Danny Driver

Danny Driver The international critical acclaim that Danny Driver’s recordings and performances have generated over recent years has cemented his reputation as one of Britain’s most respected and versatile pianists. Described variously as ‘bold, exuberant and precise’ [The Guardian] and of ‘impeccable technique and musicianship’ [Gramophone], he has earned two Gramophone Award nominations, a National Public Radio Top 10 Award and, most recently, Limelight Magazine’s Instrumental Recording of the Year 2014 Award for his recording of Handel’s Eight Great Suites. Danny Driver’s wide-ranging repertoire has taken him to work with the BBC Scottish Symphony Orchestra, Orchestra of the Age of Enlightenment, Minnesota Orchestra, BBC Concert Orchestra, RTÉ Concert Orchestra, Orchestra of Opera North, Hong Kong Pro Arte, and the American Symphony Orchestra. In 2015 he will make his début with the Bournemouth Symphony Orchestra (Rachmaninoff’s Second Piano Concerto), and will continue his regular appearances with the Royal Philharmonic Orchestra following his recent BBC Proms performance with their Principal Conductor Charles Dutoit. Other distinguished conductors with whom Driver has worked include Andrew Litton, Richard Farnes, Martyn Brabbins, Rebecca Miller, Christopher Warren-Green, James Macmillan, and Bramwell Tovey. Equally at home in recital situations, Danny Driver has been a regular guest of Wigmore Hall’s London Pianoforte Series, most recently in a solo recital of Handel, Thomas Adès, Beethoven, C P E Bach and Schumann broadcast live by BBC Radio 3 in October 2014. He performs across the UK at venues such as Bridgewater Hall, Southbank Centre, Birmingham Symphony Hall, St George’s Bristol, King’s Place, Turner Sims Concert Hall. His active chamber music schedule includes violinists Chloë Hanslip and Jack Liebeck, ‘cellist Oliver Coates, and baritone Christian Immler as frequent partners. Internationally Driver has recently been active at the Australian Chamber Music Festival, Bard Music Festival, Birdfoot Music Festival, Eilat Chamber Music Festival, Houston International Piano Festival, Cayman Arts Festival, Husum Festival of Piano Rarities, and Stockholm’s Festival O/Modernt. 2014 saw his first recital tour of China, sponsored by Credit Suisse, which included major concert halls in Beijing, Shenzhen, and Shanghai. He returns to China in 2015 on tour with the National Youth Orchestra of Scotland and conductor Rory Macdonald. Driver’s fruitful relationship with London-based Hyperion Records has spawned a thoroughly acclaimed discography of works by C P E Bach, Handel, Schumann, and Balakirev, and also highly praised interpretations of neglected British composers such York Bowen, Benjamin Dale and Erik Chisholm, all of whom he has championed in concert as well as on record. In 2015 he is due to record a further installment of Hyperion's popular Romantic Piano Concerto Series. Danny Driver trained with Alexander Kelly and Piers Lane whilst studying at Cambridge University, with Irina Zaritskaya at the Royal College of Music in London, and completed his studies privately with Maria Curcio. As a student he won numerous awards including the Royal Over-Seas League Keyboard Competition and the title of BBC Radio 2 Young Musician of the Year. Mark Kendall Artists Management Ltd 56 St. Anselm’s Road, Worthing, West Sussex BN14 7EN Tel: +44 (0)1903 233 229 Mobile: + 44 (0)7525 916 598 www.markkendallartists.com email: [email protected] .

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August 1935) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1935 Volume 53, Number 08 (August 1935) 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 53, Number 08 (August 1935)." , (1935). https://digitalcommons.gardner-webb.edu/etude/836 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]. THE ETUDE AUGUST 1935 PAGE 441 Instrumental rr Ensemble Music easy QUARTETS !£=;= THE BRASS CHOIR A COLLECTION FOR BRASS INSTRUMENTS , saptc PUBLISHED FOR ar”!S.""c-.ss;v' mmizm HIM The well ûiPJ^ât^Jrui^“P-a0[a^ L DAY IN VE JhEODORE pRESSER Ô. DIRECT-MAIL SERVICE ON EVERYTHING IN MUSIC PUBLICATIONS * A Editor JAMES FRANCIS COOKE THE ETUDE Associate Editor EDWARD ELLSWORTH HIPSHER Published Monthly By Music Magazine THEODORE PRESSER CO. 1712 Chestnut Street A monthly journal for teachers, students and all lovers OF music PHILADELPHIA, PENNA. VOL. LIIINo. 8 • AUGUST, 1935 The World of Music Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everyw er THE “STABAT NINA HAGERUP GRIEG, widow of MATER” of Dr.
