1999-2000 Studio Series-From the Studio of Sergiu Schwartz" The
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From the Violin Studio of Sergiu Schwartz
CoNSERVATORY oF Music presents The Violin Studio of Sergiu Schwartz SPOTLIGHT ON YOUNG VIOLIN VIRTUOSI with Tao Lin, piano Saturday, April 3, 2004 7:30p.m. Amamick-Goldstein Concert Hall de Hoernle International Center Program Polonaise No. 1 in D Major ..................................................... Henryk Wieniawski Gabrielle Fink, junior (United States) (1835 - 1880) Tambourin Chino is ...................................................................... Fritz Kreisler Anne Chicheportiche, professional studies (France) (1875- 1962) La Campanella ............................................................................ Niccolo Paganini Andrei Bacu, senior (Romania) (1782-1840) (edited Fritz Kreisler) Romanza Andaluza ....... .. ............... .. ......................................... Pablo de Sarasate Marcoantonio Real-d' Arbelles, sophomore (United States) (1844-1908) 1 Dance of the Goblins .................................................................... Antonio Bazzini Marta Murvai, senior (Romania) (1818- 1897) Caprice Viennois ... .... ........................................................................ Fritz Kreisler Danut Muresan, senior (Romania) (1875- 1962) Finale from Violin Concerto No. 1 in g minor, Op. 26 ......................... Max Bruch Gareth Johnson, sophomore (United States) (1838- 1920) INTERMISSION 1Ko<F11m'1-za from Violin Concerto No. 2 in d minor .................... Henryk Wieniawski ten a Ilieva, freshman (Bulgaria) (1835- 1880) llegro a Ia Zingara from Violin Concerto No. 2 in d minor -
Henryk Szeryng – Weltbürger Und Weltklasse-Geiger (3)
SWR2 Musikstunde Henryk Szeryng – Weltbürger und Weltklasse-Geiger (3) Von Jörg Lengersdorf Sendung vom: 18. August 2021 (Erstsendung 19. September 2018) Redaktion: Dr. Ulla Zierau Produktion: SWR 2018 SWR2 können Sie auch im SWR2 Webradio unter www.SWR2.de und auf Mobilgeräten in der SWR2 App hören – oder als Podcast nachhören: Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Die SWR2 App für Android und iOS Hören Sie das SWR2 Programm, wann und wo Sie wollen. Jederzeit live oder zeitversetzt, online oder offline. Alle Sendung stehen mindestens sieben Tage lang zum Nachhören bereit. Nutzen Sie die neuen Funktionen der SWR2 App: abonnieren, offline hören, stöbern, meistgehört, Themenbereiche, Empfehlungen, Entdeckungen … Kostenlos herunterladen: www.swr2.de/app Die Jugend des Geigers Henryk Szeryng ist vorbei, das Studium fast beendet. Eine Weltkarriere scheint auf ihn zu warten. Doch dann sucht der Krieg Europa heim, alles kommt anders… Im Juli 1937 hat der 18jährige Henryk Szeryng gerade einmal 8 Monate in Paris studiert, als er sein Studium am Konservatorium beim Abschlusskonzert mit dem Prestigeträchtigen und begehrten ersten Preis der Kohorte abschließt. Neben Szeryng erhält der ebenfalls bald zur Weltelite gehörende Geiger Yfrah Neaman diese Auszeichnung. Der später legendäre Solist und langjährige Star-Konzertmeister der Berliner Philharmoniker, Michel Schwalbé, bekommt dagegen nur den zweiten Preis. Ein Detail am Rande, das immerhin illustriert, was für ein Niveau die Pariser Professoren in dieser Prüfungsphase 1937 serviert bekommen. In einigen biografischen Abrissen (ausführliche Biografien gibt es noch nicht) liest man nun, Szeryngs Eltern hätten ihm zum Pariser Abschluss eine wertvolle Geige das Cremoneser Meisters Andrea Guarneri geschenkt. -
KEYNOTES the OFFICIAL NEWSLETTER of the EVANSTON SYMPHONY ORCHESTRA LAWRENCE ECKERLING, MUSIC DIRECTOR American Romantics
