78 and Evon Cooper
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Dr. Craig Cramer
SOUTHERN NEVADA CHAPTER OF THE AMERICAN GUILD OF ORGANISTS THE DESERT WIND Editor: Bruce Behnke © 2017 Issue: March/April 2017 Southern Nevada Chapter Dean’s Notes American Guild of Organists For those organists involved in the https://tinyurl.com/gvdpvbo Before the next Desert Wind comes liturgical seasons, Lent is upon out in May, the Guild will be in full us. For me, preparations for Holy Here’s an interesting tidbit about swing to renew memberships. It is a Week and Easter is the busiest time Dr. Cramer: He sells via e-mail season to invite new people to join. of the year. This season also brings used organ music for modest pric- Our chapter has been increasing mem- us the birthday of Johann Sebastian es. This encourages organists to bership. This is partly because of the Bach, an artist who used the organ enjoy the variety and beauty of the four choir collaboration at the last to glorify God. We will celebrate organ repertoire. Some of these Members Recital, but it is more due to the great composer’s birthday on works are out-of-print, and this the enthusiasm of one-on-one invita- Friday March, 24th at 7:30 PM; clearing house provides a place for tions. Online registration is becoming you will get to hear Dr. Mykola Suk organ literature to live again to the preferred way to join the Guild. If on piano and Dr. Stephen Ackert organists. you have thought of doing online reg- on organ in an all-Bach program. istration and are a little nervous about I have not heard them before, but it Collaboration with other groups it, there are people willing to help you is exciting to hear someone new. -
Tchaikovsky Competition 1982 a Diary by Peter Donohoe1
TCHAIKOVSKY COMPETITION 1982 A DIARY BY PETER DONOHOE1 1 The footnotes in this diary are restrospective notes from 2012 – 30 years later... 08 June 1982 Recital at Charlotte Mason College in Ambleside in the British Lake District Program: Tchaikovsky Sonata 2 in G Major (1st Movement) Tchaikovsky November (from The Seasons) Tippett Sonata 2 Prokofiev Sonata 6 ---- Scriabin Etude Op65/3 Chopin Etude Op10/8 Rachmaninov Etude Tableau Op39/5 E flat Minor Bach Prelude and Fugue Book 2 No. 3 Flierkovsky – Prelude and Fugue in G minor Stravinsky Three Movements from Petrushka A very nice, but knowing guy came up to me after the concert, and said “That was a very unusual program. It is almost as if you are preparing to enter the Tchaikovsky Competition.” I asked him to keep it under his hat – it is never good for people to know in advance of your competition efforts, in case it doesn’t work out. Set off home at 11.00 p.m. The car –a Vauxhall Viva borrowed from my parents-in-law – broke down after about 10 miles of a 120 mile journey to my in-laws on the Wirral. Still in the Lake District countryside. The weather was appallingly wet. I had to get to the Wirral, and then the next morning to Manchester for an early flight to London to connect with the Aeroflot flight to Moscow. 09 June 1982 Thank God for the AA Relay service. They got me to the Wirral in the cab of one of their trucks, with the car on the back. -
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
Register of Entertainers, Actors and Others Who Have Performed in Apartheid South Africa
Register of Entertainers, Actors And Others Who Have Performed in Apartheid South Africa http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.nuun1988_10 Use of the Aluka digital library is subject to Aluka’s Terms and Conditions, available at http://www.aluka.org/page/about/termsConditions.jsp. By using Aluka, you agree that you have read and will abide by the Terms and Conditions. Among other things, the Terms and Conditions provide that the content in the Aluka digital library is only for personal, non-commercial use by authorized users of Aluka in connection with research, scholarship, and education. The content in the Aluka digital library is subject to copyright, with the exception of certain governmental works and very old materials that may be in the public domain under applicable law. Permission must be sought from Aluka and/or the applicable copyright holder in connection with any duplication or distribution of these materials where required by applicable law. Aluka is a not-for-profit initiative dedicated to creating and preserving a digital archive of materials about and from the developing world. For more information about Aluka, please see http://www.aluka.org Register of Entertainers, Actors And Others Who Have Performed in Apartheid South Africa Alternative title Notes and Documents - United Nations Centre Against ApartheidNo. 