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Wilson's Series of Powerful Recurrent Stage Images Drawn From
to a degree. which Simoon is the last part. Based on a Thread of Winter If there is no story, then what’s the work short play by August Strindberg, Simoon Leslie Fagan; Lorin Shalanko about? Wilson’s series of powerful recurrent was never performed in a full version during Canadian Art Song Series stage images drawn from the famous physi- the composer’s lifetime. The subject matter, (canadianartsong.ca) cist Albert Einstein’s life serve as the work’s as gloomy as the uprooted Scot’s preferred L/R frame. The dramatic device is imaginatively music, is a tale of revenge and “murder by ! When reviewing underpinned by Glass’ composition for solo- suggestion,” as Chisholm has referred to it. (in early 2004) the ists, chorus and his instrumental ensemble. Polished orchestral characterizations, Bartók- first solo album by It’s further explored by the masterfully like cascading moods and an overlapping of Leslie Fagan, I stated conceived and movingly performed modern Western and Eastern musical idioms are just that “she is in a dance sequences choreographed by Childs. three reasons why this opera should have class of her own.” This new DVD release accurately reflects been recorded long ago. As it is, with the What a pleasure to the superb 2012 production I saw at Toronto’s help of the Erik Chisholm Trust, it is making conclude, some 12 Luminato that same year. Highlights of that its long overdue debut – and rightfully years later, that she performance included violin virtuoso Jennifer in Scotland! remains just as original. Her career has taken Koh made up to resemble Einstein – a life- Robert Tomas her to the world’s most important concert long amateur violinist – and the impres- stages, providing Fagan with opportunities to sively precise chorus masterfully conducted Derek Holman – A Play of Passion present both traditional (Handel, Mahler) and by the veteran Glass Ensemble member Colin Ainsworth; Stephen Ralls; Bruce contemporary (Poulenc, Kulesha) repertoire.
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Edinburgh International Festival 1962
WRITING ABOUT SHOSTAKOVICH Edinburgh International Festival 1962 Edinburgh Festival 1962 working cover design ay after day, the small, drab figure in the dark suit hunched forward in the front row of the gallery listening tensely. Sometimes he tapped his fingers nervously against his cheek; occasionally he nodded Dhis head rhythmically in time with the music. In the whole of his productive career, remarked Soviet Composer Dmitry Shostakovich, he had “never heard so many of my works performed in so short a period.” Time Music: The Two Dmitrys; September 14, 1962 In 1962 Shostakovich was invited to attend the Edinburgh Festival, Scotland’s annual arts festival and Europe’s largest and most prestigious. An important precursor to this invitation had been the outstanding British premiere in 1960 of the First Cello Concerto – which to an extent had helped focus the British public’s attention on Shostakovich’s evolving repertoire. Week one of the Festival saw performances of the First, Third and Fifth String Quartets; the Cello Concerto and the song-cycle Satires with Galina Vishnevskaya and Rostropovich. 31 DSCH JOURNAL No. 37 – July 2012 Edinburgh International Festival 1962 Rostropovich and Vishnevskaya in Edinburgh Week two heralded performances of the Preludes & Fugues for Piano, arias from Lady Macbeth of Mtsensk, the Sixth, Eighth and Ninth Symphonies, the Third, Fourth, Seventh and Eighth String Quartets and Shostakovich’s orches- tration of Musorgsky’s Khovanschina. Finally in week three the Fourth, Tenth and Twelfth Symphonies were per- formed along with the Violin Concerto (No. 1), the Suite from Lady Macbeth of Mtsensk, the Three Fantastic Dances, the Cello Sonata and From Jewish Folk Poetry.
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City Research Online
Schoeman, Ben (2016). The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music. (Unpublished Doctoral thesis, City, University of London) City Research Online Original citation: Schoeman, Ben (2016). The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music. (Unpublished Doctoral thesis, City, University of London) Permanent City Research Online URL: http://openaccess.city.ac.uk/16579/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music Ben Schoeman Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Musical Arts City, University of London School of Arts and Social Sciences, Department of Music Guildhall School of Music and Drama September 2016 Table of Contents TABLE OF MUSIC EXAMPLES ...........................................................................................................................
