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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
The Miraculous .Mandarin; Choral Chant
verity. The stereo pressing offers only slow tempo. seemed a hit precious. On ly Hungarian and non -Western essence marginal differences from the excellent the whole. however. the performances from the folk material. he has adapted monophonic version. H.G. here are to me more consistently con- diatonic and modal vocal lines to simple vincing than on the previous disc. Still triadic harmonies written in close, non - in evidence. unfortunately. is Mr. contrapuntal form. The jogging iambic BACH: St. John Passion, S. 245 Gould's occasional faint humming. N.B. rhythms and stylized hunting -call figures and harmonies alternate with a kind of Friederike Sailer (s); Marga Höffgen melodic Hungarian solo recitative and (c); Helmut Krebs (t), Evangelist; Franz BARTOK: The Miraculous .Mandarin; choral chant. suggesting not a cantata but Kelch (b), Jesus: Hermann Werdermann Cantata Profana a kind of extended Hungarian ballad of (bs); Heinrich Schütz Choir of Heil- the chase. The work is open and attrac- bronn; Pforzheim Chamber Orchestra, Chorus of the Hungarian Radio. Buda- tive certainly, a little monotonous in its Fritz Werner, cond. pest Philharmonic. Janos Ferencsik, cond. insistently healthy, out -of -doors choral MUSICAL HERITAGE SOCIETY MHS 542/ (in The Miraculous . Mandarin): Joef sound. but with the authentic Bartók 43. Two LP. $5.00. Reti. tenor. Andras Farago. bass. Chorus touch in its simple and original expres- MUSICAL HERITAGE SOCIETY MHS and Orchestra of the Hungarian Radio. sive structure. 542/43. Two SD. $5.00. György Lehel. cond. (in the Cantata). The choral singing here is excellent DEUTSCHE GRAMMOPHON LPM 18873. ( including the tiny choral section in Werner's tempos are everywhere plaus- LP. -
Rezension Für: Deutsches Symphonie-Orchester Berlin
Rezension für: Deutsches Symphonie-Orchester Berlin Edition Friedrich Gulda – The early RIAS recordings Ludwig van Beethoven | Claude Debussy | Maurice Ravel | Frédéric Chopin | Sergei Prokofiev | Wolfgang Amadeus Mozart 4CD aud 21.404 Radio Stephansdom CD des Tages, 04.09.2009 ( - 2009.09.04) Aufnahmen, die zwischen 1950 und 1959 entstanden. Glasklar, "gespitzter Ton" und... Full review text restrained for copyright reasons. Neue Musikzeitung 9/2009 (Andreas Kolb - 2009.09.01) Konzertprogramm im Wandel Konzertprogramm im Wandel Full review text restrained for copyright reasons. Piano News September/Oktober 2009, 5/2009 (Carsten Dürer - 2009.09.01) Friedrich Guldas frühe RIAS-Aufnahmen Friedrich Guldas frühe RIAS-Aufnahmen Full review text restrained for copyright reasons. page 1 / 388 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de DeutschlandRadio Kultur - Radiofeuilleton CD der Woche, 14.09.2009 (Wilfried Bestehorn, Oliver Schwesig - 2009.09.14) In einem Gemeinschaftsprojekt zwischen dem Label "audite" und Deutschlandradio Kultur werden seit Jahren einmalige Aufnahmen aus den RIAS-Archiven auf CD herausgebracht. Inzwischen sind bereits 40 CD's erschienen mit Aufnahmen von Furtwängler und Fricsay, von Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau u. v. a. Die jüngste Produktion dieser Reihe "The Early RIAS-Recordings" enthält bisher unveröffentlichte Aufnahmen von Friedrich Gulda, die zwischen 1950 und 1959 entstanden. Die Einspielungen von Beethoven, Debussy, Ravel und Chopin zeigen den jungen Pianisten an der Schwelle zu internationalem Ruhm. Die Meinung unserer Musikkritiker: Eine repräsentative Auswahl bisher unveröffentlichter Aufnahmen, die aber bereits alle Namen enthält, die für Guldas späteres Repertoire bedeutend werden sollten: Mozart, Beethoven, Debussy, Ravel, Chopin. -