11/88 Author/Creator United Nations Centre against Apartheid Publisher United Nations, New York Date 1988-08-00 Resource type Reports Language English Subject Coverage (spatial) South Africa Coverage (temporal) 1981 - 1988 Source Northwestern University Libraries Description INTRODUCTION. REGISTER OF ENTERTAINERS, ACTORS AND OTHERS WHO HAVE PERFORMED IN APARTHEID SOUTH AFRICA SINCE JANUARY 1981. -
The Ukrainian Weekly 2007, No.26
www.ukrweekly.com INSIDE: • Auto accident alters lives of families in Ukraine, U.S. — page 3. • Philadelphia celebrates 95th anniversary of Plast — page 9. • ‘Bereza Kartuzka’ documentary premieres in Montreal — page 13. HE KRAINIAN EEKLY T PublishedU by the Ukrainian National Association Inc., a fraternal non-profitW association Vol. LXXV No. 26 THE UKRAINIAN WEEKLY Sunday July 1, 2007 $1/$2 in Ukraine Bush unveils memorial Latest poll says four political forces to victims of communism likely to be elected to next Rada by Nina Brantley by Zenon Zawada The Razumkov Center is among the U.S.-Ukraine Foundation Kyiv Press Bureau most respected polling and research cen- ters in Ukraine, supported by 57 govern- WASHINGTON – Twenty years to the KYIV – Four political forces would ments and private organizations, including day when U.S. President Ronald Reagan qualify for the Verkhovna Rada if elec- Ukraine’s Ministry of Foreign Affairs, the stood in Berlin and asked then-Soviet tions were held today, according to a sur- U.S. Embassy in Ukraine and the Morgan, leader Mikhail Gorbachev to “tear down vey of 11,000 Ukrainians in 403 locations, Stanley and Co. investment bank. this wall,” a memorial to commemorate conducted between May 31 and June 18 Almost 79 percent of respondents said the victims of communism was dedicated by the Kyiv-based Razumkov Center for they will vote in the September 30 parlia- in Washington by the current U.S. presi- Economic and Political Research. mentary elections, while 10 percent said dent, George W. Bush. The Party of the Regions would win 37 they won’t. -
Joyce Yang Piano Blessed With
Joyce Yang Piano Blessed with “poetic and sensitive pianism” (Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), pianist Joyce Yang captivates audiences with her virtuosity, lyricism, and interpretive sensitivity. As a Van Cliburn International Piano Competition silver medalist and Avery Fisher Career Grant recipient, Yang showcases her colorful musical personality in solo recitals and collaborations with the world’s top orchestras and chamber musicians. Yang came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home two additional awards: the Steven De Groote Memorial Award for Best Performance of Chamber Music (with the Takàcs Quartet) and the Beverley Taylor Smith Award for Best Performance of a New Work. Since her spectacular debut, she has blossomed into an “astonishing artist” (Neue Zürcher Zeitung). She has performed as soloist with the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, the Baltimore, Detroit, Houston, Milwaukee, San Francisco, Sydney, and Toronto symphony orchestras, Deutsches Symphonie-Orchester Berlin, and the BBC Philharmonic (among many others), working with such distinguished conductors as Edo de Waart, Lorin Maazel, James Conlon, Leonard Slatkin, David Robertson, Bramwell Tovey, Peter Oundjian, and Jaap van Zweden. In recital, Yang has taken the stage at New York’s Lincoln Center and Metropolitan Museum; the Kennedy Center in Washington, DC; Chicago’s Symphony Hall; and Zurich’s Tonhalle. Yang kicks off the 2015/16 season with a tour of eight summer festivals (Aspen, Bridgehampton, Grand Tetons, La Jolla, Ravinia, Seattle, Southeastern Piano Festival, and Bravo! Vail) before commencing a steady stream of debuts, return engagements, and notable chamber music concerts. -
