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Gidon Kremer Oleg Maisenberg
EDITION SCHWETZINGER FESTSPIELE Bereits erschienen | already available: SCHUMANN SCHUBERT BEETHOVEN PROKOFIEV Fritz Wunderlich Hubert Giesen BEETHOVEN � BRAHMS SCHUbeRT LIEDERABEND Claudio Arrau ���� KLAVIERAB END � PIANO R E C ITAL WebeRN FRITZ WUNDERLICH·HUbeRT GIESEN CLAUDIO ARRAU BeeTHOVEN Liederabend 1965 Piano Recital SCHUMANN · SCHUBERT · BeeTHOVEN BeeTHOVEn·BRAHMS 1 CD No.: 93.701 1 CD No.: 93.703 KREISLER Eine große Auswahl von über 800 Klassik-CDs und DVDs finden Sie bei hänsslerCLassIC unter www.haenssler-classic.de, auch mit Hörbeispielen, Download-Möglichkeiten und Gidon Kremer Künstlerinformationen. Gerne können Sie auch unseren Gesamtkatalog anfordern unter der Bestellnummer 955.410. E-Mail-Kontakt: [email protected] Oleg Maisenberg Enjoy a huge selection of more than 800 classical CDs and DVDs from hänsslerCLASSIC at www.haenssler-classic.com, including listening samples, download and artist related information. You may as well order our printed catalogue, order no.: 955.410. E-mail contact: [email protected] DUO RecITAL Die Musikwelt zu Gast 02 bei den Schwetzinger Festspielen Partnerschaft, vorhersehbare Emigration, musikalische Heimaten 03 SERGEI PROKOFIev (1891 – 1953) Als 1952 die ersten Schwetzinger Festspiele statt- Gidon Kremer und Oleg Maisenberg bei den des Brüsseler Concours Reine Elisabeth. Zwei Sonate für Violine und Klavier fanden, konnten sich selbst die Optimisten unter Schwetzinger Festspielen 1977 Jahre später gewann er in Genua den Paganini- Nr. 1 f-Moll op. 80 | Sonata for Violine den Gründern nicht vorstellen, dass damit die Wettbewerb. Dazu ist – was Kremers Repertoire- eutsch eutsch D and Piano No. 1 in 1 F Minor, Op.80 [28:18] Erfolgsgeschichte eines der bedeutendsten deut- Als der aus dem lettischen Riga stammende, Überlegungen, seine Repertoire-Überraschungen D schen Festivals der Nachkriegszeit begann. -
A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
Eastman School of Music, Thrill Every Time I Enter Lowry Hall (For- Enterprise of Studying, Creating, and Loving 26 Gibbs Street, Merly the Main Hall)
EASTMAN NOTESFALL 2015 @ EASTMAN Eastman Weekend is now a part of the University of Rochester’s annual, campus-wide Meliora Weekend celebration! Many of the signature Eastman Weekend programs will continue to be a part of this new tradition, including a Friday evening headlining performance in Kodak Hall and our gala dinner preceding the Philharmonia performance on Saturday night. Be sure to join us on Gibbs Street for concerts and lectures, as well as tours of new performance venues, the Sibley Music Library and the impressive Craighead-Saunders organ. We hope you will take advantage of the rest of the extensive Meliora Weekend programming too. This year’s Meliora Weekend @ Eastman festivities will include: BRASS CAVALCADE Eastman’s brass ensembles honor composer Eric Ewazen (BM ’76) PRESIDENTIAL SYMPOSIUM: THE CRISIS IN K-12 EDUCATION Discussion with President Joel Seligman and a panel of educational experts AN EVENING WITH KEYNOTE ADDRESS EASTMAN PHILHARMONIA KRISTIN CHENOWETH BY WALTER ISAACSON AND EASTMAN SCHOOL The Emmy and Tony President and CEO of SYMPHONY ORCHESTRA Award-winning singer the Aspen Institute and Music of Smetana, Nicolas Bacri, and actress in concert author of Steve Jobs and Brahms The Class of 1965 celebrates its 50th Reunion. A highlight will be the opening celebration on Friday, featuring a showcase of student performances in Lowry Hall modeled after Eastman’s longstanding tradition of the annual Holiday Sing. A special medallion ceremony will honor the 50th class to commemorate this milestone. The sisters of Sigma Alpha Iota celebrate 90 years at Eastman with a song and ritual get-together, musicale and special recognition at the Gala Dinner. -
Coa-Program-For-Web.Pdf
