DOCSLIB.ORG

Concorso 12 Lionel Tertis Enrico Mainardi Viola/Violoncello

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Concorso 12 Lionel Tertis Enrico Mainardi Viola/Violoncello Concorso 12 Lionel Tertis Enrico Mainardi Viola/Violoncello 4. - 8. Mai 2012 Universität Mozarteum Mirabellplatz 1 Concorso 12 Tertis/Mainardi Vorrunde Viola Freitag, 4. Mai 2012, ab 14.00 Uhr, Kleines Studio Finale Viola Dienstag, 8. Mai 2012, ab 10.00 Uhr, Solitär Concorso 12 Vorrunde Violoncello Samstag, 5. Mai 2012, ab 9.30 Uhr, Kleines Studio Finale Violoncello Montag, 7. Mai 2012, ab 10.00 Uhr, Solitär Tertis/Mainardi Internationale Meisterklassen für Viola und Violoncello Violoncello – Bruno Weinmeister Samstag, 5. Mai, 2012 16.15 - 17.45 Uhr, Kleines Studio Sonntag, 6. Mai 2012, 11.00 – 12.30 Uhr, Kleines Studio Recital Viola – Gertrud Weinmeister Sonntag, 6. Mai 2012, 10.00 - 13.00 Uhr, Solitär Giovanni Gnocchi, Violoncello Violoncello – Giovanni Gnocchi Montrag, 7. Mai 2012, 15.00 - 18.00 Uhr, Solitär Chiara Opalio, Klavier Viola – Gertrude Rossbacher Montag, 7. Mai 2012, 15.00 - 18.00 Uhr, Raum 2045 Gertrude Rossbacher, Viola Recitale Biliana Tzinlikova, Klavier Giovanni Gnocchi, Violoncello & Gertrude Rossbacher, Viola Samstag, 5. Mai 2012, 18.00 Uhr, Solitär Gertrud Weinmeister, Viola & Bruno Weinmeister, Violoncello Montag, 7. Mai 2012, 19.00 Uhr, Solitär Samstag, 5. Mai 2012 Qi Gong-Seminar 18.00 Uhr „Die alten östlichen Künste des Qi Gong – Lust auf Philosophie“ Solitär Dr. Alexandra Gusetti, Linz Mirabellplatz 1 Sonntag, 6. Mai 2012, 15.00 – 18.00 Uhr Theatrum, Dachgeschoss, Paris-Lodron-Straße 9 Sonderprojekt der Abteilung für Streich- und Zupfinstrumente Alle Veranstaltungen sind öffentlich und frei zugänglich Änderungen vorbehalten Bitte finden Sie die aktuellsten Daten auf unserer Homepage www.moz.ac.at Kontakt: [email protected] / +43 662 6198-3127 Programm Benjamin Britten Elegy for solo viola Ferruccio Busoni Kultaselle (1913-1976) (1866-1924) 10 Variations for cello and piano on a finnish folk song, KiV 237 (1891) Ernest Bloch Suite für Viola und Klavier in a-Moll Gioachino Rossini Une Larme (1880-1959) Lento-Allegro (1792-1868) thème et variations pour violoncelle et piano Allegro ironico-Grave (from the Péchés de vieillesse) Lento Molto vivo-Moderato assai-animato (non troppo) Sergej Prokofieff Sonata per violoncello e pianoforte op. 119 (1949) (1891-1953) Andante grave Moderato Gertrude Rossbacher, Viola Allegro ma non troppo Biljana Tzinlikova, Klavier Giovanni Gnocchi, Violoncello Chiara Opalio, Klavier --- Pause --- Philharmoniker, Mahler Chamber Orchestra, Orchestra Mozart of Bologna with Claudio Giovanni Gnocchi Abbado, Bamberger Symphoniker), and since 2008 he is a member of the Lucerne Festival Orchestra under Claudio Abbado. Laureate in the Prague Spring international Cello Competition, Since 2008 he is founder and Professor of the Cello Department in the International Academy Antonio Janigro Competition of Zagreb and winner of the “Incontri col Maestro” of Imola, after having taught already in Scuola di Musica di Fiesole international F. J. Haydn Wettbewerb in Vienna, Giovanni Gnocchi and after having been for many years the assistant of Enrico Bronzi in Portogruaro. has been Solo-Cellist of Camerata Salzburg from 2002 until Born in Cremona in 1977, he studied with Rocco Filippini and Mario Brunello, and he made 2010, and now he plays as Guest Principal Cellist in the Royal his Diploma under Luca Simoncini. Afterwards he studied for a long time with Enrico Bronzi Philharmonic Orchestra of London. and he completed his studies at the Universität Mozarteum Salzburg with Clemens Hagen, He made his debut as soloist in a concert for 2 cellos and orchestra attending also the Masterclasses of Heinrich Schiff, Steven Isserlis, Natalia Gutman, David together with Yo-Yo Ma, who said: “I had the honour to play with Geringas, Gary Hoffman, Antonio