"A Long Life in Music:" the Career and Legacy of Ann Schein
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Des Pas Sur La Neige
19TH CENTURY MUSIC Mystères limpides: Time and Transformation in Debussy’s Des pas sur la neige Debussy est mystérieux, mais il est clair. —Vladimir Jankélévitch STEVEN RINGS Introduction: Secrets and Mysteries sive religious orders). Mysteries, by contrast, are fundamentally unknowable: they are mys- Vladimir Jankélévitch begins his 1949 mono- teries for all, and for all time. Death is the graph Debussy et le mystère by drawing a dis- ultimate mystery, its essence inaccessible to tinction between the secret and the mystery. the living. Jankélévitch proposes other myster- Secrets, per Jankélévitch, are knowable, but ies as well, some of them idiosyncratic: the they are known only to some. For those not “in mysteries of destiny, anguish, pleasure, God, on the secret,” the barrier to knowledge can love, space, innocence, and—in various forms— take many forms: a secret might be enclosed in time. (The latter will be of particular interest a riddle or a puzzle; it might be hidden by acts in this article.) Unlike the exclusionary secret, of dissembling; or it may be accessible only to the mystery, shared and experienced by all of privileged initiates (Jankélévitch cites exclu- humanity, is an agent of “sympathie fraternelle et . commune humilité.”1 An abbreviated version of this article was presented as part of the University of Wisconsin-Madison music collo- 1Vladimir Jankélévitch, Debussy et le mystère (Neuchâtel: quium series in November 2007. I am grateful for the Baconnière, 1949), pp. 9–12 (quote, p. 10). See also his later comments I received on that occasion from students and revision and expansion of the book, Debussy et le mystère faculty. -
Gyorgy Sandor Henryk Szeryng Pianist Violinist
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Gyorgy Sandor Henryk Szeryng Pianist Violinist WEDNESDAY EVENING, JULY 26, 1978, AT 8:30 RACKHAM AUDITORIUM, . ANN ARBOR, MICHIGAN PROGRAM Sonata No.4 in A minor, Op. 23 ' BEETHOVEN Presto Andante scherzoso; piu allegretto Allegro mol to Sonata No. 10 in G major, Op. 96 BEETHOVEN Allegro moderato Adagio espressivo Scherzo: allegro Poco all egretto INTERMISSION Sonata No. 5 in F major, Op. 24 (,(Spring") BEETHOVEN Allegro Adagio molto espressivo Scherzo: allegro molto ~ondo: allegro rna non troppo This is the second of three programs in which these artists are performing the ten Beethoven sonatas. In conjunction with the recitals are twice-daily master classes · at the School of Music taught by Mr. Sandor (July 17- 21) and Mr. Szeryng (July 25-August 1). Mr. Sandor,' Vox and Columbia Reco rds. Mr. Szeryng,' Philips, Deu.tsche Gram1llophon, RCA, and Columbia Records. Centennial Season- Fourth Concert Beethoven Sonata Pair Series About the Artists Gyorgy Sandor's close personal relationships with his Hungarian countrymen, Bartok and Kodaly, are legendary by now. In 1937, two years before Sandor's American debut, he received the following tribute from Bela Bartok: "Gyorgy Sandor is one of the best pianists of our younger generation. He possesses plasticity, clarity, energy and emotion without sentimentality in his interpretations. He has a remarkably varied repertoire, and besides the classic and romantic literature he does not neglect conteinporary works either. Therefore he can be regarded as a very able interpreter of modern piano music." Indeed, it was Sandor who performed the world premiere of Bartok's monumental Third Piano Concerto in New York's Carnegie Hall, shortly following the composer's death in 1945. -
ARSC Journal, Spring 1992 69 Sound Recording Reviews
SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr. -
Spring/Summer 2016
