2016 Festival: "Liszt and Russia" TABLE of CONTENTS by Dmitry Rachmanov, Host
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Dartmouth Symphony Orchestra Student Showcase Filippo Ciabatti, Conductor
presents Dartmouth Symphony Orchestra Student Showcase Filippo Ciabatti, conductor Alyssa Gao, violin Betty Kim, violin Richard Lu, cello Funded in part by the Roesch Family Fund in support of Instrumental Ensembles and gifts from Friends of the Dartmouth Symphony Orchestra. Spaulding Auditorium’s Hamburg Steinway concert grand piano was purchased with generous gifts from Members of the Hopkins Center and Members of the Hood Museum of Art; the class of 1942, in memory of Allan Dingwall ’42; and anonymous donors. Sat, Oct 5, 7:30 pm 2019 • Spaulding Auditorium • Dartmouth College Program Violin Concerto in D Major, Op. 35 Pyotr Ilyich Tchaikovsky (1840–1893) Alyssa Gao, violin I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo Intermission Tzigane Maurice Ravel (1875–1937) Betty Kim, violin Variations on a Rococo Theme, Op. 33 Pyotr Ilyich Tchaikovsky (1840–1893) Richard Lu, cello I. Moderato assai quasi Andante—Thema: Moderato semplice II. Var. I: Tempo della Thema III. Var. II: Tempo della Thema IV. Var. III: Andante V. Var. IV: Allegro vivo VI. Var. V: Andante grazioso VII. Var. VI: Andante VIII. Var. VII: Andante sostenuto IX. Var. VIII e Coda: Allegro moderato con anima Program Notes Violin Concerto in D Major, Op. 35 months, becoming very depressed. The concerto’s Pyotr Illyich Tchaikovsky future seemed catastrophic. Things began to look up In early 1878, Tchaikovsky’s patron Nadezhda when, on December 4, 1881, Adolf Brodsky, the second von Meck gave the composer money to use for an dedicatee, premiered the work in Vienna and wrote, extended holiday. She felt that his failed marriage in “One can play the concerto again and again and never 1877 and suicide attempt by drowning in the Moscow be bored. -
The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION JANUARY/FEBRUARY 2002 VOLUME 39, NUMBER 1 Mooluriil's MAGAZINE
The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION JANUARY/FEBRUARY 2002 VOLUME 39, NUMBER 1 MoOLURIil'S MAGAZINE The Self-Playing Piano is It People who have watched these things closely have noticed that popular favor is toward the self-playing piano. A complete piano which will ornament your drawing-room, which can be played in the ordinary way by human fingers, or which. -'\ can be played by a piano player concealed inside the case, is the most popular musical instrument in the world to-day. The Harmonist Self-Playing Piano is the instrument which best meets these condi tions. The piano itself is perfect in tone and workmanship. The piano player at tachment is inside, is operated by perforated music, adds nothing to the size of the piano. takes up no room whatever, is always ready, is never in the way. We want everyone who is thinking of buying a piano to consider the great advan tage of getting a Harmonist, which combines the piano and the piano player both. It costs but little more than a good piano. but it is ten times as useful and a hundred times as entertaining. Write for particulars. ROTH ~ENGELHARDT Proprietors Peerless Piano Player Co. Windsor Aroade. Fifth Ave.. New York Please mention McClure·s when you write to ad"crtiscrt. 77 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. -
Elizabeth Joy Roe, Piano
The John F. Kennedy Center for the Performing Arts STEPHEN A. SCHWARZMAN , Chairman MICHAEL M. KAISER , President TERRACE THEATER Saturday Evening, October 31, 2009, at 7:30 presents Elizabeth Joy Roe, Piano BACH/SILOTI Prelude in B minor CORIGLIANO Etude Fantasy (1976) For the Left Hand Alone Legato Fifths to Thirds Ornaments Melody CHOPIN Nocturne in C-sharp minor, Op. 27, No. 1 WAGNER/LISZT Isoldens Liebestod RAVEL La Valse Intermission MUSSORGSKY Pictures at an Exhibition Promenade The Gnome Promenade The Old Castle Promenade Tuileries The Ox-Cart Promenade Ballet of the Unhatched Chicks Samuel Goldenberg and Schmuyle Promenade The Market at Limoges (The Great News) The Catacombs With the Dead in a Dead Language Baba-Yaga’s Hut The Great Gate of Kiev Elizabeth Joy Roe is a Steinway Artist Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. Notes on the Program By Elizabeth Joy Roe Prelude in B minor Liszt and Debussy. Yet Corigliano’s etudes JOHANN SEBASTIAN BACH ( 1685 –1750) are distinctive in their effective synthesis of trans. ALEXANDER SILOTI (1863 –1945) stark dissonance and an expressive landscape grounded in Romanticism. Alexander Siloti, the legendary Russian pianist, The interval of a second—and its inversion composer, conductor, teacher, and impresario, and expansion to sevenths and ninths—is the was the bearer of an impressive musical lineage. connective thread between the etudes; its per - He studied with Franz Liszt and was the cousin mutations supply the foundation for the work’s and mentor of Sergei Rachmaninoff. -
Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence
Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years. -
Lunchtime Concert Brought to Light Elizabeth Layton Violin Michael Ierace Piano Friday 31 July, 1:10Pm
Michael Ierace has been described as a ‘talent to watch’ and his playing as ‘revelatory’. Born and raised in Adelaide, he completed his university education through to Honours level studying with Stefan Ammer and Lucinda Collins. Michael has had much success in local and national Australian competitions including winning The David Galliver Award, The Geoffrey Parsons Award, The MBS Young Performers Award and was a major prize winner in the Australian National Piano Award. In 2009, he made his professional debut with the Adelaide Symphony Orchestra in the presence of the Premier of South Australia and the Polish Ambassador. In 2007, he received the prestigious Elder Overseas Scholarship from the Adelaide University. This enabled him to move to London and study at the Royal College of Music (RCM) with Professor Andrew Ball. He was selected as an RCM Rising Star and was awarded the Hopkinson Silver medal in the RCM’s Chappell Competition. From 2010-12, he was on staff as a Junior Fellow in Piano Accompaniment. In the Royal Over-Seas League Annual Music Competition, he won the Keyboard Final and the Accompanist Prize – the only pianist in the competition's distinguished history to have received both awards. In the International Haverhill Sinfonia Soloists Competition, he took second place plus many specialist awards. Michael has performed extensively throughout London and the UK and twice at the Edinburgh Fringe Festival. Much sort after as an associate artist for national and international guests, Michael is currently a staff pianist at the Elder Conservatorium. Lunchtime Concert Brought to Light Elizabeth Layton violin Michael Ierace piano Friday 31 July, 1:10pm PROGRAM Also notable was his relationship with his young cousin, Sergei Rachmaninoff. -
24 June 2016 Page 1 of 19 SATURDAY 18 JUNE 2016 4:27 AM Pachelbel, Johann (1653-1706) SAT 01:00 Through the Night (B07gbffm) Canon in D Major Arr
Radio 3 Listings for 18 – 24 June 2016 Page 1 of 19 SATURDAY 18 JUNE 2016 4:27 AM Pachelbel, Johann (1653-1706) SAT 01:00 Through the Night (b07gbffm) Canon in D major arr. for 3 violins Myung-Whun Chung conducts Bruch and Mahler Members of the Polish Radio National Symphony Orchestra in Katowice Jonathan Swain presents a performance of Bruch's 1st Violin Concerto with Gil Shaham and Mahler's 5th Symphony. Myung- 4:33 AM Whun Chung conducts the Radio France Philharmonic. Bizet, Georges [1838-1875] (compiled by Ernest Guiraud) L'Arlesienne - suite no.2 1:01 AM Slovenian Radio and Television Symphony Orchestra, Marko Bruch, Max (1838-1920) Munih (conductor) Violin Concerto No.1 in G minor (Op.26) Gil Shaham (violin), Radio France Philharmonic Orchestra, 4:47 AM Myung-Whun Chung (conductor) Geminiani, Francesco (1687-1762) Concerto Grosso in G minor 1:26 AM Academy of Ancient Music, Andrew Manze (director/violin) Bach, Johann Sebastian (1685-1750) Gavotte en Rondeau from the Partita No.3 in E major (BWV 4:55 AM 1006) Stravinsky, Igor [1882-1971] Gil Shaham (violin) Fireworks (Op.4) BBC Symphony Orchestra, Jiri Belohlavek (conductor) 1:30 AM Mahler, Gustav (1860-1911) 5:01 AM Symphony no. 5 in C sharp minor Handel, Georg Frideric (1685-1759) Radio France Philharmonic Orchestra, Myung-Whun Chung Overture and prelude to act II of Acis and Galatea K.566 (conductor) Norwegian Radio Orchestra, Andrew Manze (Conductor) 2:43 AM 5:11 AM Bizet, Georges (1838-1875) Telemann, Georg Philipp (1681-1767) Overture to Carmen Suite for strings and continuo (TWV.55:g1) in G minor 'La Radio France Philharmonic Orchestra, Myung-Whun Chung Musette' (conductor) B'Rock 2:46 AM 5:25 AM Mendelssohn, Felix (1809-1847) Stenhammar, Wilhelm (1871-1927) Meeresstille und gluckliche Fahrt - overture (Op.27) Ithaka (Op.21) Orchestre National de France, Riccardo Muti (conductor) Peter Mattei (baritone), Swedish Radio Symphony Orchestra, Manfred Honeck (conductor) 3:01 AM Purcell, Henry (1659-1695) 5:35 AM Sonata No.9 for 2 violins and continuo in F major (Z.810) Strauss, Johann, II (1825-1899), arr. -