Meneses, Pieter Wispelwey, Andràs Schiff, Thomas Adés, Giovanni Gnocchi, very musical and open to new ideas, who will Ferenc Rados, Hatto Beyerle, Gabor Takàcs-Nagy. make a valuable contribution to music wherever he goes”. Giovanni Gnocchi plays on a Tomaso Balestrieri cello (Mantova, 1760) of Maggini Stiftung He performed as soloist under the baton of Gustavo Dudamel, of Langenthal (CH), thanks to the generous support of Sapri srl and Twin Brokers of Roma, Christopher Hogwood, Carlo Rizzi, at the Hong Kong Arts Festival, and a bow of Giovanni Lucchi. Mozartwoche Salzburg, at the Wiener Konzerthaus, in Germany, Italy and UK, with Orchestra Upcoming events of the current season include a tour with Beethoven Triple Concerto in della Toscana of Florence, Arpeggione Orchester of Hohenems, Royal Academy Orchestra of Italy, a tour with Leonidas Kavakos with both Brahms Sexstets and the recording debut for London, Zagreb Philharmonic Orchestra and Camerata Salzburg. Naxos. Founder of the Quartetto di Cremona in 2000 and later of the David Trio, he won prizes in the most important chamber music competitions (Premio Trio di Trieste, “Vittorio Gui” in Firenze, Chesapeake and Yellow Springs in USA, Caltanissetta, Bärenreiter Preis in Holland). Moreover, he won the Audience Prize of the Wigmore Hall in the International Parkhouse Gertrude Rossbacher Award playing in duo with Mariangela Vacatello, and won also the Fellowship of the Borletti- Buitoni Trust of Londra, whose artistic director is Mitzuko Uchida. ist seit 2004 Solobratschistin des Tonkünstler-Orchesters Giovanni Gnocchi since 2010 plays in duo with the pianist Chiara Opalio, performing concerts Niederösterreich. Von 1987-1997 war sie Mitglied der Berliner in some of the most important chamber music Seasons in Italy. The Duo recently won the Philharmoniker, darüberhinaus war sie Professorin an der Karajan- Premio “Bruno Premuda” offered by the International School “Trio di Trieste” of Duino. Akademie sowie an der Hochschule für Musik in Bremen (1998- Regularly invited by the members of the Hagen Quartet at the “Hagen Open” Festival, he 2003). Sie ist Gewinnerin mehrerer Preise, unter anderem gab sie played with them in many other projects and Festivals in Austria (Herbst Töne in Mozarteum, 1999 ihr New York Debüt in der Carnegie Hall als Preisträgerin Mattsee Festival, Diabelli Festival) and he also performed in chambre music projects with des “East and West Artists” Wettbewerbes. Leonidas Kavakos, Andrea Lucchesini, Aleksander Madzar, Howard Shelley, Mahler Chamber Gertrude Rossbacher trat als Solistin in den wichtigsten Soloists, Barbara Bonney, Christine Schäfer, Vladimir Mendelssohn, Thomas Riebl, Danilo Konzertsälen wie dem Wiener Musikverein, Wiener Konzerthaus, Rossi, Simonide Braconi, Marco Rizzi, Bin Huang, Natalia Lomeiko, Nabil Shehata, Enrico Mozarteum Salzburg, der Philharmonie Berlin und der Carnegie Hall Bronzi, Enrico Dindo and Eliot Fisk. Moreover, he took part in important festivals and halls like auf, weiters wirkte sie als Mitglied des Berliner Philharmonischen the Festival Casals of Prades, Lugano Festival, Open Chamber Music in Prussia Cove, I concerti Sextetts bei internationalen Konzertreisen mit. del Quirinale in Roma, Festival Radio-France-Montepellier, Schubertiade Schwarzenberg, Studium an der Universität für Musik und darstellende Kunst Wien bei K. Stierhof und H. Haydn Festspiele in Eisenstadt, Settimane Musicali del Teatro Olimpico in Vicenza, Settimane Beyerle und Stipendiatin bei M. Rostal in Bern; 1985 Diplom mit Auszeichnung; Stipendium Musicali in Stresa, Megaron in Athens, Symphony Hall in Birmingham, Festival Michelangeli der Herbert von Karajan Stiftung in Berlin. of Brescia, Septembre Musical Montreux, Verbier Festival. 