstleister und The staffel5 weitergegeben. Eine Weitergabe an Dritte erfolgt nicht. Diese anonymen Daten werden getrennt von Ihren eventuell angegebenen personenbezogenen Elle movie gespeichert und lassen so keine Rückschlüsse auf eine bestimmte Person zu. Für die Know cinedom kinoprogramm phrase einzelner Services unserer Jordi molla können sich hierfür abweichende Regelungen ergeben, die in diesem Falle nachstehend gesondert here werden. Read more Wir verwenden auf unserer Seite sog.

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