Benjamin Britten in the Music Culture of the Soviet Union in the 1960S (To the 100Th Anniversary of the Composer's Birth)
International Journal of Humanities and Social Science Vol. 3 No. 14 [Special Issue - July 2013] Benjamin Britten in the Music Culture of the Soviet Union in the 1960s (to the 100th Anniversary of the Composer's Birth) Alexander Rossinsky Department of Art Altai State University Russia Ekaterina Vorontsova Department of History Altai State University Russia Abstract The period of the 1960-s was difficult and controversial. Former allies of the anti-Hitler coalition turned to be on different sides of the acute ideological struggle which nearly led to the world war. Tremendous work was carried by artists, musicians who united disparate peoples into the community calling for the universal values. The central place in such the sphere of music belongs to one of the greatest composers of the 20th century, Benjamin Britten. Together with the Soviet musicians he pushed the world back from the sharp ideological confrontation. Keywords: B.Brittten, P.Pears, USSR, M.Rostropovich, G.Vishnevskaya, D.Shostakovich, symphonic and chamber music. The events unfolding in the world, which had survived the most destructive war in the history of human civilization, were dramatic and characterised by multi-vector directions of their development. The countries that joined the anti-Hitler coalition in the 40s, in the 60s were experiencing the peak of their ideological hostility, teetering on the verge of unleashing the third world war. At the same time, the Soviet Union, headed the unpredictable and highly controversial leader Nikita Khrushchev, pursued a policy of flirtations with liberalism in an attempt to overcome the cult of personality of Joseph Stalin and remove the notorious “Iron Curtain”, which for decades had protected the USSR from Western influence. -
String Concert Academy
STRING CONCERT ACADEMY Leonid Gorokhov Cello The Russian cellist Leonid Gorokhov studied at the St. Petersburg Conservatoire with Anatoli Nikitin and took part in masterclasses with Daniil Shafran. Winner of Concertino Praga (First Prize) and Paris Chamber Music Competition (Premier Grand Prix), Leonid Gorokhov is the only Russian cellist to be awarded the Grand Prix and the First Prize of the Geneva Concours (1986). In 1995 the European Association for Encouragement of the Arts awarded the Cultural Achievement Prize to Leonid Gorokhov for exceptional talent and outstanding artistic accomplishment. In 1991, Leonid Gorokhov appeared as soloist with the St. Petersburg Philharmonic conducted by Lord Menuhin; their strong musical rapport led to further concerto engagements with the Bergen, Berlin & Royal Philharmonic Orchestra, English Symphony Orchestra, Sinfonia Varsovia and the Zurich Tonhalle. In 1995, he made a triumphant return to Russia in performances of the Elgar Cello Concerto with the Philharmonia Hungarica, again conducted by Lord Menuhin. Apart from his work as a soloist, he is a founder member of the Hermitage String Trio (playing with Boris Garlitsky, violin, and Alexander Zemstov, viola) and plays regularly as a duo with the pianists Nikolai Demidenko, Niklas Sivelov and Kathryn Stott. Duo recitals have included the Båstad, Belfast, Eilat Winter, Oslo Chamber Music and Petworth Festivals, Munich and Wigmore Hall. Recent engagements have included the Elgar concerto with the Enescu Philharmonic in Bucharest and the Walton Concerto with the Philharmonia Orchestrain the UK. In Australia, his residence at the Townsville Festival found him playing a wide variety of chamber music; in Russia he has performed the rarely played Davidoff Concerto No 2 with the St. -
Cpo 555 234–2 Booklet.Indd 1 22.11.2019 09:46:40 Łukasz Borowicz (© Photo: Katarzyna Zalewska)