2009 hat sie ihre eigene online Schule, die “Miriam Ross Academy” gegründet (www. Recently he also performed in many chamber music activities together with Alexander miriamrossacademy.com), um die Möglichkeit zu haben, Studenten weltweit auf die von ihr Lonquich, with whom he also played Strauss Sonata in the Sala Verdi of Milano for the entwickelte Übemethode, die Miriam Ross Methode zu unterrichten. Serate Musicali of Milano. Giovanni Gnocchi has been invited to play as Principal Cellist by some of the most prestigious European orchestras (Philharmonia Orchestra in London, London Symphony, Münchner Chiara Opalio Biliana Tzinlikova Born in 1990 in Vittorio Veneto, Chiara began to play piano at wurde 1974 in Sofia, Bulgarien geboren. Nach dem the age of 3, studying with Giuliab Linussio at the Suzuki school Musikgymnasium in Pleven begann sie ein Konzertfach- und of Trieste and with Giorgio Lovato. In 2006 she graduated with Pädagogikstudium an der Staatlichen Musikakademie in Sofia honours and special mention at the G. Tartini Conservatoire of bei Marina Kapazinskaja. Von 1995 bis 2001 setzte sie das Trieste. Then she studied at the Imola International Academy Konzertfachstudium an der Universität Mozarteum Salzburg bei “Incontri col maestro” with Piero Rattalino, Gianluca Cascioli, Jin Andor Losonczy und Christoph Lieske fort. Daneben besuchte die Ju, Anna Kravtchenko ed il Trio Altenberg Wien, and she took part Preisträgerin diverser Wettbewerbe Meisterkurse für Klavier und in specialization corse with Aldo Ciccolini, Andrea Lucchesini, Kammermusik bei Arndzej Jaszinsky, Pierre Amoyal, Pavel Gililov, Joaquin Soriano, Yang Jun, Marcello Abbado and Oleg Marshev. Mehanem Pressler, Alexander Lonquich, Ferenc Rados, Klaus- Chiara won many prizes in national and international competitions, Christian Schuster, und Claude Frank. among which the Special Mention obtained when she was 9 at Noch während dem Studium Auftritte als Solistin 1998 bei der the “International Carl Czerny Competition” in Prague, the Third Salzburger Mozartwoche, 2001 unter
Load more

Recommended publications
  • Critical Success Factors in Cello Training – a Comparative Study
    Critical success factors in cello training a comparative study by Anzél Gerber Submitted in partial fulfilment of the requirements for the degree PhD Music (Performance Practice) in the Department of Music Goldsmiths College, University of London Supervisor Professor Alexander Ivashkin 2008 (ii) DECLARATION I, Anzél Gerber, the undersigned, hereby declare that this dissertation, submitted in partial fulfilment for the degree PhD Music (Performance Practice), is my own original work. Signed: _______________________ Anzél Gerber (iii) ABSTRACT The research focused on the identification and ranking of critical success factors that contribute most significantly towards the training of a cello student. The empirical study was based on a sample of cello teachers in four countries selected for the study, namely Germany, Russia, the United Kingdom and the United States of America. A literature study, identifying a broad category of factors that could contribute towards successful cello training, formed the basis of the questionnaire. These critical success factors included the quality of the teacher, acquired skills, the talent and giftedness of the student, support rendered to the student, and the curriculum. Each of these factors comprised five sub factors. The respondents were required to rank these factors in order of importance. In the final analysis, they were requested to rank the five main factors. A statistical process of ranking (forced ranking) and Kruskal-Wallis was applied to rank and analyse the responses of the cello teachers in the survey. The critical success factors that contribute the most significantly towards successful cello training were identified and compared. ________________________________ (iv) PREFACE This study is in partial fulfilment for the degree PhD Music Performance at Goldsmiths College, University of London.