VOL. 46, NO. 3 • MARCH 2015 KEYNOTES THE OFFICIAL NEWSLETTER OF THE EVANSTON SYMPHONY ORCHESTRA LAWRENCE ECKERLING, MUSIC DIRECTOR American Romantics he third concert of the ESO’s 69th season, with its 2:30 PM ON Ttheme of the enduring appeal of Romanticism for SUNDAY MARCH 15, 2015 composers well into the 20th century, features three very well known American composers: Copland, Barber, and Hanson, plus a short piece by the Estonian Arvo Pärt. American Romantics Our concert opens with El Salón México by Aaron Copland demanded repayment of $500, which had been advanced (1900–1990). This 12 minute showpiece, premiered in to Barber. Having spent the advance on a European 1936, was the very first of Copland’s “populist” composi- vacation, Barber was forced to have a student at the Curtis tions in which he moved away from his previous Institute of Music perform the finale with only two hours of “modernist” style to an accessible tuneful style. Copland had practice, thereby proving that it was in fact “playable.” discovered the Mexico City dance hall of the title in 1932, ronicallyI perhaps, it is the lush romantic beauty of the first and consulted a collection of Mexican folk songs to lend two movements which has made this concerto the most authentic local color to this brilliantly orchestrated tone performed of all American concertos. picture. Howard Hanson (1896–1981) composed in a style even The austere spirituality of the music of Arvo Pärt provides more consistently Romantic than did Barber; in fact he titled a complete contrast to El Salón México. -
Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans
Document généré le 27 sept. 2021 01:22 Canadian University Music Review Revue de musique des universités canadiennes Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans Volume 21, numéro 2, 2001 Résumé de l'article Cette étude documente les efforts de Hans Rosbaud (1895–1962) pour URI : https://id.erudit.org/iderudit/1014484ar promouvoir la musique d’Arnold Schoenberg. L’essai est en grande partie basé DOI : https://doi.org/10.7202/1014484ar sur vingt années de correspondance entre le chef d’orchestre et le compositeur, échange demeuré inédit. Les tentatives de Rosbaud portaient déjà fruit Aller au sommaire du numéro pendant qu’il était en fonction à la radio de Francfort au début des années 1930. À la suite de l’interruption forcée due aux années nazies (au cours desquelles il a travaillé en Allemagne et dans la France occupée), Rosbaud a Éditeur(s) acquis une réputation internationale en tant que chef d’orchestre par excellence dédié aux œuvres de Schoenberg. Ses activités en faveur de Canadian University Music Society / Société de musique des universités Schoenberg dissimulaient le projet, que la littérature sur celui-ci n’avait pas canadiennes encore relevé, de ramener le compositeur vieillissant en Allemagne. ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Evans, J. (2001). Hans Rosbaud and the Music of Arnold Schoenberg. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 41–59. https://doi.org/10.7202/1014484ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. -
Laurent Mettraux
Laurent Mettraux composer 1-2 Biography 3-7 Principal works 8 Quotes of musicians 9-10 From the newspapers Laurent Mettraux Route Principale 160 CH-1791 Courtaman (Switzerland) tel. + fax : (+41) 26/684.18.65 e-mail : [email protected] www.laurentmettraux.com LAURENT METTRAUX (* 27. 5. 1970) Laurent Mettraux was born in 1970, in Fribourg (Switzerland). He completed the studies of analysis, counterpoint, harmony and fugue with René Oberson at the Music Academy of Fribourg, as well as piano, violin and singing. He continued his studies in Geneva (composition with Prof. Eric Gaudibert, conducting with Prof. Liang-Sheng Chen), while following also courses of ancient music and musicology. He received a prize of the Kiefer-Hablitzel Foundation (Association of Swiss Musicians). Counsels and courses with, among others, Klaus Huber, Luis de Pablo, Heinz Holliger, Arvo Pärt, Paul Méfano. His Symphony for chamber orchestra won in 1993 the 1st Prize and Public Prize of the 1st Competition for young composers, organized by the Orchestre de Chambre de Lausanne. He has been laureate of several foundations, and finalist of, among others, the European Competition of Choral Composition (Amiens, France). His work « Ombre » (« Shadow ») for orchestra, won 1998 the prize of the prestigious Donaueschinger Musiktage, given for the first time (among the members of the Jury: Wolfgang Rihm, Sylvain Cambreling, Gérard Grisey, Christian Wolff). He is also honoured in 2000 with a contribution ad personam from the UBS Kulturstiftung for his « remarkable partaking to the musical life in Switzerland and abroad ». First compositions in 1982. He receives numerous orders, as much from the interpreters as from concert associations, festivals, broadcasting and foundations. -
