Friday Playlist
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Bach's Goldberg Variations
Bach’s Goldberg Variations - A survey of the piano recordings by Ralph Moore Let me say right away that while I am well aware that Bach specified on the title page that these variations are for harpsichord, I much prefer them played on the modern piano in what is technically a transcription and venture to suggest that Bach would have loved the sonorities and flexibility of the modern instrument, even though it inevitably involves essentially faking the changes of register available on a double manual harpsichord. I hardly seem to be alone in this, in that, just as every great cellist wants to engage with the Cello Suites, so almost every great pianist seems to want to record his or her interpretation of the Goldbergs for posterity and the public appetite for recordings and performances on the pianoforte seems undiminished. I have accordingly confined this survey to that category; doubtless more authentic accounts on an original instrument have great merit but they lie beyond my scope, knowledge and experience; I have neither the acquaintance with, nor appreciation for, harpsichord versions to attempt a meaningful conspectus of them; nor, indeed, do I have the recording on my shelves and leave that task to a better-qualified reviewer. Here, however, is a good collective survey of the harpsichord recordings from The Classic Review aimed at the average punter like me. In common with many a devotee of this miraculous music, my own first encounter with it was via the second Glenn Gould recording when, many years ago, a cultivated girlfriend introduced me to it; it was love at first hearing (assisted, perhaps by my attachment to said lady, but that’s another story…). -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Andrei Gavrilov
CODA / VORSCHAU Erinnern Sie sich noch an ... ... Andrei Gavrilov Der russische Pianist mit dem Bären- Vergleiche mit Vladimir Horowitz und temperament gehört in den 80er- und Svjatoslav Richter auommen. Doch 90er-Jahren zu den erfolgreichsten So- Gavrilov interessiert sich auch für Bach, listen auf internationalen Bühnen. 1955 Händel und Haydn. Händels Klaviersui- in Moskau geboren, studiert er dort am ten führte er gemeinsam mit Svjatoslav Vollmer/Wikipedia Foto: Jürg Konservatorium beim Neuhaus-Schüler Richter im Wechsel auf: ein pianisti- Lew Naumow und gewinnt 1974 den sches Gipfeltreen auf Augenhöhe. Von dessen Tschaikowsky-Wettbewerb. Internati- 1977 bis 1989 nimmt er bei der EMI auf, Vertreter onales Aufsehen erregt im selben Jahr 1991 bis 1993 ist er Exklusivkünstler der ihn nicht nur Gavrilovs sensationelles Einspring-Kon- Deutschen Grammophon und auf der seinerzeit in Russland gequält, sondern zert für seinen langjährigen Förderer Höhe seines Erfolgs. sogar später in London noch versucht Svjatoslav Richter bei den Salzburger 1993 kommt die Krise: Gavrilov hört hätten, ihn mithilfe eines präparierten Festspielen; nach seinem Auritt wird er bei einem Konzert in Wien einfach auf Flügels zu vergien. Auch am Denkmal vom jubelnden Publikum auf Schultern zu spielen, verlässt die Bühne und taucht Svjatoslav Richter kratzt Gavrilov heig, ins Künstlerzimmer getragen. ab. Für acht Jahre. Seit 2001 gibt er wie- indem er sich über dessen Vorliebe für Gavrilov entspricht idealtypisch dem der ab und zu Konzerte. Er lebt nun im sadistische Filme auslässt und seinen In- Klischee des dynamitgeladenen russi- Kanton Zürich, hat einen Sohn im Teen- terpretationsstil als „pseudointellektuell schen Klaviervirtuosen. Er verfügt über ageralter und bastelt mit Unterstützung und schmierentheaterha“ abtut. -
Scottish International Piano Competition 1 – 10 September 2017