    [Show full text]
  • Roger Smithson, 63 Tulsemere Road, London SE27
    EDWIN FISCHER: A CHRONOLOGICAL DISCOGRAPHY COMPILED BY ROGER SMITHSON This is a list of all recordings by the pianist and conductor Edwin Fischer known to the compiler on 31 December 2018. It replaces the second edition of “The Recordings of Edwin Fischer”, published in booklet form in 1990 (ISBN 0 9517082 0 1). New material includes: Recordings previously unknown or believed to be lost, including experimental tapes made in 1937 New information on Fischer’s piano rolls for Duo-Art and Welte Exact dates of most recording sessions between 1928 and 1942 Test pressings of unissued 78s in the Fischer archive (Nachlass Edwin Fischer) in Lucerne Central Library Details of Japanese 78rpm and early LP issues Speech recordings and three short films of Fischer playing or speaking All documented recordings, including piano rolls, speech recordings and film footage, are shown in a single chronological list. Details of commercial recordings are given even where no extant material is known, but (with the exception of early German Radio discs) only live recordings which are known to survive are listed. Commercial recordings made at the same sessions are listed in order of matrix numbers. Numbers of issued takes are given in brackets after the matrix numbers; for example, Mx: 0D626-627 (1,2) means that take 1 of 0D626 and take 2 of 0D627 were used for the HMV issue of the Händel Chaconne in G major (1931). Details are given of numerous CD issues since 1990, including custom CDs from companies such as Pristine and St Laurent Studio, who also offer downloads.
    [Show full text]
  • Pierre Fournier Dvoˇrák Cello Concerto Swiss Festival Orchestra | István Kertész Saint-Saëns Cello Concerto No
    HISTORIC PERFORMANCES Pierre Fournier Dvoˇrák Cello Concerto Swiss Festival Orchestra | István Kertész Saint-Saëns Cello Concerto No. 1 Orchestre Philharmonique de la RTF | Jean Martinon Casals El cant dels ocells Festival Strings Lucerne | Matthias Bamert Antonín Dvoˇrák (1841–1904) Cello Concerto in B minor, Op. 104 I. Allegro 14:38 II. Adagio, ma non troppo 10:58 III. Finale. Allegro moderato 11:30 PIERRE FOURNIER cello SWISS FESTIVAL ORCheSTRA | ISTVÁN KERTÉSZ Camille Saint-Saëns (1835–1921) Cello Concerto No. 1 in A minor, Op. 33 I. Allegro non troppo 5:27 II. Allegretto con moto 4:30 III. Tempo primo 8:32 PIERRE FOURNIER cello ORCheSTRE PHILhaRMONIQUE de LA RTF | Jean MARTINON Dedication announcement: Pierre Fournier Pablo Casals (1876–1973) El cant dels ocells 4:13 PIERRE FOURNIER cello FESTIVAL STRINGS LUCERne | MATTHIAS BameRT The singing cello – repertoire of which he made several stu- Pierre Fournier in Lucerne dio recordings: in the summer of 1962 he interpreted Camille Saint-Saëns’ First Cello Piano, violin and cello: these three instru- Concerto in A minor, Op. 33, alongside the ments ranked most highly in solo perform- Orchestre Philharmonique de la RTF and ances during the first decades of LUCERNE Jean Martinon, with whom he had recorded FESTIVAL – and it is hardly surprising that the work two years previously (together with this is still the case today. Among the cel- a different orchestra, however – the Orches- lists, the frontrunner was, and still is, tre Lamoureux). Fournier’s encounter with Enrico Mainardi who travelled to Lucerne István Kertész in 1967, resulting in a mem- each year between 1946 and 1967, appear- orable performance of Antonín Dvorˇák’s ing twenty-two times in total.
