DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

111119 bk Bach2 EU 11/1/06 1:58 PM Page 8 Wilhelm KEMPFF (1895-1991) ADD ^ Wachet auf, ruft uns die Stimme (“Sleepers, Wake!”), BWV 645 5:01 Transcribed and played by Wilhelm Kempff, pianist (Recorded in Berlin, January 1936) Great Pianists 8.111119 (Polydor 67086B (589 3/4 GS (67392B)) Jeanne BEHREND (1911-1988) and Alexander KELBERINE (1903-1940) Johann Sebastian & Nun kommt, der Heiden Heiland (“Now comes the gentiles’ Saviour”), BWV 659a 3:50 (Transcribed by Alexander Kelberine) Jeanne Behrend and Alexander Kelberine, Duo-pianists (Recorded in New York, 27th August 1936) BACH (Victor 14208-B (2), from Set M330, Side 12) Ray LEV (1912-1968) Concerto No. 5 in D minor after Vivaldi’s Opus 3, No. 11, BWV 596 12:45 Piano * I. Introduction; Fugue 6:49 ( II. Siciliana 2:42 Transcriptions ) III. Finale: Non allegro 3:14 Transcribed and played by Ray Lev, pianist (Recorded in New York, 1946) Volume 2 (Concert Hall Society Release AH (1052-2; 1053-3; 1054-1)) Egon Petri Edwin Fischer Ossip Gabrilowitsch Wilhelm Kempff Vitya Vronsky • Victor Babin Percy Grainger Previously Released: J.S. Bach Piano Transcriptions Ethel Bartlett • Rae Robertson Vol.1 (Rare Historical Recordings) Naxos Historical 8.110658 [Includes performances by Sergey Rachmaninov, Emma Boynet Alfred Cortot, Winifred Christie, Ethel Bartlett & Rae Robertson, Olga Samaroff, George Copeland, Harriet Cohen, Alexander Kelberine, Walter Gieseking, Wilhelm Backhaus, Byron Janis and Artur Rubinstein] Walter Rummel In Preparation Ray Lev J.S. Bach Piano Transcriptions, Vol. 3 Naxos Historical 8.111222 Harriet Cohen Rare Historical Recordings 1925-1950 8.111119 8 111119 bk Bach2 EU 11/1/06 1:58 PM Page 2 Great Pianists Percy GRAINGER (1882-1961) Bach Piano Transcriptions 0 “Blithe Bells” (Ramble on Bach’s Aria “Sheep May Safely Graze”; “Schafe können sicher weiden") 3:39 from Cantata BWV 208 The Russian-American violinist and composer Arcady follows her with his own 1935 recording of his Transcribed and played by Percy Grainger, pianist (Recorded in New York, October 1931) Dubensky (1890-1966) was passionate when it came to transcription of a Bach Menuet, which is in reality an (Columbia 68006-D (98759) from Set 166) the music of Johann Sebastian Bach. Dubensky interplay of the three Menuets, BWV 841-843, from the considered Bach the greatest of modernists, in his Wilhelm Friedemann Bach Notebook. daring modulations, harmonies, and in the complexity One of the great interpreters of Bach’s music is Ethel BARTLETT (1896-1978) and Rae ROBERTSON (1893-1956) of his ideas. Albert Schweitzer seemed to agree, when without doubt Edwin Fischer (1886-1960). His ! “Little” Fugue in G minor, BWV 578 (Transcribed by Nicolai Mednikoff) 3:13 he wrote: “Bach’s music seems to us modern in so far as extraordinary performance of all of Bach’s 48 preludes Ethel Bartlett and Rae Robertson, duo-pianists (Recorded in London, 12th May 1947) it makes a strong effort to get beyond the natural and fugues of the “Well-Tempered Clavier” stands as (Columbia DB2371 (CA20387-1)) indefiniteness of musical sound.” Schweitzer continued, one of the great recordings of all time [Naxos Historical “The unique thing in Bach is the clearness and 8.110651-52 (Book I) and 8.110653-54 (Book II)]. A Theodore SAIDENBERG (1908-1986) and Edward REBNER (1910-1993) completeness of his musical language.” This is perhaps master of shading and expression, Fischer’s 1933 the reason why Bach’s compositions remain the most performance of Ferruccio Busoni’s transcription of @ “Jesu bleibet meine Freude” (“Jesu, Joy of Man’s Desiring”), 2:41 performed, the most recorded, the most studied, and the Bach’s Prelude and Fugue in E flat major (“St Anne”), from Cantata No.147, “Herz und Mund und Tat und Leben”, BWV 147 most transcribed. BWV 552, is marked by a wonderful blend of power (Transcribed by Edward Rebner) In this second volume in the continuing Naxos and delicacy of feeling. Theodore Saidenberg and Edward Rebner, duo-pianists (Recorded in Los Angeles, in 1946) series devoted to historic recordings of piano Berlin-born Walter Rummel (1887-1953) began his (Standard Program Library T-295 (SRR-2544-3)) transcriptions of Bach’s music, fifteen works are studies with his father. In 1901 his family moved to expertly transformed for the modern piano. Opening the Washington, D.C., where he continued his studies with Pierre LUBOSCHUTZ (1891-1971) and Genia NEMENOFF (1905-1989) disc is Bach’s Sonata No. 5 in C major, BWV 529, in a Samuel Monroe Fabian. By 1904 Rummel had returned transcription for two pianos, four hands by Victor Babin to Berlin to study with Leopold Godowsky. He became # Siciliano 3:21 (1908-1972). Babin transcribed all six of Bach’s sonatas an American citizen in 1908, and a year later moved to (from Sonata No. 2 in E flat major for Flute and Clavier Obbligato, BWV 1031) for