Citymusic Cleveland: a Conversation with Violinist Adele Anthony by Mike Telin
CityMusic Cleveland: a conversation with violinist Adele Anthony by Mike Telin After winning the 1996 Carl Nielsen International Violin Competition, Adele Anthony has enjoyed an acclaimed career as a concerto soloist, recitalist and chamber musician. On Thursday, March 12 at 7:30 in Mentor High School’s Performing Arts Center, CityMusic Cleveland will present the first of four free performances featuring Adele Anthony as soloist in Carl Nielsen’s Violin Concerto. (See our concert listings for additional times and locations.) The concerts, led by guest conductor Joaquin Valdepeñas, will also include Grieg’s Peer Gynt Suite No. 1 and Arvo Pärt’s Symphony No. 4, Los Angeles. During a recent telephone conversation I confessed to Adele Anthony that Nielsen’s Violin Concerto is a work with which I am not extremely familiar. “I hear that a lot,” she responded with a laugh. “And it’s too bad because I think it’s a beautiful work that people will appreciate. It has a very gripping opening. I found it to be very attractive from the first time I heard it.” Anthony’s first exposure to the piece was through her violinist father. “As a student in Germany, he studied with the great Hungarian violinist Tibor Varga, who’s recording of the concerto we had at home. My father told me that it is a fantastic piece and that I should learn it. I listened to it and thought it was great, and when I was older I did learn it, later entering the competition with it. And because of that win, I have been able to perform it a lot more than perhaps I would have otherwise.” The concerto is written in a melodic neo-classical style. -
Edition 1 | 2019-2020
About the Maestro 4 Letter from the Maestro 5 History of the Brevard Philharmonic 6 Letter from the President 7 SEPTEMBER 29, 2019 9 AN AFTERNOON AT THE OPERA NOVEMBER 3, 2019 17 DUOS DECEMBER 15, 2019 25 CHRISTMASTIME IN BREVARD MARCH 15, 2020 27 SENSATIONAL STRINGS mission statement APRIL 5, 2020 33 The Mission of the Brevard BEETHOVEN, BOTTESINI, AND BASS Philharmonic is to inspire, educate, MAY 17, 2020 37 and enrich our audiences through POPS: STAGE, PAGE, AND SCREEN exceptional, professional musical Brevard Philharmonic Personnel 39 2019 Contributors 40 performances and community outreach. Sponsorships 42 Board of Directors 43 Music In the Schools 44 C Notes 46 Donate Your Instrument 47 House Concert 48 ADVERTISING Onstage Publications Advertising Department 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business, Inc. Contents ©2019-20. All rights reserved. Printed in the U.S.A. www.brevardphilharmonic.org | brevard philharmonic 3 about the maestro JAMES FELLENBAUM ames Fellenbaum is in his second season as Artistic Director of the Brevard Philharmonic, and is truly excited to continue sharing this J musical journey with the Brevard community. He enjoys an extraordinarily diverse career as a conductor, equally at home with Symphonic music, Chamber Orchestra repertoire, Pops, Ballet, Opera, Choral-Orchestral, and Film with Live Orchestra. James is the Resident Conductor of the Knoxville Symphony Orchestra (KSO) having completed his 13th season with the organization. -
Vadim Gluzman