    [Show full text]
  • Great Conductors • Furtwängler ADD JOHANNES BRAHMS Symphony No
    111000 bk Furtwangler07 EU 6/10/08 1:47 PM Page 4 GREAT CONDUCTORS • WILHELM FURTWÄNGLER 8.111000 Commercial recordings 1940-1950 • Volume 7 Great Conductors • Furtwängler ADD JOHANNES BRAHMS Symphony No. 2 in D major, op. 73 41:19 1 I Allegro non troppo 15:18 2 II Adagio non troppo 10:56 BRAHMS 3 III Allegretto grazioso 6:03 Symphony No. 2, Op. 73 4 IV Allegro con spirito 9:01 London Philharmonic Orchestra BRUCKNER Recorded 22nd - 25th March 1948, Kingsway Hall, London Adagio from Symphony No. 7 Matrices: AR12879/88; cat. Decca K1875/79 Wilhelm Furtwängler ANTON BRUCKNER London Philharmonic Orchestra • Berlin Philharmonic Orchestra Symphony No. 7 in E major Commercial Recordings 1942 and 1948 5 II Adagio 22:58 Berlin Philharmonic Orchestra Recorded 1st April 1942, Berlin Philharmonie Matrices: 026378/83: cat. Telefunken SK3230/32 Special thanks to J. Neil Forster 8.111000 4 111000 bk Furtwangler07 EU 6/10/08 1:47 PM Page 2 Great Conductors: Wilhelm Furtwängler (1886-1954) Some other common points of note – in the second blazing triumph of the will, sharing finales preceded by movement, the baleful trombones in the brief transition voiceless songs of very much the same earth. Commercial Recordings 1940-1950, Volume 7 leading to the restatements of the main theme are The wartimeTelefunken recording of the second This particular Furtwängler recording of Brahms’s the orchestra was left rather rudderless throughout the always characterised by a strong nuance of glissando movement of Bruckner’s Seventh Symphony is also Second Symphony has long had a reputation as one of war, after Beecham’s resignation in 1940, and it was and in the finale, there is a consistently marked Furtwängler’s only commercial recording of the his more eccentric readings.
    [Show full text]
  • News from the Colony
    News from the colony Objekttyp: Group Zeitschrift: The Swiss observer : the journal of the Federation of Swiss Societies in the UK Band (Jahr): - (1962) Heft 1409 PDF erstellt am: 29.09.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch 25th May 1962 THE SWISS OBSERVER 50087 in the first half after being down 3 goals to nil. Thereafter, THE COLONY it was one long story of chances missed, mainly by the Swiss. MR. MAX HOMBERGER RETURNING TO Team: A. Permunian, P. Roasch, E. Tacchella, SWITZERLAND A. Grobety, H. Schneiter, H. Weber, C. Antenen, M. Von- lanthen, N.
    [Show full text]
  • “ a Trio of Three Brilliant Artists Who Play As One.” TOUR
    WEDNESDAY OCTOBER 29, 2014 7:30 P.M. | RAZZO HALL TOUR PROGRAM Shostakovich Trio in C Minor, op. 8 Mendelssohn Trio in D Minor Intermission Haydn Trio in G Major Arensky Trio in D Minor “A trio of three brilliant artists who play as one.” 950 Main Street Worcester MA 01610-1477 — San Francisco Chronicle ERIKA KLEMPERER, Violin RONALD CRUTCHER, Violoncello A native of a full scholarship to the Aspen Ronald Crutcher A former member of the Cincinnati Richmond, Ind., Music Festival and was also invited was born in Symphony Orchestra, he has Erika Klemperer to participate in the Teton Music Cincinnati and performed recitals in the United began studying Festival. began studying States, Europe, and South America, the cello at and has recorded for Austrian and the violin at age At the invitation of Yehudi Menuhin, the age of 14 West German radio. 7. She graduated Klemperer continued her post- with Elizabeth from Interlochen graduate studies in London, also Crutcher has written articles on Potteiger, a Arts Academy studying with Yfrah Neaman there. music, leadership, and higher and later attended faculty member education for professional journals Now a resident of London, Klemperer Indiana University, where she studied at Miami University in Oxford, and reference books, and has served is a former professor of the Guildhall with Josef Gingold and received her Ohio. At 17 he won the Cincinnati internationally as a consultant for School of Music and Drama, and bachelor of music degree with honors. Symphony Young Artist Competition. music and fine arts programs. Continuing to pursue her interest in has played a principal position in As a Woodrow Wilson and Ford chamber music, Klemperer received several leading London chamber Foundation Fellow, he studied at Yale Now the president of Wheaton her master’s degree from Sarah orchestras.