News for Friends of Leonard Bernstein Spring/Summer 2016 High-brow, Low-brow, All-brow Bernstein, Gershwin, Ellington, and the Richness of American Music © VICTOR © VICTOR KRAFT by Michael Barrett uch of my professional life has been spent on convincing music lovers Mthat categorizing music as “classical” or “popular” is a fool’s errand. I’m not surprised that people s t i l l c l i n g t o t h e s e d i v i s i o n s . S o m e w h o love classical masterpieces may need to feel reassured by their sophistication, looking down on popular culture as dis- posable and inferior. Meanwhile, pop music fans can dismiss classical music lovers as elitist snobs, out of touch with reality and hopelessly “square.” Fortunately, music isn’t so black and white, and such classifications, especially of new music, are becoming ever more anachronistic. With the benefit of time, much of our country’s greatest music, once thought to be merely “popular,” is now taking its rightful place in the category of “American Classics.” I was educated in an environment that was dismissive of much of our great American music. Wanting to be regarded as a “serious” musician, I found myself going along with the thinking of the times, propagated by our most rigid conservatory student in the 1970’s, I grew work that studiously avoided melody or key academic composers and scholars of up convinced that Aaron Copland was a signature. the 1950’s -1970’s. These wise men (and “Pops” composer, useful for light story This was the environment in American yes, they were all men) had constructed ballets, but not much else. -
¿Cuál Chopin? *
¿CUÁL CHOPIN? * Thomas Higgins Hoy día, los pianistas tienen a su disposición un gran número de edicio nes musicales de Chopin. En este artículo -descriptivo y analítico- serán exami nadas sólo las ediciones de mayor circulación o las que tengan un específico interés académico. Bajo este criterio podemos agrupar más de media docena de ediciones: l . Las Obras Completas de Fryderyk Chopin (Varsovia-Cracovia: Publicaciones de Música Polaca, 1949), a la que nos referiremos de ahora en adelante como la Edición Polaca Completa. Veintiséis volúmenes editados por Paderewsi0 , Bronarski y Turcinski. 2. La Edición Nacional Polaca (Varsovia: Przedstawicielstwo Wydawructwo Polskich, 1967). Baladas editadas por Jan Ekier. 3. La Edición Wiener Vrtext (Viena: Edición Universal, 19 3). Preludios edi tados por Bemard Hansen, con guías interpretativas de Jorg Demus; Estudio op.lO y 25. n'oís Nouvelles Etudes editados por Paul Badura Skoda; Impromp tus y Scherzos editados por Jan Ekier. 4. La Edición Henle Vrtext (Duisburg-Munich:Henle erlag, 195 . Doce volúmenes; el primero, agotado, y el último, editado por Ewald Zimmennan. 5. Dos colecciones de Schi.nner, una editada por Karol MiJnili , -posiblemente reimpresión de su edición para Kistner (Leipzig, 18 9: 1 vol. y Leipzig, 1 17 vol.-), por ejemplo: Preludios, copyright de Schimler 191-; l:l otr:I. editada por Rafael Joseffy, por ejemplo: los Estudios copyright de hirmer 1 1 . • Wbose ChoPin? 19th Ccntul)/ Music 1981. 01. ,pag. QUODLIBET éstas hay que añadir una última, muy inferior, casi un libelo, que es la edición de los Estudios, por Arthur Friedheim. A pesar de su ínfima calidad, Schrirmer aftrma en su Music Teacher's Pocket Memo Book de 1977 que fue la quinta edición más vendida de las músicas para piano. -
Debussy Préludes
Debussy Préludes Books I & II RALPH VOTAPEK ~ Debussy 24 Préludes Préludes, Book I (1909-1910) 37:13 1 I. Danseuses de Delphes (Lent et grave) 2:59 2 II. Voiles (Modéré) 3:09 3 III. Le vent dans la plaine (Animé) 2:07 4 IV. Les sons et les parfums tournent dans l’air du soir (Modéré) 3:10 5 V. Les collines d’Anacapri (Très modéré) 2:57 6 VI. Des pas sur la neige (Triste it lent) 3:47 7 VII. Ce qu’a vu le vent d’Ouest (Animé et tumultueux) 3:23 8 VIII. La fille aux cheveux de lin (Très calme et doucement expressif) 2:29 9 IX. La sérénade interrompue (Modérément animé) 2:28 10 X. La cathédrale engloutie (Profondément calme) 5:54 11 XI. La danse de Puck (Capricieux et léger) 2:40 12 