VADIM GLUZMAN Vadim Gluzman brings life to the glorious violinistic tradition of the 19th and 20th centuries. His wide repertoire embraces new music and his performances are heard around the world through live broadcasts and a striking catalogue of award- winning recordings exclusively for the BIS label. The Israeli violinist appears regularly with major orchestras such as the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Israel Philharmonic, Leipzig Gewandhaus, London Symphony, Orchestre de Paris, Philadelphia Orchestra, and the Royal Concertgebouw. He collaborates with leading conductors including Riccardo Chailly, Christoph von Dohnányi, Tugan Sokhiev, Sir Andrew Davis, Neeme Järvi, Michael Tilson Thomas, Semyon Bychkov, Jukka-Pekka Saraste, Paavo Järvi, and Hannu Lintu. Festival appearances include performances at Lockenhaus, Ravinia, Tanglewood, Verbier, and the North Shore Chamber Music Festival in Chicago, founded by Gluzman and pianist Angela Yoffe, his wife and recital partner. Highlights of his 2018-19 season include performances with the Chicago Symphony under Osmo Vänskä and Cleveland Orchestra under Michail Jurowski, concerts in Australia with the Sydney, Melbourne and West Australian Symphony Orchestras, and with the Bamberger Symphoniker, Bergen Philharmonic, Frankfurt Radio Orchestra, Tokyo's NHK Symphony Orchestra, the NDR Radiophilharmonie Hannover and Seattle Symphony. He leads performances with the ProMusica Chamber Orchestra in Columbus, Ohio, where he serves as Creative Partner and Principal Guest Artist. Mr. Gluzman celebrates the 100th anniversary of the birth of violinist Henryk Szeryng with the Deutsche Radio Philharmonie, Hamburg NDR Elbphilharmonie Orchestra, Jerusalem Symphony, Orquesta Sinfónica Nacional de México, and Warsaw Philharmonic. In 1994, Gluzman was awarded the Henryk Szeryng Foundation Career Award and today performs on a Dominique Peccatte bow from Szeryng’s collection, previously owned by Eugène Ysaÿe. -
Gilbert Varga, Conductor Daniel Müller-Schott, Cello
Gilbert Varga, conductor Friday, March 22, 2019 at 10:30AM Daniel Müller-Schott, cello Saturday, March 23, 2019 at 8:00PM DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) LALO Cello Concerto in D minor (1876) (1823-1892) Prélude: Lento - Allegro maestoso Intermezzo: Andantino con moto - Allegro presto Introduction: Andante - Allegro vivace Daniel Müller-Schott, cello INTERMISSION FRANCK Symphony in D minor (1888) (1822-1890) Lento - Allegro non troppo Allegretto Allegro non troppo ACKNOWLEDGMENTS The 2018/2019 Classical Series is presented by World Wide Technology and The Steward Family Foundation. Daniel Müller-Schott is the Charles V. Rainwater III Guest Artist. The concert of Friday, March 22, is underwritten in part by a generous gift from Mr. William M. Carey. The concert of Saturday, March 23, is underwritten in part by a generous gift from Lawrence and Cheryl Katzenstein. Pre-concert conversations are sponsored by Washington University Physicians. 23 PROGRAM NOTES PAUL DUKAS Born October 1, 1865, Paris, France Died May 17, 1935, Paris, France The Sorcerer’s Apprentice If ever a piece of music was victim of its own success, it is surely Paul Dukas’ L’apprenti sorcier. Better known in this country as The Sorcerer’s Apprentice (a slightly inaccurate English translation of its title; more precise would be “The Apprentice Sorcerer”), it scored an immediate success and established Dukas, who was not yet 32, as one of France’s important new composers. Dukas’ inspiration for The Sorcerer’s Apprentice was “Der Zauberlehring,” a ballad-like poem written in 1796 by Johann Wolfgang von Goethe. Goethe’s poem gives a first-person account of the misadventure that befalls a young man who has been taken on as an apprentice to an aged magician. -
825646079032.Pdf
ARAM KHACHATURIAN 1903–1978 Violin Concerto in D minor 1 I Allegro con fermezza 13.58 2 II Andante sostenuto 12.15 3 III Allegro vivace 9.01 PYOTR ILYICH TCHAIKOVSKY 1840–1893 4 Souvenir d’un lieu cher, Op.42 : No.1 10.01 Méditation (orch. Glazunov) 45.29 ITZHAK PERLMAN violin Israel Philharmonic Orchestra/Zubin Mehta 2 Itzhak Perlman, Zubin Mehta and producer Suvi Raj Grubb Photo: © Gregory Rozanski 3 KHACHATURIAN: VIOLIN CONCERTO For a long time the sole preserve of Russian violinists, such as Mischa Elman, and, above all, Soviet musicians such as Leonid Kogan, Julian Sitkovetsky and Igor Oistrakh, Khachaturian’s Violin Concerto had only been recorded by a tiny number of Western artists (notably Ruggiero Ricci and Henryk Szeryng) before Perlman laid down this version. Dedicated to David Oistrakh, whose performances of it, both live and in the studio, remain legendary, the