    [Show full text]
  • Furtwängler Broadcasts/Recordings
    Furtwängler Broadcasts & Broadcast Recordings 1927-1954 1st version: February 20, 2002 Latest revision: July 5, 2019 This list of Furtwängler broadcasts/broadcast recordings is based on various private and official lists in my possession. Most of the lists were given to me by Frau Elisabeth Furtwängler during visits in Clarens in the 1970s. I have not tried to verify stations missing from the lists. I have given RRG (Reichsrundfunk Gesellschaft) as source for many WWII broadcasts, which were transmitted from Berlin, Vienna, Bayreuth, or Prague. Many of the dates of these broadcasts stem from an Italian list (from Bologna), written in perfect German! Broadcasts of commercial recordings (78 rpms and LPs) are not included. In November/December 2003, I was asked by Angelo Scottini, Piacenza, Italy, to include his list of Italian broadcasts. January 1, 2004, René Trémine gave permission to include all broadcasts mentioned in his Furtwängler concert listing 1906-1954. April 21, 2008, Norbert Kleekamp forwarded information on the Meistersinger broadcasts from Bayreuth August 1943. February 1, 2010, I included the recorded broadcasts in my discography up to 1945. November 2012, René Trémine sent me a list of amendments, added on January 10, 2013. February 18, 2018, I added broadcasts from the Danish Radio (DR), from the BBC, and from the RRG. March 9, 2018, a few amendments by Stéphane Topakian were added. A few corrections were added on March 25, 2018. March 27, 2018 some broadcasts from the Swedish Radio (SR) were added. Broadcasts up to the end of 1947 from the Austrian database ANNO were added July 1, 2018.
    [Show full text]
  • 95644 Digibooklet Lucerne Festival Vol. X
    HISTORIC PERFORMANCES Wolfgang Schneiderhan Mozart Violin Concerto, K. 219 Henze Violin Concerto No. 1 Martin Magnificat Irmgard Seefried Swiss Festival Orchestra Paul Hindemith | Ferdinand Leitner | Bernard Haitink Wolfgang Amadé Mozart (1756–1791) Violin Concerto in A major, K. 219 I. Allegro aperto – Adagio – Allegro aperto 9:52 II. Adagio 10:09 III. Rondeau. Tempo di Menuetto – Allegro – Tempo di Menuetto 8:50 Lucerne, Kunsthaus, 13 August 1952 Hans Werner Henze (1926–2012) Violin Concerto No. 1 I. Largamente, rubato – Allegro molto 8:27 II. Vivacissimo – Alla marcia 2:21 III. Andante con moto 7:20 IV. Allegro molto vivace 6:37 Lucerne, Kunsthaus, 26 August 1964 By courtesy of SCHOTT MUSIC, Mainz Frank Martin (1890–1974) Magnificat (1967 version) 11:26 Lucerne, Kunsthaus, 14 August 1968 (world premiere) © Universal Edition A.G., Wien By courtesy of SCHOTT MUSIC, Mainz Wolfgang Schneiderhan violin Irmgard Seefried soprano (Martin) Swiss Festival Orchestra Paul Hindemith (Mozart) | Ferdinand Leitner (Henze) | Bernard Haitink (Martin) recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Previously unreleased “Essential listening” Wolfgang Schneiderhan in Lucerne “When an artist of the musical and technical prowess of Wolfgang Schneiderhan champi- ons a masterpiece, one may look forward to a rare musical treat. And that is indeed how it turned out. The Violin Concerto in A major by Wolfgang Amadeus Mozart (K. 219) saw a performance which will remain unforgettable. What sonic noblesse, musical sophistica- tion, what a consummate sense of style, what technical brilliance and elegance! This was essential listening, and one is all the richer for that enormously lifting experience.” This was the enthusiastic response from the Lucerne newspaper Vaterland on 16 August 1952 to a concert that the violinist Wolfgang Schneiderhan had given three days previously at the Internationale Musikfestwochen, today’s LUCERNE FESTIVAL.