Assemble Your Own All -Transistor
ASSEMBLE YOUR OWN BACH PASSIONS AND ORATORIOS ALL -TRANSISTOR Continued front preceding page from works other by Bach- principally Part II, it is as though a ray of sunshine Ycit the Trauerode -and fitted to as many had burst through clouds. Both Fritz portions of a libretto of the St. Mark Wunderlich, tenor, and Franz Crass, bass, Passion that Bach is known ELECTRONIC ORGAN to have used are on the same high level as the ladies. but whose music has been lost. The re- Wunderlich sings both the Evangelist's sult is plausible; some of the music, es- recitatives and the tenor arias with an pecially two big choruses from the Trau- unforced lyricism; in the long phrases 3 NEW MODELS erode, is very fine, and we may have of " Frolle Hirten" ( Part he Recital II) holds $1500 here a small portion of a third Passion Consolette Il $850 his own very well with the obbligato Spinet $550 by Bach. The solo singing is good enough, flute. Crass's voice lacks the brass needed but the two great choruses have been bet- for the trumpet aria in Part I but in ter performed on records in their other every other respect his performance is incarnation. entirely satisfactory. Chorus and orches- .St. A Luke Passion attributed to Bach tra are first -rate. Except for the over - is available on Lyrichord 110 or 7110, prominent sopranos in one chorus ( "Ehre This is the all - three discs. in a performance conducted sei Gott." Part II), the balances are just new, all- transis- by George Barati. -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
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. -
OWN BRAND Many Great Composers Are Decent Pianists, but Great Pianists Who Write Substantially for Themselves to Perform Tend to Be Taken Less Seriously As Composers
PIANIST-COMPOSERS OWN BRAND Many great composers are decent pianists, but great pianists who write substantially for themselves to perform tend to be taken less seriously as composers. Benjamin Ivry celebrates the achievements of these pianist-composers, and highlights some works that throw light on their inspiration and artistry at the keyboard OMPOSERS WHO PLAY THE PIANO FOR PRACTICAL recognised composer/orator/statesman as well as pianist, Liszt purposes and pianists who write music from inner pupil Emil von Sauer (1862-1942) produced the witty miniature necessity are different beings: composer-pianists and Music Box (Boîte à musique), catnip for such performers as Karol Cpianist-composers. If we disqualify pieces by those principally Szreter (although rather more po-faced in Sauer’s own recording). known asc composers, glitzy display works, and didactic études, Sauer’s Aspen Leaf (Espenlaub) is a more earnest assertion of music written by pianist-composers can be compelling and humanity, better suited to the pianist’s temperament, like the sometimes overlooked, perhaps in part because they are not taken elegant nostalgia of his Echo from Vienna (Echo aus Wien) and so seriously as those by full-time composers. Concert Galop, giving the impression that Sauer had witnessed Unlike the authors of most compositions performed in concert, the can-can being danced in French estaminets during the pianist-composers are alive and present, adding vivacity to the Belle Époque. occasion. Recitals can become uniquely personal statements. In Unlike the massive landscape of Carnaval de Vienne by Moriz the 19th century, Clara Schumann (1819-1896) wrote a Piano Rosenthal (1862-1946), an arrangement of Johann Strauss, Trio, Op 17 (1846) that is an ardent triangular conversation. -