work was written during the summer of 1940, while the composer was staying in his home to the west of Moscow, a haven of peace amid the pine forests. “There, I worked with ease… the themes burst from me in such profusion that I struggled to organise them”, he was to write. The effortlessness, spontaneity, acerbity and flexibility of Khachaturian’s melodic inventiveness are particularly evident in the Andante sostenuto, written in a free, almost improvised style, which evokes the art of the ashoughs , Armenian folk musicians. Very much the heart of the concerto as a whole, this central episode is framed by a opening movement with a first theme full of energy and a second which is more languorous, and a finale whose palpable folk inspiration calls on a display of ebullient and obsessively repetitive virtuosity. -
The Art of Henri Temianka” VIRTUOSO VIOLINIST, CONDUCTOR, AUTHOR and EDUCATOR
ARSC New York Chapter December 2019 Meeting 7:00 P. M. Thursday, 12/19/2019 →At the CUNY Sonic Arts Center← West 140th Street & Convent Avenue, New York Or enter at 138th Street off Convent Avenue (N.B. not always open) Shepard Hall (the Gothic building) – Recital Hall (Room 95, ground floor) An elevator is located in the center of the building. “The Art of Henri Temianka” VIRTUOSO VIOLINIST, CONDUCTOR, AUTHOR AND EDUCATOR Presented by John Haley As demonstrated by his recordings, Henri (pronounced “Henry”) Temianka (1906-1992) was one of the finest violinists of the 20th Century. Born in Greenock, Scotland of immigrant Polish Jewish parents, he studied violin with Carol Blitz in Rotterdam, Willy Hess in Berlin, Jules Boucherit in Paris, and finally Carl Flesch at the Curtis Institute in Philadelphia. In 1930, Temianka was in the first Curtis graduating class, earning a double degree in violin and conducting, having studied the latter with Artur Rodzinski. As a violinist he was further influenced by Eugène Ysaӱe, Jacques Thibaud and Bronisław Huberman. Flesch referred to him as possessing “both musically and technically, … a model collection of talents.” After a brilliant debut in New York in 1928 (which Olin Downes described as “one of the finest accomplishments in years”), Temianka returned to Europe and rapidly established himself as one of that era’s foremost concert violinists, appearing with major orchestras in Europe and the U.S. under such conductors as Pierre Monteux, Sir John Barbirolli, Sir Adrian Boult, Fritz Reiner, Sir Henry Wood, George Szell, Otto Klemperer, Dimitri Mitropoulos and William Steinberg. -
Artur Rubinstein Recital
Royal Liverpool Philharmonie Society Patron Her Majesty the Queen Artur Rubinstein Recital Wednesday 14 May 1969 at 7.30 p.m. Royal Liverpool Philharmonic Society Patron Her Majesty the Queen President The Lord Mayor of Liverpool Honorary Vice-Presidents D. J. Lewis, j.p. Harry Livermore Management Committee Chairman Andrew McKie Reid, M.C., T.D., F.?.C.Ç. Deputy Chairman J. T. Edwards, ' J. Lindsay Alexander Aiderman H. M. Allen Councillor F. Burke F. J. Camenisch Aiderman C. Cowlin J. K. Harrison Harry Livermore L. A. B. Pilkington Councillor B. Shaw Arts Council Assessor John Cruft D. A. Solomon, m.b.e. General Manager and Secretary K. J. Stern Stephen Gray Aiderman H. Macdonald Steward Musical Director S. R. C. Walmsley Charles Groves, c.bj Philharmonie Hall, Liverpool Artur Rubinstein Schubert Two Impromptus, Op. 90 Brahms Sonata No. 3 in F minor, Op. 5 Interval Chopin Ballade in G minor, Op. 23 Chopin Two Etudes Chopin Nocturne in D flat major, Op. 27, No. 2 Liszt Hungarian Rhapsody, No. 12 Tonight’s recital is supported by the Special Activities Fund - see page 14 Programme One Shilling Photograph by Eva Rubinstein, New York Artur Rubinstein 2 Programme Notes © by Mosco Carrier Two Impromptus, op. 90 (D.899) Schubert (1797-1828) In a letter to his father which Schubert wrote from Steyr in Upper Austria on 25 July 1825 we find the following sentence: ‘What pleased me especially were the Variations of my new Sonata (op. 42) which I performed . not without merit, as several people assured me that the keys become singing voices under my hands’.