    [Show full text]
  • ANNA SHUTTLEWORTH Was Run by the Mafia, Judged by the Godfather Look We Got
    FIFTY-ONE ESTA & ISME Conferences Over the years I have visited many ESTA (European String Teachers Association) and some ISME (International Society for Music Education) conferences. David and I have used them as a basis for holidays. They suited us, because neither of us is very interested in beaches, or too much sightseeing, or museums! Instead we were given a rich mix of concerts, the chance to meet people from many countries, and hear of teaching ideas: some new some old. As this chapter describes ten conferences (and some holidays too), I have decided to highlight the town of the conference the first time it appears. This will help your eye if you are scanning for a particular event. I have also included some extracts from ESTA Magazine articles relevant to my last two conferences. These are rather long but I do feel that they are worth including. The only English ESTA conference I went to was at the Purcell School, near London. There I was asked to teach people how to teach in schools. But, I was so out of touch with this topic, by this time, that I felt useless, having recently been teaching mostly advanced cello students and spent most of my time encouraging other people to talk of their ideas. I especially remember Judy Bird and Caroline Bosanquet, who supplied much that was excellent. Jenny Ward Clarke taught baroque cello, and played with an excellent baroque violinist from Holland. For our spring holiday in 1983 we decided to go on our usual Italian trip. First we took the train to Milan where we stayed in a very cheap hotel which appeared to be inhabited by prostitutes, to judge by the noises at night! We ate at an ordinary restaurant, which we imagined 469 ANNA SHUTTLEWORTH was run by the Mafia, judged by the Godfather look we got.
    [Show full text]
  • 1938-1963 International Festival of Music Lucerne
    OUR OFFICIAL AGENTS 1938-1963 AMERICAN EXPRESS CO., NEW YORK and all Branch Offices INTERNATIONAL THOS. COOK & SON, LONDON and all Branch Offices MAYFAIR TRAVEL SERVICE INC., FESTIVAL OF MUSIC NEW YORK 19 (Music Tours Department), 119 West 57th Street LUCERNE AUG. 14 - SEPT. 14, 1963 260 e — 50 000 — IV. 63 - K. & CO., L. - Printed in Switzerland 25 YEARS INTERNATIONAL FESTIVAL OF MUSIC LUCERNE (1938-1963) Municipal Theatre IPHIGENIE AUF TAURIS August 14-September 14, 1963 Great music interpreted by famous musicians will be heard at the Lucerne Music Festival this summer. And to match this in the theatre we will present “Iphigenie” by Goethe, master of the spoken word GENERAL PROGRAMME and the equal of the great musicians. “Iphigenie” was written by Goethe during his happiest years and is directly influenced by his travels in Italy. The Concerts Symphony Concerts title role in this immortal work will be played by Maria Wimmer, now ranked as the greatest Iphigenie Choral Concerts interpreter on the German-language stage. The part Chamber Orchestra Concerts of Thoas will be played by Mathias Wieman, our Serenades “General Quixotte” of last year. Directed by H. Chamber Music Gnekow, other members of the cast include Hans Michael Rehberg (Munich) as Orestes, Werner Rehm Organ Recitals as Pylades, and Theo Tecklenburg as Arkas. Décor Song Recitals and costumes are by the well-known scenic designer Piano Recital from Frankfort, Professor Franz Mertz. Orchestras Swiss Festival Orchestra Berlin Philharmonic Orchestra Philharmonia Orchestra of England Collegium Musicum Zurich Lucerne Festival Strings Choirs Lucerne Festival Choir Art Museum EMIL G.