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NABMSA Reviews a Publication of the North American British Music Studies Association Vol
NABMSA Reviews A Publication of the North American British Music Studies Association www.nabmsa.org Vol. 3, No. 2 (Fall 2016) In this issue: • Cecilia Björkén-Nyberg, The Player Piano and the Edwardian Novel • John Carnelly, George Smart and Nineteenth-Century London Concert Life • Mark Fitzgerald and John O’Flynn, eds., Music and Identity in Ireland and Beyond • Eric Saylor and Christopher M. Scheer, eds., The Sea in the British Musical Imagination • Jürgen Schaarwächter, Two Centuries of British Symphonism: From the Beginnings to 1945 • Heather Windram and Terence Charlston, eds., London Royal College of Music Library, MS 2093 (1660s–1670s) The Player Piano and the Edwardian Novel. Cecilia Björkén-Nyberg. Abingdon, UK and New York: Routledge, 2016. xii+209 pp. ISBN 978-1-47243-998-7 (hardcover). Cecilia Björkén-Nyberg’s monograph The Player Piano and the Edwardian Novel offers an intriguing exploration of the shifting landscape of musical culture at the turn of the twentieth century and its manifestations in Edwardian fiction. The author grounds her argument in musical discussions from such novels as E. M. Forster’s A Room with a View, Max Beerbohm’s Zuleika Dobson, and Compton Mackenzie’s Sinister Street. Despite the work’s title, the mechanical player piano is—with rare exception—ostensibly absent from these and other fictional pieces that Björkén-Nyberg considers; however, as the author explains, player pianos were increasingly popular during the early twentieth century and “brought about a change in pianistic behaviour” that extended far beyond the realm of mechanical music making (183). Because of their influence on musical culture more broadly, Björkén-Nyberg argues for the value of recognizing the player piano’s presence in fictional works that otherwise “appear to be pianistically ‘clean’ ” of references to the mechanical instruments.
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Catalogue of Piano Works
ERIK CHISHOLM CATALOGUE OF PIANO WORKS About this catalogue This catalogue has been produced and funded by the Erik Chisholm Trust (ECT), and is on display at the Chisholm web site www.erikchisholm.com All listed music has been typeset by Allan Stephenson, proof-read by Michael Jones and assessed by pianist, Murray McLachlan. The ECT has funded score typesetting, and by the end of 2009 the catalogue will include all Chisholm piano, vocal, choral and string orchestral works. Printed copies of this catalogue can be obtained by written request from the Trust. Score Prices shown are for bound copies; unbound editions are at a reduced rate. Scores can be viewed at the Scottish Music Centre:- Email [email protected] and can be hired from Schott and Co Ltd:- Email [email protected] Acknowledgements The Trust acknowledges with thanks permission granted to use liner notes by Dr John Purser for the Music for Piano CD series and from Murray McLachlan for OCD639, DRD0174 and DRD0219 Chisholm CDs There are 9 commercial CD’s of Chisholm music; Dunelm Records recorded 6 of these with pianist Murray McLachlan whose excellence, energy and enthusiasm make him one of the major propagandists of Chisholm’s music. In April 2008, Jim Pattison, Director of Dunelm Records retired and Stephen Sutton CEO of Divine Art took on the Music for Piano series. In chronological order these CDs are:- CD Number Divine Art Erik Chisholm Piano Music (Olympia) OCD639 Songs for a Year and a Day (Claremont) GSE 1572 Erik Chisholm Piano concerto No 1 DRDO174 Piano Music of Erik Chisholm and Friends DRDO219 Erik Chisholm Music for Piano series DRD0221- 224 DDV131-4 Erik Chisholm Symphony No 2 Dutton Epoch CDLX 7196 All can be ordered from the Chairman of the Trust [email protected] Erik Chisholm Trust The Trust was established in April 2001, granted charitable status in June 2001, and holds the copyright of the published Chisholm works.