2005-2006 Jon Nakamatsu (Piano)
LYNN UNIVERSITY CONSERVATORY OF MUSIC 2006 PROGRAM vl'.·.. -~ JON NAKAMATSU, PIANIST Dr. Jon Robertson, Tuseday, March. 14 at 7:30p.m. Dean w Amamick-Goldstein Concert Hall Welcome to the 2005-2006 season'. This being my Lynn University, Boca Raton first year as dean of the conservatory, I greet the season with unabated enthusiasm and excitement. The talented musicians and extraordinary performing Sponsored by a friend ofthe Conservatory faculty at Lynn represent the future of the performing arts, and you, the patrons, pave the road to their artistic success through your presence and generosity. This community engagement is in keeping with the Sonata in E Major, Op. 33, No.3 ........................ Joseph Wolfl Conservatory of Music's mission: to provide high quality professional performance education for gifted (1773-1812) young musicians and set a superior standard for music performance worldwide. Allegro Andante cantabile THE ANNUAL FUND Rondo: Allegretto A gift to the Annual Fund can be designated for scholarships, various studios, special concerts or to ttie General Conservatory Fund. ADOPT- A -STU DENT Impromptus, D. 899 (Op. 90) .......................... Franz Schubert You may select from the conservatory's promising young musicians and provide for his or her future (1797 -1828) through the Conservatory Scholarship Fund . You will enjoy the concert even more when your student No. 1 in c minor performs. A gift of $25;000 adopts-a student for No. 2 in E-flat Major one year. A gift of $100,000 pays for an education. • No. 3 in G-flat Major ESTATE GIFT No. 4 in A-flat Major An estate gift will provide for the conservatory in perpetuity. -
Toscanini VII, 1937-1942
Toscanini VII, 1937-1942: NBC, London, Netherlands, Lucerne, Buenos Aires, Philadelphia We now return to our regularly scheduled program, and with it will come my first detailed analyses of Toscanini’s style in various music because, for once, we have a number of complete performances by alternate orchestras to compare. This is paramount because it shows quite clear- ly that, although he had a uniform approach to music and insisted on both technical perfection and emotional commitment from his orchestras, he did not, as Stokowski or Furtwängler did, impose a specific sound on his orchestras. Although he insisted on uniform bowing in the case of the Philadelphia Orchestra, for instance, one can still discern the classic Philadelphia Orchestra sound, despite its being “neatened up” to meet his standards. In the case of the BBC Symphony, for instance, the sound he elicited from them was not far removed from the sound that Adrian Boult got out of them, in part because Boult himself preferred a lean, clean sound as did Tosca- nini. We shall also see that, for better or worse, the various guest conductors of the NBC Sym- phony Orchestra did not get vastly improved sound result out of them, not even that wizard of orchestral sound, Leopold Stokowki, because the sound profile of the orchestra was neither warm in timbre nor fluid in phrasing. Toscanini’s agreement to come back to New York to head an orchestra created (pretty much) for him is still shrouded in mystery. All we know for certain is that Samuel Chotzinoff, representing David Sarnoff and RCA, went to see him in Italy and made him the offer, and that he first turned it down. -
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. -
200 Da-Oz Medal