sipc2017.org Scottish International Piano Competition 1 – 10 September 2017 sipc2017.org 1 Contents Welcome 4 UNESCO City of Music 5 Why Glasgow? 5 Scottish International Piano Competition 6 A Festival of Piano Music 7 Sponsors and Donors 8 Patrons and Friends 9 Competition Calendar 11 The Jury 13 The Competitors 21 Frederic Lamond 38 Competition Repertoire 39 Gordon McPherson and the Test Piece 40 The Orchestra 42 Thomas Søndergård, Conductor 44 Scottish International Piano Competition sipc2017.org Welcome Why Glasgow? It is my pleasure to welcome the Scottish Welcome to the Scottish International Piano Glasgow was named UNESCO City of Music in Glasgow’s legendary music scene stretches International Piano Competition to the city. Competition 2017. August 2008. It is the second Scottish city to join across the whole spectrum from contemporary This triennial event is an established and highly the Creative Cities Network beside Edinburgh City of and classical to Celtic and Country. Its venues are regarded musical fixture that attracts gifted As ever we look forward to a veritable feast of piano Literature. equally varied and include King Tut’s Wah Wah Hut competitors from across the globe to Glasgow. music from our hugely talented competitors from (consistently voted the top live music venue in the Glasgow is a city with a reputation for musical across the world. It is a huge honour for Glasgow, What is UNESCO? Founded in 1945, currently 193 UK), the Barrowlands, 02 Academy, the Hydro, the excellence. As a UNESCO City of Music we pride UNESCO City of Music, to serve once more as the member states – cultural arm of the United Nations. -
The Artist Teaching of Alexander Goldenweiser: Fingers in Service to Music Junwei Xue © 2018
The Artist Teaching of Alexander Goldenweiser: Fingers in Service to Music Junwei Xue © 2018 Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Steven Spooner Jack Winerock Michael Kirkendoll Ketty Wong Robert Ward Date Defended: 10 May 2018 The dissertation committee for Junwei Xue certifies that this is the approved version of the following doctoral document: The Artist Teaching of Alexander Goldenweiser: Fingering in Service to Music Chair: Steven Spooner Date Approved: 10 May 2018 ii Abstract This paper examines the life, teaching methods, and critical editions of Alexander Goldenweiser (1875-1961), a major figure of the Russian music scene in the first half of the twentieth century. A pianist, teacher, and composer, Goldenweiser left an important legacy with his teaching philosophy and editions of piano scores. Many of his students have become renowned pianists and teachers themselves, who have transmitted Goldenweiser’s teaching philosophy to their own pupils, thus strengthening the widely recognized Russian school of piano. An examination of his teaching methods reveals his teaching philosophy, which focuses on the development of a piano technique that seeks a faithful interpretation of the music scores. In his view, children should start taking piano lessons at an early age to acquire the necessary skills to master all sorts of passages in the piano literature, and to these purposes, he was influential in the creation of the Central Music School in Moscow, where musically-gifted children study the elementary and secondary school levels. -
Convention on the Conservation of Migratory Species of Wild Animals
Convention on the Conservation of Migratory Species of Wild Animals Secretariat provided by the United Nations Environment Programme THIRTEENTH MEETING OF THE CMS SCIENTIFIC COUNCIL Nairobi, Kenya, 16-18 November 2005 CMS/ScC.13/Inf.7 DRAFT INTERNATIONAL SINGLE SPECIES ACTION PLAN FOR THE WHITE-HEADED DUCK Oxyura leucocephala (Introductory note prepared by the Secretariat) The Single Species Action Plan for the White-headed Duck Oxyura leucocephala has been initiated as a joint initiative of AEWA, CMS and the European Commission. As regards CMS, the CMS Scientific Council at its twelfth meeting (Glasgow, April 2004) has approved in principle the co-funding by the Convention of a project aimed at extending the geographic scope the existing European Action Plan for the species. Initially, the plan was foreseen to be a EU plan only, but with the support and the legal framework of CMS and AEWA it was extended to cover the global range of the species. The drafting of the plan was carried out by BirdLife International and has been compiled by experts on the species from several organisations: Baz Hughes (WWT, UK) & James Robinson (RSPB, UK), Andy Green (Biological Station Doñana, Spain) and David Li & Taej Mundkur (Wetlands International-Asia) This final version is the result of a wide consultation amongst Range States within the species’ range, and all suggested amendments received through the official comments were incorporated. Consultation process within the EU took place via the Ornis Committee (the EU body for coordination of the implementation of the EU Birds Directive), and the plan was approved by the EU within the framework of that Committee. -