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July 24—31, 2016
new orleans international piano Competition XTHIRTY-FOURXTH KEYBOARDV FESTIVALI SEVENTEENTH PIANO INSTITUTE JULY 24—31, 2016 Competition Jury Peter Collins Danny Driver Faina Lushtak Marianna Prjevalskaya Nelita True Daniel Weilbaecher, chair Presented by the P.O. BOX 750698 • NEW ORLEANS, LA 70175-0698 • masno.org CARA MCCooL WooLF, Executive Director DANIEL WEILBAECHER, Artistic Director HOSTED BY LOYOLA UNIVERSITY COLLEGE OF MUSIC STEINWAY & SONS the Official Piano of the New Orleans International Piano Competition — 2016 New Orleans International Piano Competition 11 steinway society 7-16_Layout 1 6/30/16 3:55 PM Page 1 S T E I N W A Y The Official Piano of the New Orleans International Piano Competition From piano competitions for scholarships to providing Special musical and social events throughout the year, The Steinway Society of New Orleans works to further musical appreciation and education. Musical patrons across Louisiana have come together in advancing the musical arts for all ages. As a member of the Steinway Society of New Orleans you join an exceptional circle of friends. For more information call 1-800-STEINWAY, and join with us as we support the Arts and Artists of our communities. S TEINWAY SOCIE TY New Or leans 1-800-SofTEINWAY Schedule of Events 4 T A Welcoming Messages 7–16 B LE MASNO History 17 O MASNO Board of Directors/Competition Committees 18 F C Guest Artists and Recital Programs 20–23 Danny Driver 20–21 on Marianna Prjevalskaya 22–23 TE Competition Prizes 25 N TS Competition Jurors 26–28 Peter Collins 26
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Inventory Acc.11055 Ronald Stevenson
Acc.11055 February 2007 Inventory Acc.11055 Ronald Stevenson National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland Papers, 1960-1994, concerning ‘Passacaglia on DSCH’ by Ronald Stevenson (b 1928), composer and pianist. This work was composed in 1962, and is numbered Op. 70. It is dedicated to Dmitry Shostakovich, and a copy of it was presented to him at the Edinburgh International Festival of 1962. It was first performed, by the composer, on 10 December 1963 in Cape Town, South Africa. The composer then performed it at the 1966 Handel Festival in Halle, Germany. It was first performed in the United Kingdom at the Aldeburgh Festival on 14 June 1966 by John Ogden. A limited edition recording of a performance by the composer was made, with the assistance of the University of Capetown, in 1965. Passacaglia on DSCH was first published in 1967 by Oxford University Press, and then by the Ronald Stevenson Society in 1994. Bought, 1994. 1 Manuscript sketches, 1960-1962. ‘Sketches: 105 pages written between Christmas Eve 1960 and 18 May 1962. The Pibroch (‘Lament for the Children’) is not included herein, as it was added on the day of the première in Cape Town, 10 December 1963.’ 2 Performance copy of manuscript. This manuscript has performance notes from various performances, some dated 1973, 1985, 1987 and 1993. It includes a plan of the work, and has extensive fingering, pedal and phrasing notes.
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RONALD CENTER Music for Solo Piano
RONALD CENTER Music for Solo Piano Piano Sonata* 12:29 17 Larghetto 2:42 1 I Allegro molto 4:04 2 II Adagio 3:22 Sonatine 9:04 18 3 III Andante – Presto ed appassionato I Allegro 2:25 – Allegro 3:01 19 II Poco adagio (tempo rubato) 3:30 4 IV Molto allegro 2:02 20 III Vivace 2:09 Six Bagatelles, Op. 3* 15:18 21 Hommage 3:11 5 No. 1 Poco adagio e teneramente 2:13 Three Etudes 5:43 6 No. 2 Allegro 2:24 22 No. 1 Presto 1:28 7 No. 3 Mesto 5:16 23 No. 2 Andante 2:35 8 No. 4 Energico e ritmico 1:37 24 No. 3 Allegro molto 1:40 9 No. 5 Andantino (tempo rubato) 2:26 10 No. 6 Vivo 1:13 25 Impromptu 3:55 11 Andante 2:06 Three Movements for Piano 6:58 26 No. 1 Prelude (Allegro) 1:14 12 Sarabande 1:56 27 No. 2 Poco adagio 3:41 13 Air 1:59 28 No. 3 Toccata (Allegro molto) 2:03 Pantomime 4:27 Christopher Guild, piano 14 No. 1 Pantaloon 1:18 15 No. 2 Columbine 1:48 FIRST RECORDINGS EXCEPT FOR * 16 No. 3 Harlequin 1:21 12 RONALD CENTER AND HIS PIANO MUSIC by James Reid Baxter Ronald Center, pianist and composer, was born in the ancient, granite-built coastal city of Aberdeen on 2 April 1913. He studied music privately in his home town, including conducting, Recorded at Potton Hall, Suffolk, on 26 and 27 April 2013 and in 1943, he and his wife, the soprano Evelyn Morrison, moved inland to the historic Producer: Michael Ponder Aberdeenshire farming town of Huntly in 1943, near Evelyn’s native Rothiemay on the River Deveron.