200 Da-Oz medal. 1933 forbidden to work due to "half-Jewish" status. dir. of Collegium Musicum. Concurr: 1945-58 dir. of orch; 1933 emigr. to U.K. with Jooss-ensemble, with which L.C. 1949 mem. fac. of Middlebury Composers' Conf, Middlebury, toured Eur. and U.S. 1934-37 prima ballerina, Teatro Com- Vt; summers 1952-56(7) fdr. and head, Tanglewood Study munale and Maggio Musicale Fiorentino, Florence. 1937-39 Group, Berkshire Music Cent, Tanglewood, Mass. 1961-62 resid. in Paris. 1937-38 tours of Switz. and It. in Igor Stravin- presented concerts in Fed. Repub. Ger. 1964-67 mus. dir. of sky's L'histoire du saldai, choreographed by — Hermann Scher- Ojai Fests; 1965-68 mem. nat. policy comm, Ford Found. Con- chen and Jean Cocteau. 1940-44 solo dancer, Munic. Theater, temp. Music Proj; guest lect. at major music and acad. cents, Bern. 1945-46 tours in Switz, Neth, and U.S. with Trudy incl. Eastman Sch. of Music, Univs. Hawaii, Indiana. Oregon, Schoop. 1946-47 engagement with Heinz Rosen at Munic. also Stanford Univ. and Tanglewood. I.D.'s early dissonant, Theater, Basel. 1947 to U.S. 1947-48 dance teacher. 1949 re- polyphonic style evolved into style with clear diatonic ele- turned to Fed. Repub. Ger. 1949- mem. G.D.B.A. 1949-51 solo ments. Fel: Guggenheim (1952 and 1960); Huntington Hart- dancer, Munic. Theater, Heidelberg. 1951-56 at opera house, ford (1954-58). Mem: A.S.C.A.P; Am. Musicol. Soc; Intl. Soc. Cologne: Solo dancer, 1952 choreographer for the première of for Contemp. -
SEEKING ARTISTIC GOALS: SUGGESTIONS for PIANO STUDENTS and TEACHERS by Jiayin LI
SEEKING ARTISTIC GOALS: SUGGESTIONS FOR PIANO STUDENTS AND TEACHERS by Jiayin LI Concert Pianist Member Precollege Piano Faculty Manhattan School of Music As a student in China, I had a great deal of exposure to the well- developed teaching methods of my home country. However, when I came to the US and began to study with Solomon Mikowsky in the doctoral program at Manhattan School of Music, I had no idea what to expect. It was an epiphany for me! In just a few years, he has taught me the most important requirements to become a good and successful piano instructor: how to listen and how to apply it into effective teaching. My added experience, first as Dr. Mikowsky’s Assistant, and then, as a member of the MSM Precollege faculty, I have developed a series of concepts that have informed my teaching. I wish to share them with the reader. Before starting on this discourse, I wish to share a selection of the great teachers of the past, included in Kookhee Hong’s “The Piano teaching legacy of Solomon Mikowsky,” where Dr. Mikowsky pays tribute to them. Just as pianists are familiar with the names of some of the most famous pianists, it is time for credit to be given to their teachers. Great teachers in the past: Alfredo Casella (Italian, 1883-1947), Marcel Ciampi (French, 1891-1980), Maria Curcio (Italian, 1918-2009), Louis Diémer (French, 1843-2019), Edwin Fischer (Swiss, 1886-1960), Sidney Foster (American, 1917-1977), Carl Friedberg (German, 1872-1955), Alexander Goldenweiser (Russian, 1865-1961), Ernest Hutcheson (Australian, 1871-1951), -
[email protected] ALAN GILBERT and the NE
FOR IMMEDIATE RELEASE February 5, 2015 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC ARTIST-IN-ASSOCIATION INON BARNATAN To Make Philharmonic Debut Performing RAVEL’s Piano Concerto in G major Program Also To Include Esa-Pekka Salonen’s Nyx, DEBUSSY’s Jeux, and R. STRAUSS’s Der Rosenkavalier Suite March 19–20 and 24, 2015 Music Director Alan Gilbert will lead the New York Philharmonic in Ravel’s Piano Concerto in G major, with Philharmonic Artist-in-Association Inon Barnatan in his Philharmonic debut, in a program that also includes Esa-Pekka Salonen’s Nyx, Debussy’s Jeux, and R. Strauss’s Der Rosenkavalier Suite, Thursday, March 19, 2015, at 7:30 p.m.; Friday, March 20 at 11:00 a.m.; Tuesday, March 24 at 7:30 p.m. “I’ve loved this concerto for a long time,” Inon Barnatan said. “One of my first memories of hearing it was in a recording with the New York Philharmonic and Leonard Bernstein, so to be able to play it with this Orchestra is fantastic. I think of it as a very New York piece. Ravel wrote it after Gershwin took him to hear jazz in Harlem — where I live in an apartment that used to be a speakeasy for the great jazz musicians — and you can hear the American jazz scene’s influence in this concerto. It also has extraordinary depth, and the second movement has some of the most moving music Ravel ever wrote.” The performances of Esa-Pekka Salonen’s Nyx will mark the first time that a conductor other than Mr.