two manuals and obbligato pedal. According to the Paris where he became friends with Ezra Pound and (Transcribed by Guy Maier) German music historian Johann Nikolaus Forkel, Bach Claude Debussy. During the 1920s Rummel performed Pierre Luboschutz and Genia Nemenoff, duo-pianists (Recorded in New York, 12th September 1939) intended these sonatas to serve as exercises for his in all the major capitals of Europe, specialising in (Victor 17552-B (17548-B, DO42671-I) from Set DM-724) oldest son Wilhelm Friedemann, “who, by practising single-composer programmes. Two years later he began them had to prepare himself to become the great publishing his series of 25 transcriptions of Bach’s Ellen BALLON (1898-1969) performer on the organ that he afterward was.” Babin’s organ works and cantata extracts. One of these, Vom transcription takes full advantage of both pianos to Himmel hoch da komm’ ich her, BWV 248, he recorded $ Organ Prelude in G minor, BWV 535 (Transcribed by Alexander Siloti) 3:37 emulate the writing for the organ. Vitya Vronsky (1909- in Berlin in 1930. Ellen Ballon, pianist (Recorded in London, 25th July 1950) 1992) and Victor Babin in their 1940 recording of this The Italian composer, cellist and pianist, Luigi (London LPS306 (DRL 571-1B)) work provide a joyous and enchanting beginning to this Perrachio (1883-1966) is not well known today, yet he historic recital. was an influential teacher of piano and composition at the Ossip GABRILOWITSCH (1878-1936) British pianist Harriet Cohen (1895-1967) was one Turin Conservatory (1925-1955), and left a remarkable % Bourrée 2:42 of Tobias Matthay’s most brilliant students. She was and interesting catalogue of original works. In 1931 he (from Partita No. 1 in B minor for Solo Violin, BWV 1002) (Transcribed by Camille Saint-Saëns) admired as a Bach interpreter, presenting in 1925 the published a set of six piano transcriptions of Bach’s very first all-Bach programme to be performed in organ chorale preludes. The French pianist Emma Ossip Gabrilowitsch, pianist (Recorded in New York, 13th May 1925) Queen’s Hall, London. In 1931 she was invited by the Boynet (1891-1974) (an Isidor Philipp student at the (Victor BVE-32701-2 (Unissued)) Bach Gesellschaft to perform at Bach’s birthplace in Paris Conservatoire) is heard in Perrachio’s transcription Eisenach. Her recording of the Fantasia No. 4 in C of Allein Gott in der Höh’ sei Ehr’ , BWV 711, in a rare minor, BWV 906, is her contemporary tribute to fellow recording made in New York in 1934. pianist and transcriber Egon Petri (1881-1962). Petri The Australian Percy Aldridge Grainger (1882- 8.111119 2 7 8.111119 111119 bk Bach2 EU 11/1/06 1:58 PM Page 6 1961) saw himself as an innovator. Writing about what Hollywood that he met the pianist Theodore BACH: Piano Transcriptions • Volume 2 he called “Free music”, he said: “It is my only important Saidenberg, a much sought-after accompanist and contribution to music”. Only in the last decade has there partner in chamber music. He appeared in concert with Vitya VRONSKY (1909-1992) and Victor BABIN (1908-1972) been a comprehensive assessment of Grainger’s Louis Kaufman, Erica Morini, Jascha Heifetz, Rose Sonata No. 5 in C major for Organ (2 Claviers and Pedal), BWV 529 (Transcribed by Victor Babin) 11:48 pianistic and compositional art, with numerous Bampton, Emmanuel Feuermann, Mischa Mischakoff, 1 I. Allegro 3:48 recordings of his works and reissues of some of his most Raya Garbousova, Helen Jepson, Lily Pons, Richard 2 II. Largo 5:24 important historic recordings. Grainger arranged and Tucker and Isaac Stern. A native of Baltimore, 3 III. Allegro 2:36 transcribed many of the works of J.S. Bach. Among the Maryland and a graduate of the Curtis Institute in most extraordinary of these is his Blithe Bells, which he Philadelphia, Saidenberg had also a successful career in Vitya Vronsky and Victor Babin, duo-pianists (Recorded in New York, 29th November 1940) subtitled, “Ramble on Bach’s Aria ‘Sheep May Safely radio, motion picture recording and on the concert (Victor 13634-B (13627-B, 057687) 13633-B (13628-A, 057688), and 13632-B (13628-B 057689) in Set DM-778) Graze’”. “The ramble,” wrote Grainger, “is coloured by stage. the thought that Bach, in writing the melody in thirds Pierre Luboschutz (1891-1971) and Genia Harriet COHEN (1895-1967) that open and close the number, may have aimed at Nemenoff (1905-1989) offer a sensuous and sensitive 4 Fantasia No. 4 in C minor, BWV 906 (Transcribed by Egon Petri) 3:15 giving a hint of the sound of sheep bells”. The delicious performance of Guy Maier’s transcription of the flute Harriet Cohen, pianist (Recorded in London, 22nd March 1935) jazzy moment at the end of the piece is pure gold.
Recommended publications
  • Myra Hess Had to Wait for Her Ultimate Breakthrough in Her English Homeland; for This Reason, She Initially Had to Earn Her Living by Teaching

