Theodor Kullak is a Pianiste, Compositeur and professor of music Polish, born the September 12th 1818 with Krotoszyn and dead on March 1st 1882 with Berlin.

Biography

It began its studies of piano as raises of Albrecht Agthe to Poznań. Its fast progress points out it of Prince Antoni Radziwiłł, when it is hardly eight years old. This prince organizes to him a concert at the court of Berlin; Kullak was then eleven years old. After its studies with the college of Sulechów, he undertakes in 1837 in Berlin of the studies of medicine and is pupil of Siegfried Dehn and Wilhelm Taubert. In same time, it continues its training of pianist and studies the Harmonie.

Of 1842 with 1843, Kullak studies with Simon Sechter, Otto Nicolai and Carl Czerny with Vienna. It was since 1843 the piano teacher of the princesses and from the Princes from the royal House to Berlin and it receives in 1846 the title of pianist of the Court. He was the piano teacher more for his time in Berlin.

In 1850, it founds in company of Julius Stern and Adolf Bernhard Marx the Stern' sche Konservatorium . It leaves this institution in 1855 following dissentions, to create the Neue Akademie der Tonkunst which it will direct until its death. It was specialized in the training of the pianists and it became the largest German private institute for the teaching of the music. Among the pupils of Kullak appear: Hans Bischoff, Moritz Moszkowski, Nikolai Rubinstein, Otto Bendix, James Kwast, Theo Ysaÿe, Julius Reubke, Xaver and Philipp Scharwenka.

His/her son Franz Kullak succeeded to him the Academy until his disappearance in 1890.

Works

Kullak composed approximately 130 parts of living room, full with effects, two sonatas for piano, a symphony for keyboard, a concerto for piano as well as parts for piano and violin. He wrote parts for the study of the piano such Die Schule of Oktavenspiels (1848).

Its concerto for piano (gone back to 1850) incarnates certainly one of the most imposing successes of the romantic period. Work affirms a single style, being insiprant of Chopin, but adopting new ways in particular at the melody level. Contrary to other type-setters such as Scharwenka or Litolff, Kullak does not raise an orchestration or an aggressive and sometimes brutal pianism, which will lead to works of Tchaïkovsky or Grieg, but of the soft reasons while being precise, and incisive.

External bonds

Random links:

Giverny | Five Nations tournament 1983 | To kill is not to play | Amalteo | External power