Orchestra Sex Disparity: Experimental Evidence from Audience Members
Orchestra Sex Disparity: Experimental Evidence from Audience Members Richard Gong* UC Berkeley This paper presents a novel experiment that recruits 191 experimental subjects on Ama- zon Mechanical Turk (MTurk). Experimental subjects listen to and judge musicians who per- form audio recordings of classical music. Subjects also guess what instruments various mu- sicians play given just their names. Experimental subjects recognize that some instruments are more commonly played by female musicians and others by male musicians. Yet, no sex discrimination is detected in musician performance ratings. 1 Introduction In classical music, the sound a musician produces when playing an instrument has paramount importance. Professional musicians and novice audience members largely believe the quality of a performance should be judged by sound (Tsay 2013; Mehr & Scannell & Winner 2018). Yet, orchestras, which have been historically male dominated, have not been welcoming to all musicians of strong ability. In 1982, Sabine Meyer toured the United States as the Berlin Philharmonic’s first female clarinetist. Despite a strong endorsement from orchestra’s principal conductor, Herbert von Karajan, orchestra members voted, 73 to 4, against offering Meyer a permanent position. Having won an audition, Ann Hobson Pilot joined the Boston Symphony Orchestra (BSO) as a harpist in *e-mail: ([email protected]) Many thanks to Sydnee Caldwell for advising me through this senior thesis. 1 1969. On her first day on the job, an older member of the orchestra charged up to her and mocked, “You must fry some mean chicken.” Pilot was the orchestra’s first black musician. In the 1970’s and 1980’s, many U.S. -
Building a Library
BUILDING A LIBRARY All selections were made from recordings available in the UK at the time of the broadcast and are full price unless otherwise stated. CD Review cannot guarantee that they have not subsequently been deleted. KEY: CD = compact disc c/w = coupled with SIS = a recording which is only available through EMI’s Special Import Service IMS = a recording which is only available through Universal Classics' Import Music Service CONTENTS September 1999 – July 2000 .................................................................................................................................................................................. 3 September 2000 – July 2001 ................................................................................................................................................................................ 24 September 2001 – July 2002 ................................................................................................................................................................................ 46 September 2002 – July 2003 ................................................................................................................................................................................ 74 September 2003 – July 2004 ................................................................................................................................................................................ 98 September 2004 – July 2005 ............................................................................................................................................................................. -
Rachmaninov (1873-1943)