    Myra Hess Had to Wait for Her Ultimate Breakthrough in Her English Homeland; for This Reason, She Initially Had to Earn Her Living by Teaching

    Hess, Myra Irene Scharrer. However, Myra Hess had to wait for her ultimate breakthrough in her English homeland; for this reason, she initially had to earn her living by teaching. Her first major success abroad was her debut in Amster- dam, where she performed Schumann's Piano Concerto in A minor, Op. 54 with the Concertgebouw Orchestra un- der Willem Mengelberg in 1912. In 1922 followed her de- but in New York, where she was celebrated with equal en- thusiasm. Her career advanced rapidly from that point onwards, and she rose to the position of one of the most successful pianists in her homeland during the ensuing years. During the 1930s, she undertook extended concert tours throughout all of Europe, including the Scandinavi- an countries, Czechoslovakia, Hungary, Rumania, Tur- key, Yugoslavia, Germany, France and Holland. At the be- ginning of the Second World War, when all of London's concert halls were closed, she founded the legendary "Lunchtime Recitals" at the National Gallery, offering the London public a broad spectrum of high-quality pro- grammes with both young and established musicians. She herself performed at the National Gallery 146 times. The concerts were held without interruption until 10 Ap- Die Pianistin Myra Hess ril 1946. In 1941 Myra Hess was honoured with the title "Dame Commander of the Order of the British Empire" Myra Hess for her special efforts on behalf of musical life in her ho- meland. After the Second World War, the meanwhile fa- * 25 February 1890 in Hampstead (im heutigen mous pianist regularly gave concerts in her native count- Londoner Stadtbezirk Camden), England ry and in the USA, where she enjoyed great popularity.
  • Annual Report 2016

