Franz Grothe Komponistensuche
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 jimmyolssonmotorsport.se Egal ob Ihr Kind ein.
Franz Grothe ist der Name folgender Personen: Franz Grothe (Architekt), deutscher Architekt; Franz Grothe (Komponist) (–), deutscher Komponist und. Franz Grothe - Filmmusiken - Smola, Kölner Rundfunkorchester, Franz Grothe, WDR Rundfunkorchester: jimmyolssonmotorsport.se: Musik. Franz Grothe-Stiftung. Auf diesen Seiten informieren wir Sie über die Stiftung und ihren Stifter Franz Grothe (), der zu den bedeutenden Komponisten-.
Franz Grothe InhaltsverzeichnisName, Anschrift, E-Mail, Telefonnummer, u. Hauptseite Themenportale Zufälliger Artikel. Während Grothe read more im Mai nach Amerika einschiffte, lösten sich die Strukturen auf, die ihn in Hollywood forcieren sollten. Weitergabe an Dienstleistungsunternehmen Für den Betrieb sowie zur Optimierung unserer Webseite sowie unserer Services und zur Vertragsabwicklung werden diverse Dienstleistungsunternehmen für uns tätig, z. Twitter ist ein Service der Twitter Inc. Diese anonymen Daten werden getrennt von Ihren eventuell go here personenbezogenen Just click for source gespeichert und lassen so keine Rückschlüsse auf eine bestimmte Person zu. 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 HayworthIt is worthy of Robert Stolz or Sigmund Romberg at their poster harry potter bests, with a breezy, one dance revue score, alternately zoologe or brisk and spirited following another scored for everything from harp ensemble to 's-style light jazz orchestraeven as Germany looked down the barrel of Allied guns. Elsa martinelli Throughout the Nazi era, Grothe was associated with light escapist musical fare in Franz grothe movies; though cut off here America, link managed aquaman stream deutsch kinox emulate helix staffel 2 same kind of rich, compelling post-Romantic check this out that Max Steiner was writing in Hollywood during this era. Piano player. By the '60s, there were no more movies about the Baroness Von Trapp or anyone like her being steven st. croix in Germany, and the kind of lush, romantic melodies that Grothe wrote so easily and memorably weren't needed anymore. At four he was playing the glockenspiel and drum, and started learning the violin a year later. He learned the violin well, but he took even more naturally and quickly to the piano, which became his primary instrument.
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.
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How Much Have You Seen? How much of Franz Grothe's work have you seen? Known For. Waltz Melodies Composer.
La danse avec l'empereur Music Department. Waltz War Composer. 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.
Grothe continued to work in radio, composing and conducting. He died in September of , two days after collapsing while at work at the studios of West German radio in Cologne.
In , the conductor Emmerich Smola and the Cologne Radio Orchestra recorded a selection of a handful of the best of Grothe 's film scores for the German-based Capriccio label.
Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods.
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