    [Show full text]
  • CV English Ursina Maria Braun
    Ursina Maria Braun The cellist and composer Ursina Maria Braun is one of a breed of young musicians who devote themselves utterly – and with a complete absence of vanity – to a wide range of creative projects. In her case, this includes the playing both the modern and baroque cello and performing as a soloist with an orchestra and as a chamber musician, as principal cellist or tutti player in an orchestra, and as a composer. Ursina Maria Braun is a remarkably expressive musician who is well versed in music history as well as being a free spirit, especially when it comes to composing. Ursina Maria Braun has performed as a soloist and chamber musicians at the Leipzig Bach Festival, the Thüringer Bachwochen, the Styriarte in Graz, the Carinthian Summer festival and the Suoni delle Dolomiti among many others. She has forthcoming concerts in Milan, Florence, Vienna and Zurich, to name but a few. Ursina Maria Braun plays regularly with the Concentus Musicus Wien and the Vienna-based Ensemble Prisma and as an occasional guest with the Bavarian Radio Symphony Orchestra and, more recently, with the Chamber Orchestra of Europe. The project closest to her heart is Spira Mirabilis, with which she performs as an inspirational principal and chamber musician at prominent venues such as La Scala in Milan, London’s Queen Elizabeth Hall, the Aldeburgh Festival, Naples, Florence, Paris, Barcelona, Bremen and Hamburg. Ursina Maria Braun studied with Thomas Grossenbacher, Clemens Hagen and Heinrich Schiff, completing her M.A. in 2019 in Salzburg under Clemens Hagen’s supervision. She has pursued her studies in the fields of historically informed performance with Reinhard Goebel in Salzburg and Kristin von der Goltz in Munich.
    [Show full text]
  • Gioconda De Vito G
    GIOCONDA DE VITO G. L. JOCHUM • M. RAUCHEISEN live in Berlin, 1954* Beethoven: Violin Concerto, Op. 61* Berlin, 1951 Brahms: Violin Sonata, Op. 100 • Vitali: Chaconne Ludwig van Beethoven: recording date / location: Brahms + Vitali: October 7, 1951 – studio recording, mono Konzert für Violine & Orchester RIAS Funkhaus, Berlin – Studio 7 D-Dur op. 61 Beethoven: October 3, 1954 – live recording, mono Berlin, Hochschule für Musik, Großer Saal recording producer: Salomon (1951), Martin Fouqué (1954) recording engineer: Peter Burkowitz (1951) Johannes Brahms: Sonate für Violine & Klavier Eine Aufnahme von RIAS Berlin A-Dur op. 100 (lizenziert durch Deutschlandradio) recording: P 1951+1954 Deutschlandradio research: Rüdiger Albrecht remastering: P Ludger Böckenhoff, 2015 Tomaso Antonio Vitali: rights: audite claims all rights arising from copyright law and competition law in relation to research, compilation and re-mastering of the original audio tapes, Chaconne g-Moll as well as the publication of this CD. Violations will be prosecuted. The historical publications at audite are based, without exception, on the original tapes from broadcasting archives. In general these are the original analogue tapes, MASTERst RELEASE which attain an astonishingly high quality, even measured by today‘s standards, with their tape speed of up to 76 cm/sec. The remastering – professionally competent and sensitively applied – also uncovers previously hidden details of the interpreta- tions. Thus, a sound of superior quality results. CD publications based on private Gioconda de Vito, Violine 1 recordings from broadcasts cannot be compared with these. photo: IMAGNO/Ullstein Michael Raucheisen, Klavier art direction and design: AB•Design RIAS-Symphonie-Orchester Georg Ludwig Jochum, Dirigent e-mail: [email protected] • http: //www.audite.de © 2015 Ludger Böckenhoff Romantisch mit Herz und Seele Lehrer zu üben und verblüffte sofort mit Wien auch international im Rampenlicht.
    [Show full text]