    Annual Report 2016

    McGill Library and Archives Annual Report 2016 Annual Report 2016 1 Table of Contents 1. Dean’s Message ------------------------------------------ 1 2. Research and Publications ------------------------------- 2 3. Teaching and Learning ----------------------------------- 3 4. Involvement in the Community --------------------------- 5 5. Human Resources: Milestones --------------------------- 10 6. Honours, Awards and Prizes ----------------------------- 10 7. Fiat Lux -------------------------------------------------- 11 8. Facilities ------------------------------------------------- 12 9. Budget --------------------------------------------------- 13 10. Fundraising ---------------------------------------------- 15 11. Academic Unit Reviews ---------------------------------- 16 Appendices A. Selected Research & Publications ----------------------- 17 B. Human Resources Report -------------------------------- 19 C. Loaned Items -------------------------------------------- 23 D. Notable Rare & Special Acquisitions --------------------- 24 E. Facts and Figures ---------------------------------------- 26 Annual Report 2016 2 Dean’s Message 2016 was a great year for the McGill Library and Archives. We are at a pivotal point in our history and much of the year was dedicated to promoting and advancing Fiat Lux, our ambitious plan to reimagine the McLennan-Redpath Complex for the 21st century. The project team (myself, Planning and Resources and Communications staff, University Advancement, McGill’s Planning Department, VP University Services,
  • ARSC Journal XXV I I 1994

    ARSC Journal XXV I I 1994

    JEFFREY HOLLANDER The Artistry of Myra Hess: Recent Reissues Dame Myra Hess-Vol. I Pearl GEMM CD 9462 Jin, Felix Salmond, 'cello), Brahms: Piano [Pearl I] (69'40") Trio in C Major, op. 87 (with Jelly d'Aranyi, Contents: Bach: French Suite no. 5, BWV violin, Gaspar Cassad6, 'cello) 816: Gigue; Schubert: Sonata in A Major, D. 664; Schubert: Rosamunde, 'Ballet Music' Dame Myra Hess (1890-1965) EMI CDH 7 (arr. Ganz); Beethoven: Sonata in A Major, 63787 2 [EM!] (75'57") op. 69 (with Emanuel Feuermann, 'cello); Contents: Beethoven: Piano Sonata in E Chopin: Nocturne in F-sharp Major, op. 15, Major, op. 109; Piano Sonata in A-flat no. 2; Mendelssohn: Song without Words in Major, op. 110; Scarlatti: Sonata in C A-flat Major, op. 38, no. 6; Brahms: Minor, K. 11/L. 352; Sonata in G Major, K. Capriccio in B Minor, op. 76, no. 2; Dvorak: 14/L. 387; Beethoven: Fur Elise; Bagatelle Slavonic Dance in C Major, op. 46, no. 1 in E-flat Major, op. 126, no. 3; (with Hamilton Harty, piano); Debussy: Mendelssohn: Song without Words in A Images, Book II, 'Poissons d'or'; Preludes, Major, op. 102, no. 5; Granados: Goyescas­ Book I, 'La fille aux cheveux de Jin' and no. 4, 'La maja y el ruiseiior'; Brahms: 'Minstrels'; Bach: Chorale, 'Jesu, Joy of Waltz in A-flat Major, op. 39, no. 15; Man's Desiring' (arr. Hess) Intermezzo in C Major, op. 119, no. 3; J.S. Bach: Toccata, Adagio, and Fugue, BWV Dame Myra Hess-Vol. II Pearl GEMM CD 564: Adagio (arr.
  • Programm 2017