HOUSTON GRAND OPERA AND SID MOORHEAD, CHAIRMAN WELCOME YOU TO THE TAMARA WILSON, LIVESTREAM HOST E. LOREN MEEKER, GUEST JUDGE FRIDAY, FEBRUARY 5, 2021 AT 7 P.M. BROADCAST LIVE FROM THE WORTHAM THEATER CENTER TEXT TO VOTE TEXT TO GIVE Text to vote for the Audience Choice Award. On page Support these remarkable artists who represent 9, you will see a number associated with each finalist. the future of opera. Text the number listed next to the finalist’s name to 713-538-2304 and your vote will be recorded. One Text HGO to 61094 to invest in the next generation vote per phone number will be registered. of soul-stirring inspiration on our stage! 2 WELCOME TO CONCERT OF ARIAS 2021 SID MOORHEAD Chairman A multi-generation Texan, Sid Moorhead is the owner of in HGO’s Overture group and Laureate Society, and he serves Moorhead’s Blueberry Farm, the first commercial blueberry on the company’s Special Events committee. farm in Texas. The farm, which has been in the Moorhead family for three generations, sits on 28 acres in Conroe and Sid was a computer analyst before taking over the family boasts over 9,000 blueberry plants. It is open seasonally, from business and embracing the art of berry farming. He loves to the end of May through mid-July, when people from far and travel—especially to Europe—and has joined the HGO Patrons wide (including many fellow opera-lovers and HGO staffers) visit on trips to Italy and Vienna. to pick berries. “It’s wonderful. -
The Other Tchaikowsky
The Other Tchaikowsky A biographical sketch of André Tchaikowsky David A. Ferré Cover painting: André Tchaikowsky courtesy of Milein Cosman (Photograph by Ken Grundy) About the cover The portrait of André Tchaikowsky at the keyboard was painted by Milein Cosman (Mrs. Hans Keller) in 1975. André had come to her home for a visit for the first time after growing a beard. She immediately suggested a portrait be made. It was completed in two hours, in a single sitting. When viewing the finished picture, André said "I'd love to look like that, but can it possibly be me?" Contents Preface Chapter 1 - The Legacy (1935-1982) Chapter 2 - The Beginning (1935-1939) Chapter 3 - Survival (1939-1945 Chapter 4 - Years of 'Training (1945-1957) Chapter 5 - A Career of Sorts (1957-1960) Chapter 6 - Homeless in London (1960-1966) Chapter 7 - The Hampstead Years (1966-1976) Chapter 8 - The Cumnor Years (1976-1982) Chapter 9 - Quodlibet Acknowledgments List of Compositions List of Recordings i Copyright 1991 and 2008 by David A. Ferré David A. Ferré 2238 Cozy Nook Road Chewelah, WA 99109 USA [email protected] http://AndreTchaikowsky.com Preface As I maneuvered my automobile through the dense Chelsea traffic, I noticed that my passenger had become strangely silent. When I sneaked a glance I saw that his eyes had narrowed and he held his mouth slightly open, as if ready to speak but unable to bring out the words. Finally, he managed a weak, "Would you say that again?" It was April 1985, and I had just arrived in London to enjoy six months of vacation and to fulfill an overdue promise to myself. -
MSM PHILHARMONIA ORCHESTRA Perry So, Conductor Shaina Martinez, Soprano
MSM PHILHARMONIA ORCHESTRA Perry So, Conductor Shaina Martinez, soprano THURSDAY, OCTOBER 4, 2018 | 7:30 PM THE RIVERSIDE CHURCH THURSDAY, OCTOBER 4, 2018 | 7:30 PM THE RIVERSIDE CHURCH MSM PHILHARMONIA ORCHESTRA Perry So, Conductor Shaina Martinez, soprano PROGRAM ROBERT SIROTA A Rush of Wings (b. 1949) JOAQUÍN TURINA Poema en forma de canciones (1882–1949) (Poem in the Form of Songs), Op. 19 Dedicatoria Nunca olvida… Cantares Los dos miedos Las locas por amor Ms. Martinez, soprano INTERMISSION ANTON BRUCKNER Symphony No. 7 in E Major (Cahis 13) (1841–1904) Allegro moderato Adagio: Sehr feierlich und sehr langsam Scherzo: Sehr schnell Finale: Bewegt, doch nicht schnell The school would like to recognize Julio Martinez, Shaina’s father, for his relentless efforts to find the manuscript of the Turina concerto and resolute support for Spanish vocal literature, and Dr. Manly Romero, Performance Librarian at MSM, for preparing a new edition of the score and orchestral parts from the manuscript. Without their efforts, this performance would not have been possible. CENTENNIAL NOTE Robert Sirota was President of Manhattan School of Music from 2005 to 2012, during which time he also was a member of the Composition faculty. He wrote A Rush of Wings in 2008 especially for the MSM Chamber Sinfonia, which premiered the work on January 26, 2009 at Carnegie Hall’s Zankel Hall. The concert, conducted by Kenneth Kiesler, showcased the School’s Graduate Program in Orchestral Performance with faculty members playing side-by-side with students. MSM’s OP Program began in 1991 and Glenn Dicterow, then Concertmaster of the New York Philharmonic, was a founding faculty member. -