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Sergei Rachmaninov (1873-1943) Born at Oneg, Novgorod Region. He had piano lessons from an early age but his serious training in composition began at the Moscow Conservatory where he studied counterpoint with Sergei Taneyev and harmony with Anton Arensky. He began to compose and for the rest of his life divided his musical time between composing, conducting and piano playing gaining great fame in all three. After leaving Russia permanently in 1917, the need to make a living made his role as a piano virtuoso predominant. His 4 Piano Concertos, Rhapsody on a Theme of Paganini and substantial solo piano works make him one of the world's most-performed composers. However, he also composed operas and liturgical choral works as well as other pieces for orchestra, chamber groups and voice. Piano Concerto No. 1 in F-sharp minor, Op. 1 (1892, rev. 1917) Leif Ove Andsnes (piano)/Antonio Pappano/Berlin Philharmonic Orchestra ( + Piano Concerto No. 2) EMI CLASSICS 74813-2 (2005) Agustin Anievas (piano)/Rafael Frühbeck de Burgos/New Philharmonia Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Prelude in C-sharp minor, 10 Preludes and 12 Preludes) EMI CLASSICS TRIPLE 5 00871-2 (2007) (original LP release: ANGEL SCB 3801 {3 LPs}) (1973) Vladimir Ashkenazy (piano)/Bernard Haitink/Royal Concertgebouw Orchestra (+ Rhapsody on a Theme of Paganini) DECCA 417613-2 (1987) Vladimir Ashkenazy (piano)/André Previn/London Symphony Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Variations on a Theme of Corelli and Piano Sonata No. -
Russian Soul Gets a New Voice at the Keyboard
to weight chords and individual notes in chords were almost on the Horowitz ordetj. There were a few mannerisms, such as the Russian Soul habit of consistently starting a melodic, phrase slowly and accelerating to tenjpq. Once in a while he employed a superpianis simo apparently just to show he could do i’t. Yet even these were used tastefully. Gets a New Voice The encores he played at the Philharmonic were themselves a story. Normally the Phil harmonic does not like its soloists to give encores. Some years back Yehudi Menuhin, after finishing a concerto, impulsively put At the Keyboard fiddle to chin and played Bach. The Way Philharmonic officials carried on, y&i would have thought that Mr. Menuhin had»isrobed in public They were outraged, Mr. Menuhin By HAROLD C. SCHONBERG Still in his teens,_______ was outraged that they were outraged, and there was a merry interchange foi a while. What happened after the concerto was that ORD OF MOUTH IN MUSIC Yevgeny Kissin________ may not be as fast as a com Mr. Mehta, observing the cheering audience, told Mr. Kissin to go back and play some puter chip, but it is a scientif carries on the ideals ic fact that when an extraor thing. The pianist obliged with the slow Cho pin F minor Waltz. When he returned to the dinary talent appears, the en- of the Romantic________ tir|e musical world on the five continents wings, Mr. Mehta said, ‘‘Now play something sefemsW to know about it in a matter of days. fast.” Hence the E minor Waltz. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Thu, Aug 19, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:07 Corelli Concerto Grosso in C minor, Cantilena/Shepherd 00794A Chandos 8336/7/8 N/A Op. 6 No. 3 00:12:3714:16 Liszt Hamlet (symphonic poem) Leipzig Gewandhaus 02068 Musical 522534 n/a Orchestra/Masur Heritage Society 00:27:5331:37 Gade Symphony No. 1 in C minor, Stockholm 00888 Svensk 399 n/a Op. 5 Sinfonietta/Jarvi 01:01:0016:08 Boccherini Sinfonia in B flat Tafelmusik/Lamon 01856 DHM 7867 054727786723 01:18:2319:38 Shostakovich Ballet Suite No. 2 Scottish National 07029 Chandos 8730 501468287302 Orchestra/Jarvi 4 01:39:01 07:44 Sibelius Finlandia, Op. 26 Minnesota 04809 Reference 80 030911108021 Orchestra/Oue Recordings 01:47:4510:41 Chopin Ballade No. 4 in F minor, Op. Artur Rubinstein 06971 RCA 61396 828766139624 52 01:59:56 10:51 Rimsky-Korsak Sadko, Op. 5 (Symphonic USSR 05750 Melodiya 34165 743213416526 ov Poem) Symphony/Svetlanov 02:11:4709:57 Stravinsky Selections from Pulcinella Royal 02116 RCA 60394 090266039425 Ballet Suite Philharmonic/Temirkan ov 02:22:5935:24 Schubert Symphony No. 2 in B flat, D. Berlin 06566 CBS 39676 07464396762 125 Philharmonic/Barenboi m 02:59:53 05:09 Enescu Impromptu concertant Hope/Crawford-Phillips DownloadDeutsche 289 483 n/a Grammaph 7244 on 03:06:0222:17 Schumann Cello Concerto in A minor, Op. Vogler/Dresden 13134 Sony 88985372 889853721221 129 Festival Music 122 Orchestra/Bolton 03:29:1930:13 Dvorak String Quartet No. 7 in A minor, Vlach Quartet 05123 Naxos 8.553377 730099437721 Op.