    Programm 2017

    Musiksommer am Zürichsee 2017 Interkantonale Festkonzerte Programm www.musiksommer.ch OSTWÄRTS Herzlichen Dank Liebe Freundinnen und Freunde des Musiksommers am Zürichsee unseren Sponsoren, Gönnerinnen und Gönnern, Ge meinde-, Kirchen- und Kantonsbehörden, Firmen, Institutionen und Privatpersonen, die den «Musiksommer am Zürichsee» ideell Einmal mehr freuen wir uns, Ihnen ein musikalischen Nachwuchs im Podium und finanziell grosszügig unterstützen. facettenreiches Programm an den zahl- junger Künstler oder im Chopin-Salon Hauptsponsoren: reichen Wunderorten rund um den Zü- auf der Halbinsel Au. richsee zu präsentieren. Ein besonderer Akzent liegt heuer auf der Musik aus dem Wir würden uns freuen, Sie an diesen osteuropäischen Raum: Mit Dvorˇák, inspirierenden und geschichtsträchti- Smetana, Liszt, Chopin, Kodály und gen Orten am Zürichsee mit Klängen, Co-Sponsoren: Rachmaninow, aber auch mit unbe- Gedanken und musikalischen Formen kannteren Komponisten wie z.B. Luboš zu begeistern. Gleichzeitig möchten wir Fišer, öffnen wir unsere Ohren dem uns für die wichtige Unterstützung des Klang der slawischen Seele. Auch ein 22. Musiksommers bedanken. Blick auf die Interpretinnen und Interpre- ten zeigt die grosse Verehrung des Musiksommers für die Künstler aus Ein herzliches Dankeschön dem Osten: sie stammen aus Weiss- Eventsponsoren: russland, Rumänien, Russland, Tsche- Ihre chien und Serbien. Selbstverständlich präsentiert das Festival auch wieder verschiedene Schweizer Ensembles, Medienpartner Solistinnen und Solisten und fördert den Giovanni Bria Graziella Contratto 2 3 Programmübersicht Freitag Rapperswil Eröffnungskonzert – Aus Böhmen und Mähren Seite 8 Freitag Bubikon Schubertiana Seite 10 26. Mai Schloss, Rittersaal 11. August Ritterhaus 19.30 Uhr Dvorˇák Trio 19.30 Uhr Alexander Kaimbacher (Tenor) und Alexander Boldachev (Harfe) Werke von Fišer, Smetana und Dvorˇák Liederabend mit Werken von Schubert, Glinka, Beethoven, Chopin, Smetana und Schumann Freier Eintritt (Kollekte) Nummerierte Plätze zu CHF 30 Freitag Rüti/ZH Meisterpianisten – Ana Silvestru Seite 8 9.
  • Kathleen Ferrier

    Kathleen Ferrier

    Kathleen Ferrier ARIADNE 5004 In Celebration of BACH Kathleen Ferrier Johann Sebastian Bach (1685-1750) In Celebration of Kathleen Ferrier contralto Ena Mitchell, Friedl Riegler, Irmgard Seefried soprano William Herbert, Hugo Meyer-Welfing tenor BACH Otto Edelmann, William Parsons bass Wiener Staatsopernchor, The Cantata Singers Wiener Philharmoniker / Volkmar Andreae Magnificat Jacques Orchestra / Dr Reginald Jacques FIRST RELEASE Wiener Staatsopernchor 1 bn a – JS Bach: Magnificat, BWV 243.2 31:36 Wiener Philharmoniker bo – co JS Bach: Cantata No.11, Praise our God *b 26:07 Volkmar Andreae cp – dl JS Bach: Cantata No.67, Hold in affection Jesus Christ *c 16:24 dm JS Bach: Cantata No.147, Jesu, Joy of Man’s Desiring *d 3:33 Praise our God *Sung in English (Cantata 11) Total duration: 77:41 Hold in affection Jesus Christ Recorded at: a Grosser Musikvereinssaal, Vienna on June 10, 1950 (Cantata 67) b Kingsway Hall, London on October 6 and November 1, 1949 c Kingsway Hall, London on November 3, 1949 d Kingsway Hall, London on October 8, 1949 Jesu, Joy of Man’s Desiring Audio restoration: Adrian Tuddenham and Norman White (Cantata 147) Mastering: Paul Arden-Taylor Ariadne Cover: Kathleen Ferrier, June 7, 1950, International Bach Festival, Vienna The Cantata Singers Design: Andrew Giles Booklet Editor: Michael Quinn The Jacques Orchestra © & 2019 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND AAD Made in the EU Dr Reginald Jacques Ariadne Kathleen Ferrier In Celebration of BACH br Ah, tarry yet, my dearest Saviour Kathleen Ferrier contralto
  • Wwciguide April 2019.Pdf