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. -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
Professor Doctor FRIEDRICH GULDA Called to the Waiter, Member to Qualify for the Final Eliminations
DOWN BEAT, august 1966 VIENNESE COOKING written by Willis Conover Professor Doctor FRIEDRICH GULDA called to the waiter, member to qualify for the final eliminations. Then he'd have to "Dry martini!'' The waiter, thinking he said "Drei martini|'' go through it all again. brought three drinks. It's the only time Gulda's wishes have The jurors were altoist Cannonball Adderley, trombonist J. J. ever been unclear or unsatisfied. Johnson, fluegelhornist Art Farmer, pianist Joe Zawinul, The whole city of Vienna, Austria snapped to attention when drummer Mel Lewis and bassist Ron Carter. The jury Gulda, the local Leonard Bernstein decided to run an chairman who wouldn't vote except in a tie, was critic Roman international competition for modern jazz. Waschko. The jury's refreshments were mineral water, king- For patrons he got the Minister of Foreign Affair, the Minister size cokes, and Viennese coffee. For three days that was all of Education, the Lord Mayor of Vienna and the they drank from 9:30 am till early evening. The jury took la Amtsfuhrender fur Kultur, Volksbildung und Schulverwaltung duties seriously. der Bundeshauptstadt Wien. For his committee of honor he A dialog across the screen might go like this. enlisted the diplomatic representatives of 20 countries, the Young lady in the organization (escorting contestant): "Mr. directors of 28 music organizations, and Duke Ellington. For Watschko?" expenses he obtained an estimated $80,000. For contestants Watschko: "Yes?" he got close to 100 young jazz musicians from 19 countries- Young lady: "Candidate No. 14 " some as distant as Uruguay and Brazil. -
Giovanni Sollima Violoncello Enrico Maria Baroni Clarinetto
Stagione 2019-2020 osn.rai.it Auditorium Rai “Arturo Toscanini”, Torino 1 1 Venerdì 11 ottobre 2019, 20.00 11–12/10 Sabato 12 ottobre 2019, 20.30 ConcertoJAMES diCONLON Carnevale direttore FUORIMARIANGELA ABBONAMENTO VACATELLO pianoforte ROBERTO RANFALDI violino Venerdì 21 febbraio 2020, 20.30 JOHNBeethoven AXELROD direttore GIOVANNIMendelssohn-Bartholdy SOLLIMA violoncello ENRICOŠostakovič MARIA BARONI clarinetto Bernstein Offenbach Ellington Gulda Gershwin CONCERTO DI CARNEVALE VENERDÌ 21 FEBBRAIO 2020 ore 20.30 John Axelrod direttore Giovanni Sollima violoncello Enrico Maria Baroni clarinetto Leonard Bernstein (1918-1990) Prelude, fugue and riffs, per clarinetto e jazz ensemble (1949-1952) Prelude for the Brass - Fugue for the Saxes - Riffs for Everyone Durata: 10’ ca. Ultima esecuzione Rai a Torino: 30 novembre 2012 William Eddins, Enrico Maria Baroni. Friedrich Gulda (1930-2000) Concerto per violoncello, fiati e batteria (1980) Ouverture Idylle Cadenza Minuetto Finale. Alla marcia Durata: 32’ ca. Ultima esecuzione Rai a Torino: 11 novembre 2011 Gürer Aykal, Massimo Macrì Jacques Offenbach (1819-1880) Etude n. 11 da 12 Etudes op. 78 per violoncello solo (1855) Durata: 3’ ca. __________ George Gershwin (1898-1937) Cuban Overture (1932) Il concerto Durata: 10’ ca. è trasmesso in diretta su Radio3 Prima esecuzione Rai a Torino per Il Cartellone di Radio3 Suite. Duke Ellington (1899-1974) Harlem (1950) (orchestrazione di Luther Henderson) Nella foto Concerto del pianista Durata: 20’ ca. e compositore Friedrich Gulda - Ultima esecuzione Rai a Torino: Milano, 1962 20 maggio 2011 William Eddins New York Follies «New York aveva tutta l’iridescenza del principio del mondo», scrive Francis Scott Fitzgerald inL’età del jazz, ricordando il suo incontro con la metropoli all’inizio degli anni Venti.