Mieczysław Weinberg Cello Concerto op. 43 · Fantasy op. 52 Concertino op. 43bis Raphael Wallfisch Kristiansand Symphony Orchestra Łukasz Borowicz cpo 555 234–2 Booklet.indd 1 22.11.2019 09:46:40 Łukasz Borowicz (© Photo: Katarzyna Zalewska) cpo 555 234–2 Booklet.indd 2 22.11.2019 09:46:40 VOICES IN THE WILDERNESS CELLO CONCERTOS BY EXILED JEWISH COMPOSERS Mieczysław Weinberg (1919–1996) Cello Concerto 33'19 op. 43 1 Adagio 7'53 2 Moderato 5'47 3 Allegro 9'47 4 Allegro 9'52 5 Fantasy op. 52 (1954) 17'08 16'30 Concertino op. 43bis 6 Adagio 4'35 7 Moderato espressivo 3'23 8 Allegro vivace 8'32 T.T.: 67'02 Raphael Wallfisch, Violoncello Kristiansand Symphony Orchestra Łukasz Borowicz, Conductor cpo 555 234–2 Booklet.indd 3 22.11.2019 09:46:40 Anmerkungen des Cellisten Mieczysław Weinberg kam am 8. Dezember 1918 auf die Welt, keinen ganzen Monat, nachdem Polen Dem reichhaltigen und vielgestaltigen Repertoire un- seine Unabhängigkeit wiedergewonnen hatte. Er wuchs serer neuen Serie »Cellokonzerte jüdischer Komponisten in Warschau auf, einer Stadt, die zu 2/3 von Polen be- im Exil« fühle ich mich emotional sehr eng verbunden. wohnt war und zu 1/3 von Juden, die sich immer stärker Ich halte es als Cellist für eine Lebensaufgabe, mich als Polen fühlten, ähnlich wie er. Niemals leugnete er für die Musik jüdischer Komponisten zu engagieren, die seine jüdischen Wurzeln, aber bis ans Ende seines Le- das infame Dritte Reich zum Schweigen verurteilte und bens drängte er darauf, dass man ihn als Mieczysław die aus ihrer Heimat fliehen mussten, um zu überleben. -
An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC AN ANNOTATED CATALOGUE OF THE MAJOR PIANO WORKS OF SERGEI RACHMANINOFF By ANGELA GLOVER A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2003 The members of the Committee approve the treatise of Angela Glover defended on April 8, 2003. ___________________________________ Professor James Streem Professor Directing Treatise ___________________________________ Professor Janice Harsanyi Outside Committee Member ___________________________________ Professor Carolyn Bridger Committee Member ___________________________________ Professor Thomas Wright Committee Member The Office of Graduate Studies has verified and approved the above named committee members. TABLE OF CONTENTS Abstract………………………………………………….............................................. iv INTRODUCTION……………………………………………………………………. 1 1. MORCEAUX DE FANTAISIE, OP.3…………………………………………….. 3 2. MOMENTS MUSICAUX, OP.16……………………………………………….... 10 3. PRELUDES……………………………………………………………………….. 17 4. ETUDES-TABLEAUX…………………………………………………………… 36 5. SONATAS………………………………………………………………………… 51 6. VARIATIONS…………………………………………………………………….. 58 BIBLIOGRAPHY…………………………………………………………………. -
The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Mu
The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Music 1988 December The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris The Russian piano concerto could not have had more inauspicious beginnings. Unlike the symphonic poem (and, indirectly, the symphony) - genres for which Glinka, the so-called 'Father of Russian Music', provided an invaluable model: 'Well? It's all in "Kamarinskaya", just as the whole oak is in the acorn' to quote Tchaikovsky - the Russian piano concerto had no such indigenous prototype. All that existed to inspire would-be concerto composers were a handful of inferior pot- pourris and variations for piano and orchestra and a negligible concerto by Villoing dating from the 1830s. Rubinstein's five con- certos certainly offered something more substantial, as Tchaikovsky acknowledged in his First Concerto, but by this time the century was approaching its final quarter. This absence of a prototype is reflected in all aspects of Russian concerto composition. Most Russian concertos lean perceptibly on the stylistic features of Western European composers and several can be justly accused of plagiarism. Furthermore, Russian composers faced formidable problems concerning the structural organization of their concertos, a factor which contributed to the inability of several, including Balakirev and Taneyev, to complete their works. Even Tchaikovsky encountered difficulties which he was not always able to overcome. The most successful Russian piano concertos of the nineteenth century, Tchaikovsky's No.1 in B flat minor, Rimsky-Korsakov's Concerto in C sharp minor and Balakirev's Concerto in E flat, returned ii to indigenous sources of inspiration: Russian folk song and Russian orthodox chant. -
Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2762 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community.