    Wwciguide April 2019.Pdf

    From the President & CEO The Guide The Member Magazine for WTTW and WFMT Dear Member, Renée Crown Public Media Center This month, we are excited to bring you a sweeping new adaptation of Victor Hugo’s 5400 North Saint Louis Avenue Chicago, Illinois 60625 classic novel Les Misérables. This new six-part series, featuring an all-star cast including Dominic West, David Oyelowo, and recent Oscar winner Olivia Colman, tells the story of fugitive Jean Valjean, his relentless pursuer Inspector Javert, and other colorful characters Main Switchboard (773) 583-5000 in turbulent 19th century France. We hope you’ll join us on Sunday nights for this epic Member and Viewer Services drama, and explore extra content on our website including episode recaps and fact vs. (773) 509-1111 x 6 fiction. If spring is a time of renewal, that is also certainly true of some of WTTW’s offerings Websites wttw.com in April, including eagerly awaited new seasons of three very different British detective wfmt.com series – Father Brown, Death in Paradise, and Unforgotten – and Mexico: One Plate at a Time, Jamestown, and Islands Without Cars. On wttw.com, as American Masters features Publisher newspaper magnate Joseph Pulitzer, we profile Chicago winners of the journalism and Anne Gleason arts award that bears his name, and highlight some extraordinary African American Art Director Tom Peth entrepreneurs in Chicago. WTTW Contributors WFMT will present the annual Rising Stars concert of the Ryan Opera Center, and Julia Maish Dan Soles organist Nathan Laube’s four-part international organ festival on Friday evenings, All the WFMT Contributors Stops with Nathan Laube.
  • MUSIC Artist in Residence Recital Inna Faliks, Piano

    MUSIC Artist in Residence Recital Inna Faliks, Piano

    Department of MUSIC College of Fine Arts presents a Artist in Residence Recital Inna Faliks, piano PROGRAM Ludwig van Beethoven Polonaise, Op. 89 in C Major ( 1770-1827) Robert Schumann DavidsbOndlertanze, Op. 6 (1810-1856) Lebhaft lnnig Mit Humor Ungeduldig Einfach Sehr rasch Nicht schnell Frisch No tempo indication Balladenma~ig Einfach Mit Humor Wild und lustig Zart und singend Frisch Mit gutem Humor Wie aus der Ferne (Come da lontano) Nicht schnell INTERMISSION Rodion Shchedrin Basso Ostinato {b. 1932) Lev Zhurbin Sirota (b . 1978) Maurice Ravel Gaspard de la Nuit (1875-1937) Ondine Le Gibet Scarbo Tuesday, January 28, 2014 7:30 p.m. Dr. Arturo Rando-Grillot Recital Hall Lee and Thomas Beam Music Center University of Nevada, Las Vegas Biography Called "adventurous" and "passionate" by The New Yorker, Ukrainian-born, New York City based pianist Inna Faliks has established herself as one of the most passionately committed, exciting and poetic artists of her generation. After acclaimed teenage debuts at the Gilmore Festival and with the Chicago Symphony Orchestra, she performed on many of the world's great stages, with numerous orchestras, in solo appearances, and with conductors such as Leonard Slatkin and Keith Lockhart. Critics praise her "courage to take risks, expressive intensity and technical perfection" (General Anzeiger, Bonn), "Infusing every note with brilliance and personality," (Hilton Head Competition Review), "poetry and panoramic vision" (Washington Post), "riveting passion, playfulness" (Baltimore Sun) and her "virtuosity, humor, lyricism and a way to make every note an important part of the texture of the music" (Free Times, South Carolina). Her critically acclaimed CD on MSR Classics, Sound of Verse, was released in 2009, featuring music of Boris Pasternak, Rachmaninoff and Ravel.
  • Myra Hess Artur Rubinstein