XII. Minstrels (Modéré) 2:10 Préludes, Book II (1912-1913) 36:04 13 I. Brouillards (Modéré) 2:38 14 II. Feuilles mortes (Lent et mélancolique) 2:55 15 III. La Puerta del Vino (Mouvement de Habanera) 3:19 16 IV. Les Fées sont d’exquises danseuses (Rapide et léger) 2:56 17 V. Bruyères (Calme) 2:42 18 VI. Général Lavine — eccentric (Dans le style et le mouvement d’un Cakewalk) 2:28 19 VII. La terrasse des audiences du clair de lune (Lent) 3:59 20 VIII. Ondine (Scherzando) 3:08 21 IX. Hommage à Samuel Pickwick, Esq., P.P.M.P.C. (Grave) 2:25 22 X. Canope (Très calme et doucement triste) 2:53 23 XI. -
Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them. -
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. -
Pathetique Symphony New York Philharmonic/Bernstein Columbia
Title Artist Label Tchaikovsky: Pathetique Symphony New York Philharmonic/Bernstein Columbia MS 6689 Prokofiev: Two Sonatas for Violin and Piano Wilkomirska and Schein Connoiseur CS 2016 Acadie and Flood by Oliver and Allbritton Monroe Symphony/Worthington United Sound 6290 Everything You Always Wanted to Hear on the Moog Kazdin and Shepard Columbia M 30383 Avant Garde Piano various Candide CE 31015 Dance Music of the Renaissance and Baroque various MHS OR 352 Dance Music of the Renaissance and Baroque various MHS OR 353 Claude Debussy Melodies Gerard Souzay/Dalton Baldwin EMI C 065 12049 Honegger: Le Roi David (2 records) various Vanguard VSD 2117/18 Beginnings: A Praise Concert by Buryl Red & Ragan Courtney various Triangle TR 107 Ravel: Quartet in F Major/ Debussy: Quartet in G minor Budapest String Quartet Columbia MS 6015 Jazz Guitar Bach Andre Benichou Nonsuch H 71069 Mozart: Four Sonatas for Piano and Violin George Szell/Rafael Druian Columbia MS 7064 MOZART: Symphony #34 / SCHUBERT: Symphony #3 Berlin Philharmonic/Markevitch Dacca DL 9810 Mozart's Greatest Hits various Columbia MS 7507 Mozart: The 2 Cassations Collegium Musicum, Zurich Turnabout TV-S 34373 Mozart: The Four Horn Concertos Philadelphia Orchestra/Ormandy Mason Jones Columbia MS 6785 Footlifters - A Century of American Marches Gunther Schuller Columbia M 33513 William Schuman Symphony No. 3 / Symphony for Strings New York Philharmonic/Bernstein Columbia MS 7442 Beethoven: Symphony No. 9 in D minor Westminster Choir/various artists Columbia ML 5200 Tchaikovsky: Symphony No. 6 (Pathetique) Philadelphia Orchestra/Ormandy Columbia ML 4544 Tchaikovsky: Symphony No. 5 Cleveland Orchestra/Rodzinski Columbia ML 4052 Haydn: Symphony No 104 / Mendelssohn: Symphony No 4 New York Philharmonic/Bernstein Columbia ML 5349 Porgy and Bess Symphonic Picture / Spirituals Minneapolis Symphony/Dorati Mercury MG 50016 Beethoven: Symphony No 4 and Symphony No. -
Item # Artist/Ensemble Album Title Quantity
Here at the Mary Pappert School of Music, our prestigious faculty are not only exemplary teachers, but are also active performers. Below are recordings available for purchase by many of these faculty members. Please print this form, indicate which CDs you would like to purchase, and mail along with a check (payable to Duquesne University) to: ATTN: Kathy Ingold Unless otherwise marked: Mary Pappert School of Music Duquesne University Single discs are $15. 00. 600 Forbes Avenue Double disc sets are $25.00. Pittsburgh, PA 15282 Shipping is $2.00 per CD up to $6.00. Please indicate each CD being ordered on a separate line. Item numbers are listed with each CD on the following pages. Item # Artist/Ensemble Album Title Quantity Total Number of single CDs ____________ X $15.00 = _______________ Total Number of double CDs ____________ X $25.00 = _______________ Total Number of individually priced CDs____________ X $____________ = _______________ Shipping ($2.00 per CD, maximum $6.00) =_______________ Mailing Address Grand Total =$_______________ Name:_________________________________________________________________________________________________________________ Address:_______________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________ City:___________________________________________________________________State:________________Zip:______________________ For additional information -
Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russi
‘I wish for my life’s roses to have fewer thorns’: Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russia Abstract Heinrich Neuhaus (1888—1964) was the Soviet era’s most iconic musicians. Settling in Russia reluctantly he was dismayed by the policies of the Soviet State and unable to engage with contemporary narratives of selfhood in the wake of the Revolution. In creating a new aesthetic territory that defined himself as Russian rather than Soviet Neuhaus embodied an ambiguous territory whereby his views both resonated with and challenged aspects of Soviet- era culture. This article traces how Neuhaus adopted the idea of self-reflective or ‘autobiographical’ art through an interdisciplinary melding of ideas from Boris Pasternak, Alexander Blok and Mikhail Vrubel. In exposing the resulting tension between his understanding of Russian and Soviet selfhood, it nuances our understanding of the cultural identities within this era. Finally, discussing this tension in relation to Neuhaus’s contextualisation of the artistic persona of Dmitri Shostakovich, it contributes to a long- needed reappraisal of his relationship with the composer. I would like to gratefully acknowledge the support of the Guildhall School that enabled me to make a trip to archives in Moscow to undertake research for this article. Dr Maria Razumovskaya Guildhall School of Music & Drama, London Word count: 15,109 Key words: identity, selfhood, Russia, Heinrich Neuhaus, Soviet, poetry Contact email: [email protected] Short biographical statement: Maria Razumovskaya completed her doctoral thesis (Heinrich Neuhaus: Aesthetics and Philosophy of an Interpretation, 2015) as an AHRC doctoral scholar at the Royal College of Music in London. -
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 the Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 The Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr. Richard Benjamin THE GRAMMY® FOUNDATION eonard Bernstein is cele brated as an artist, a CENTER FOP LEAR ll I IJ G teacher, and a scholar. His Lbook Findings expresses the joy he found in lifelong learning, and expounds his belief that the use of the arts in all aspects of education would instill that same joy in others. The Young People's Concerts were but one example of his teaching and scholarship. One of those concerts was devoted to celebrating teachers and the teaching profession. He said: "Teaching is probably the noblest profession in the world - the most unselfish, difficult, and hon orable profession. But it is also the most unappreciated, underrat Los Angeles. Devoted to improv There was an entrepreneurial ed, underpaid, and under-praised ing schools through the use of dimension from the start, with profession in the world." the arts, and driven by teacher each school using a few core leadership, the Center seeks to principles and local teachers Just before his death, Bernstein build the capacity in teachers and designing and customizing their established the Leonard Bernstein students to be a combination of local applications. That spirit Center for Learning Through the artist, teacher, and scholar. remains today. School teams went Arts, then in Nashville Tennessee. The early days in Nashville, their own way, collaborating That Center, and its incarnations were, from an educator's point of internally as well as with their along the way, has led to what is view, a splendid blend of rigorous own communities, to create better now a major educational reform research and talented expertise, schools using the "best practices" model, located within the with a solid reliance on teacher from within and from elsewhere.