Classical Music Manuscripts Collection Finding Aid (PDF)
University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketches …………………………………………………………………... 2 Scope and Content …………………………………………………………………………... 13 Series Notes …………………………………………………………………………………... 13 Container List …………………………………………………………………………………... 15 Robert Ambrose …………………………………………………………………... 15 Florence Aylward …………………………………………………………………... 15 J.W.B. …………………………………………………………………………………... 15 Jean-Guillain Cardon …………………………………………………………………... 15 Evaristo Felice Dall’Abaco …………………………………………………………... 15 Alphons Darr …………………………………………………………………………... 15 P.F. Fierlein …………………………………………………………………………... 15 Franz Jakob Freystadtler …………………………………………………………... 16 Georg Golterman …………………………………………………………………... 16 Gottlieb Graupner …………………………………………………………………... 16 W. Moralt …………………………………………………………………………... 16 Pietro Nardini …………………………………………………………………………... 17 Camillo de Nardis …………………………………………………………………... 17 Alessandro Rolla …………………………………………………………………... 17 Paul Alfred Rubens …………………………………………………………………... 17 Camillo Ruspoli di Candriano …………………………………………………... 17 Domenico Scarlatti …………………………………………………………………... 17 Friederich Schneider …………………………………………………………………... 17 Ignaz Umlauf …………………………………………………………………………... 17 Miscellaneous Collections …………………………………………………………... 17 Unknown …………………………………………………………………………... 18 MS226-Classical Music Manuscripts Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION -
Solzh 19-20 Short
IGNAT SOLZHENITSYN 2019-20 SHORT BIO {206 WORDS} IGNAT SOLZHENITSYN Recognized as one of today's most gifted artists, and enjoying an active career as both conductor and pianist, Ignat Solzhenitsyn's lyrical and poignant interpretations have won him critical acclaim throughout the world. Principal Guest Conductor of the Moscow Symphony Orchestra and Conductor Laureate of the Chamber Orchestra of Philadelphia, Ignat Solzhenitsyn has recently led the symphonies of Baltimore, Cincinnati, Dallas, Indianapolis, Milwaukee, Seattle, and Toronto, the Nordwestdeutsche Philharmonie, the Czech National Symphony, as well as the Mariinsky Orchestra and the St. Petersburg Philharmonic. He has partnered with such world-renowned soloists as Richard Goode, Gary Graffman, Gidon Kremer, Anne-Sophie Mutter, Garrick Ohlsson, Mstislav Rostropovich, and Mitsuko Uchida. His extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Los Angeles, Seattle, Baltimore, Montreal, Toronto, London, Paris, Israel, and Sydney, and collaborations with such distinguished conductors as Herbert Blomstedt, James Conlon, Charles Dutoit, Valery Gergiev, André Previn, Gerard Schwarz, Wolfgang Sawallisch, Yuri Temirkanov and David Zinman. A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn serves on the faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, including CBS Sunday Morning and ABC’s Nightline. CURRENT AS OF: 18 NOVEMBER 2019 PLEASE DESTROY ANY PREVIOUS BIOGRAPHICAL MATERIALS. PLEASE MAKE NO CHANGES, EDITS, OR CUTS OF ANY KIND WITHOUT SPECIFIC PERMISSION.. -
Introduction
INTRODUCTION The present volume contains Carl Philipp Emanuel revision of the body of work that had accrued up to that Bach’s first two published sets of keyboard sonatas: the time.2 For the publication of his two keyboard cycles, Bach six “Prussian” (Wq 48) and six “Württemberg” (Wq 49) chose engravers and printers from Nuremberg: Balthasar Sonatas. The exact date of publication for each collection Schmid for Wq 48, and Johann Wilhelm Windter/Johann is not entirely clear. NV 1790 gives 1743 for the first set Ulrich Haffner for Wq 49. The connection with Nurem- and 1745 for the second, while the Autobiography gives 1742 berg, for which Bach’s father likely served as the catalyst, and 1744, respectively. Advertisements in the Nuremberg lasted well into the 1760s.3 newspaper Friedens- und Kriegs-Currier might have pro- The source situation of the “Prussian” and “Württem- vided some clarification, but no mention has been found