    Myra Hess Artur Rubinstein

    COMMUNITY CIVIC MUSIC ASSOCIATION OF LOS ANGELES Moss and Hayman, Directors MYRA HESS April 11 ARTUR RUBINSTEIN April 13 contents April 1959 MYRA HESS April 11..................................... Pages 7-13 ARTUR RUBINSTEIN April 13..................................... Pages 18-21 WHO’S WHO Myra Hess......................................... 14 Artur Rubinstein ............................. 23 FIRE NOTICE: Look around now, choose the nearest exit to your seat, and in case of disturbance of any kind, to avoid the dangers of panic, WALK (do not run) to that exit. SMOKING IS NOT PERMITTED in the foyer of this theatre by order of the Los Angeles Fire Department. ______________ JOHN F. HUBER PUBLISHING COMPANY, INC. 1149 North McCadden Place • Hollywood 38 • Hollywood 2-6961 Advertising Sales Representatives for THE PLAYGOER • SYMPHONY MAGAZINE • MUSIC MAGAZINE HOLLYWOOD BOWL MAGAZINE • GREEK THEATRE MAGAZINE JOHN F. HUBER, Publisher; DOUGLAS CRANE and MARY L. LACY, Associate Publishers and Editors; JANE MARSHALL, Executive Secretary; KAY SIMS, Art Assistant; HELENE REILLY, Editorial Assistant; BARBARA HUBER, Shopwindows Editor; FRED WILLIAM CARTER, Photographer; PARKER & PARKER, Auditors; RUTH L. WAGNER, Comptroller; FREDERICK HANAU STERN, D. A. CAMPBELL, IRWIN FRIES, Advertising Sales Representatives; RAY ROVIN, Magazine Sales. Eastern Representative: NATIONAL THEATRE & CONCERT MAGAZINE, 258 Fifth Avenue, New York 1, N. Y. Saturday Evening, April 11, 1959 at 8:30 COMMUNITY CIVIC MUSIC ASSOCIATION Moss and Hayman, Directors presents MYRA HESS pianist PROGRAM Group I. Prelude and Fugue in E Major, Book II, No. 9........................... Bach Prelude and Fugue in B Minor, Book II, No. 24......................... Bach Toccata in D Major .................................................................................Bach LAST ACT—C. C. Brown’s World Famous Hot Fudge Sundaes. LOCATION—7007 Hollywood Blvd.—/é Block West of Chinese Theatre.
  • 4-15-12 Dinnerstein Prog

    4-15-12 Dinnerstein Prog

    Williams College Department of Music Simone Dinnerstein, Piano Frédric Chopin Nocturne in D-flat Major, Op. 27 No. 2 (1810-1849) Daniel Felsenfeld The Cohen Variations (2009) (b. 1970) Johannes Brahms Intermezzo, Op. 118, No. 2 in A Major (1833-1897) Johann Sebastian Bach Partita No. 2 in C minor, BWV 826 (1685-1750) Sinfonia: Grave, Adagio-Andante-Allegro moderato Allemande Corrente Sarabande Rondeau Capriccio *** intermission *** Franz Schubert 4 Impromptus D899 op. 90 (1797-1828) No. 1 in C minor No. 2 in E-flat major No. 3 in G-flat major No. 4 in A-flat major Johann Sebastian Bach Partita No. 1 in B-flat major, BWV 825 Praeludium Allemande Corrente Sarabande Menuet Gigue Sunday, April 15, 2012 3:00 p.m. Chapin Hall Williamstown, Massachusetts Upcoming Events: See music.williams.edu for full details and to sign up for the weekly e-newsletters. 4/18 12:15pm MIDWEEKMUSIC Thompson Memorial Chapel 4/19 4:00pm Williams Chamber Choir Williams College Museum of Art 4/20 8:00pm Williams Percussion Ensemble Chapin Hall 4/21 2:00pm Faculty Recital: Jeffrey Roberts plays guqin Williams College Museum of Art Please turn off or mute cell phones. No photography or recording is permitted. Simone Dinnerstein American pianist Simone Dinnerstein has been called “a throwback to such high priestesses of music as Wanda Landowska and Myra Hess,” by Slate magazine, and praised by TIME for her “arresting freshness and subtlety.” The New York- based pianist gained an international following because of the remarkable suc- cess of her recording of Bach’s Goldberg Variations, which she raised the funds to record.
  • December 1946) James Francis Cooke