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Discovering Erik Chisholm by John France Introduction the Exciting
Discovering Erik Chisholm by John France Introduction The exciting new release from Hyperion Records of Erik Chisholm’s orchestral music is an excellent introduction to the music of a composer once described by Arnold Bax as “the most progressive composer that Scotland has ever produced”. Despite many subsequent advanced Scottish composers such Thea Musgrave, Iain Hamilton and James MacMillan, this opinion, I believe, holds good to this day. Chisholm was a great innovator as well as a synthesiser. His main achievement was the fusion of Scottish Bag Pipe Music and Hindustani Ragas with mainstream European modernism. In this sense, he mirrors Bartok’s success in assimilating the music of the Balkans to his own genius. Listeners will discover in Erik Chisholm a composer who is bursting with energy, conscious of his own unique voice and commanding a wide-ranging palette that successfully coheres, despite the seeming disparities of styles and musical influences. This new CD cements the “Chisholm Triangle” of influences in listeners’ minds: Scottish, Hindustani and Modernist. Life and Times There are now several helpful sources for establishing a biographical understanding of the composer’s life and achievement. The easiest to access are the excellent webpages maintained by the Erik Chisholm Trust. John Purser’s Chasing a Restless Music: Erik Chisholm: Scottish Modernist 1904-1965, (Boydell and Brewer, 2009) is more detailed and makes essential reading. There are the usual references in the various musical dictionaries, and the inevitable Wikipedia entry. Erik Chisholm was born on 4 January 1904 at 2 Balmoral Villas in Cathcart, an attractive suburb of Glasgow.
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The Career of South African Soprano Nellie Du Toit, Born 1929
THE CAREER OF SOUTH AFRICAN SOPRANO NELLIE DU TOIT, BORN 1929 ALEXANDRA XENIA SABINA MOSSOLOW Thesis presented in partial fulfillment of the requirements for the degree of Master of Music in the Faculty of Arts, at the University of Stellenbosch Stellenbosch Supervisor: April 2003 Acáma Fick DECLARATION I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature:……………………………… Date:………………………. ABSTRACT Who is Nellie du Toit and what is the extent of her career as singer and voice teacher? The void in South African historiography in respect to the life and work of South African performing artists gave rise to investigate the career of Nellie du Toit. Known as one of South Africa’s most illustrious opera singers of the 1960’s and 1970’s, who made her career exclusively in South Africa, she is regarded as one of the most sought after voice teachers. Her career as singer spanned almost three decades. As voice teacher her career of over forty years is still ongoing. This study traces her biographical details chronologically beginning with her youth years in a very musical family. Her full-time music studies took place at the South African College of Music in Cape Town, from 1950 to 1952. Here her singing teacher Madame Adelheid Armhold and Gregorio Fiasconaro, head of the Opera School, were influential in laying the foundations for her career. After a period of over a year in England Du Toit was one of several young South African singers to contribute to pioneering opera in South Africa, often sung in the vernacular.
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MUSICWEB INTERNATIONAL Recordings of the Year 2017
MUSICWEB INTERNATIONAL Recordings Of The Year 2017 This is the fourteenth year that Musicweb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2016-November 2017). The 136 selections have come from 27 members of the team and 68 different labels, the choices reflecting as usual, the great diversity of music and sources. Of the selections, seven have received two nominations: Iván Fischer’s Mahler 3 on Channel Classics Late works by Elliott Carter on Ondine Tommie Haglund’s Cello concerto on BIS Beatrice Rana’s Goldberg Variations on Warner Unreleased recordings by Wanda Luzzato on Rhine Classics Krystian Zimerman’s late Schubert sonatas on Deutsche Grammophon Vaughan Williams London Symphony on Hyperion Two labels – Deutsche Grammophon and Hyperion – gained the most nominations, nine apiece, considerably more than any other label. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2700 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year. In some years, there have been significant anniversaries of composers or performers to help guide the selection, but not so in 2017. Johann Sebastian BACH Goldberg Variations - Beatrice Rana (piano) rec. 2016 WARNER CLASSICS 9029588018 In the end, it was the unanimity of the two reviewers who nominated Beatrice Rana’s Goldberg Variations – “easily my individual Record of the Year” and “how is it possible that she can be only 23” – that won the day.
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