berg” Sonatas may be described as quite favorable: both of the Wq 48 print in any of the 1742 issues, and no issues exist in authorized prints. After their publication Bach from 1743 or 1744 appear to be extant. An advertisement most likely destroyed or gave away the original autographs, for the Wq 49 set does show up in 1745, but this is proba- as he would do with later prints. Some autograph sketch bly not for the first printing. A composition date for each material exists for Wq 49/3 (see appendix), and some em- of the twelve sonatas is given in NV 1790; for Wq 48 the bellishments and varied reprises exist for Wq 49/6 (see dates range from 1740 to 1742, and for Wq 49 from 1742 source A), but no other source has survived that can be to 1744. -
Louise Farrenc (1804-1875)
Universität für Musik und darstellende Kunst Graz Institut 15: Alte Musik und Aufführungspraxis „Eine Künstlerin, hochverdient und mit einer ganz männlichen musikalischen Gestaltungsgabe …“ Louise Farrenc (1804-1875) Pianistin, Komponistin, Pädagogin, Editorin Wissenschaftliche Bachelorarbeit vorgelegt von Irina Vaterl Betreut durch Ao.Univ.Prof. Mag.phil. Dr.phil Ingeborg Harer September 2013 Inhaltsverzeichnis Vorwort ............................................................................................................. 4 Einleitung und Forschungsstand ................................................................... 6 TEIL 1. Louise Farrenc. Biografie .................................................................. 9 Paris um 1800 ....................................................................................... 10 Familie Dumont- eine Künstlerfamilie über Generationen .................... 11 Kindheit in der Künstlersiedlung ........................................................... 16 Die musikalische Ausbildung ................................................................ 18 Ehe mit Aristide Farrenc ....................................................................... 20 Victorine Farrenc .................................................................................. 23 Die letzten Lebensjahre ........................................................................ 25 TEIL 2. Louise Farrenc. Pianistin, Komponistin, Pädagogin, Editorin ..... 28 Die Pianistin Louise Farrenc ................................................................ -
Pablo Ferrandez-Castro, Cello
Pablo Ferrández-Castro, Cello Awarded the coveted ICMA 2016 “Young Artist of the Year”, and prizewinner at the XV International Tchaikovsky Competition, Pablo Ferrández is praised by his authenticity and hailed by the critics as “one of the top cellists” (Rémy Louis, Diapason Magazine). He has appeared as a soloist with the Mariinsky Orchestra, Vienna Symphony Orchestra, St. Petersburg Philharmonic, Stuttgart Philharmonic, Kremerata Baltica, Helsinki Philharmonic, Tapiola Sinfonietta, Spanish National Orchestra, RTVE Orchestra, Maggio Musicale Fiorentino, and collaborated with such artists as Zubin Mehta, Valery Gergiev, Yuri Temirkanov, Adam Fischer, Heinrich Schiff, Dennis Russell Davies, John Storgårds, Gidon Kremer, Ivry Gitlis and Anne-Sophie Mutter. Highlights of the 2016/17 season include his debut with BBC Philharmonic under Juanjo Mena, his debut at the Berliner Philharmonie with the Deutsches Symphonie-Orchester Berlin, his collaboration with Christoph Eschenbach playing Schumann’s cello concerto with the HR- Sinfonieorchester and with the Spanish National Symphony, the return to Maggio Musicale Fiorentino under Zubin Mehta, recitals at the Mariinsky Theater and Schloss-Elmau, a European tour with Kremerata Baltica, appearances at the Verbier Festival, Jerusalem International Chamber Music Festival, Intonations Festival and Trans-Siberian Arts Festival, his debuts with Orchestra Sinfonica Nazionale RAI, Barcelona Symphony Orchestra, Munich Symphony, Estonian National Symphony, Taipei Symphony Orchestra, Queensland Symphony Orchestra, and the performance of Brahms' double concerto with Anne-Sophie Mutter and the London Philharmonic Orchestra. Mr. Ferrández plays the Stradivarius “Lord Aylesford” (1696) thanks to the Nippon Music Foundation. . -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.