    December 1946) James Francis Cooke

    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1946 Volume 64, Number 12 (December 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 12 (December 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/65 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. /frtvw in thy dark- sheets shm-ethTtis O lit-tle town of B«tti-U-hem! H hopes and fears of all the /ears bove thy deep and dream-less alvepTh arc met in thee to -ni PHILLIPS BROOKS Jlvihor* . merly of the New Friends of Music; Louis DR. SERGE KOUSSEVITZKY’S programs Fourestier, of the Paris Opera; and An- for the current season of the Boston tonio Votto, formerly assistant to Tos- Symphony Orchestra include five new canini at La Scala in Milan. which were com- symphonies, three of COMPANY, missioned by the Koussevitzky Music THE AMERICAN OPERA operatic venture, Foundation. One of these is by Oliver Philadelphia’s newest October 24 Messiaen, contemporary French com- had an auspicious opening on RUCTION Mozart’s comic opera, poser; another is Walter Piston’s Third when it presented the Harem,” under PIANO Symphony; the third is Aaron Copland’s “The Abduction from MODERN direction of Vernon Hammond, mu- NOTE Third Symphony.
  • Bach Collection

    Bach Collection

    Thursday, March 12, 2020, 8 p.m. BACH FROM THE PIANO Bach Collection 2019-20 SEASON BACH FROM THE PIANO Bach Collection Kady Evanshyn, mezzo-soprano Rebecca Fischer, violin Alecia Lawyer, oboe Simone Dinnerstein, piano Jesu, Joy of Man’s Desiring (1723) (arr. Hess, 1926) JOHANN SEBASTIAN BACH (1685-1750) Concerto for Violin and Oboe in C minor, BWV 1060 (1736) (arr. Fischer, 1970) Allegro Adagio Allegro Chorale Prelude Ich ruf zu dir, Herr Jesu Christ, BWV 639 (1708-1715) (arr. Busoni, 1916) Cantata Ich habe genug, BWV 82 (1727) Aria Recitativo Aria Recitativo Aria About the Program Pianist Simone Dinnerstein is a gracious might find something to say something and thoughtful interview subject, the kind about that,” she said, “but it’s not what I of person with whom you look forward was thinking about.” to speaking because of the potential for The music of Johann Sebastian Bach meaningful dialogue and her utter lack (1685-1750)—quite possibly the greatest of pretension. When I called her to talk composer in the Western art music about Bach from the Piano, the three- tradition, the most renowned keyboard concert series she curated for Miller player of his day, and, by all accounts, an Theatre this winter, Dinnerstein was extraordinary improviser—originated congenial, but prefaced our conversation some 300 years in the past. It is nearly with something of a warning. “I’m not a impossible to speak about him without historian,” she said bluntly. “And I didn’t engaging deeply in music history—or put these programs together based on any so my inner musicologist would once historical research or theories.” have argued.
  • Catalogue of Canadian Women Empowered by Music 1

    Catalogue of Canadian Women Empowered by Music 1

    Catalogue of Canadian Women Empowered by Music Who is in this catalogue? ...women empowered by music, women who empowered others through music, and women who were trailblazers in music. You will find composers, singers, educators, songwriters and activists, from every era and every style of music...but the catalogue is not complete! Here’s where YOU come in! See an entry for your favourite artist which needs a longer entry? Send us an expanded version! (limit: 200 words). Know a musician who is not even in the catalogue yet? Write an entry send it to: [email protected] Name Dates Category Career Highlights Listening Links Active Norma Abernethy 1930’s Performer Norma Abernathy was a pianist from Vancouver, British http://www.thecanadianencycl (1914-1973) - Columbia. She is best known as an accompanist and opedia.ca/en/article/norma- 1940’s soloist on radio stations such as CNRV and CBR, and as abernethy-emc/ a pianist with the Vancouver Chamber Orchestra and the Victoria Symphony Orchestra. Lydia Adams 1980s- Conductor Lydia Adams was born in Glace Bay, Nova Scotia and “Sing all ye https://www.thecanadianencycl (1953- ) Accompan completed her training at Mount Allison University in New joyful: the opedia.ca/en/article/lydia- ist Brunswick and the Royal College of Music in London, works of Ruth adams-emc/ Arranger England. She worked as an accompanist for the Elmer Watson Iseler Singers in the 1980s and early 1990s, and in 1997 Henderson” http://www.elmeriselersingers. she became the choir’s conductor and music director. Dr. com/lydia_adams.htm Adams was also the conductor and artistic director of the Amadeus Choir, and commissioned and premiered many works by Canadian composers.