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825646078936.Pdf
ITZHAK PERLMAN LIVE IN THE FIDDLER’S HOUSE plays familiar Jewish melodies arranged by Dov Seltzer 25 Bukovina 212 (Trad. arr. Alpert/Bern) 4.30 1 A Yiddishe Mamme 6.48 26 Lekho Neraneno (Trad. arr. Brave Old World) 5.00 2 As der Rebbe Elimelech is gevoyrn asoi freylach * 5.51 27 Doina Naftule (Trad. arr. Bjorling) 2.43 3 Reyzele * 4.10 28 A Hora mit Branfn (Trad. arr. Bjorling) 3.24 4 Oif’n Pripetchik brennt a feier’l 4.05 29 Healthy Baby Girl (Suigals) 2.16 5 Doyna * 3.39 30 Golem Tants (London) 1.49 6 Rozhinkes mit Mandelen 5.37 31 Honga Encore (Trad. arr. London) 1.35 7 Oif’n Weyg steyt a Boim 5.25 32 Nign (Sklamberg) 5.31 8 A Dudele * 4.50 33 Bulgars/The Kiss (Trad. arr. The Klezmatics/London) 5.07 9 Viahin soll ich geyn? 4.54 34 Meton Nign/In the Sukke 6.02 35 Sholom Aleykhem 4.33 36 Khaiterma 2.55 ITZHAK PERLMAN violin 37 Andy’s Ride 2.55 ISRAEL ZOHAR clarinet* 38 A Heymischer Bulgar/Wedding Dance (Trad. arr. Ellstein) 3.14 Israel Philharmonic Orchestra/Dov Seltzer 39 Kale Bazetsn (Seating the Bride)/Khusidl (Hasidic Dance) 4.30 (Trad. arr. Tarras) 40 Fun Tashlikh 3.01 IN THE FIDDLER’S HOUSE 41 A Yingele fun Poyln (A Young Man from Poland)/ 4.59 Di Mame iz Gegangen in Mark Arayn (Mother Went to Market) 10 Reb Itzik’s Nign * 6.01 42 Processional — (Trad. arr. Netzky and ‘Klezcorps’) 12.16 ‡ 11 Simkhes Toyre Time 3.22 Klezmer Suite — (Trad. -
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. -
The Ukrainian Weekly 1983, No.10
www.ukrweekly.com З r I Hr published by the Ukrainian National Association Inc., a fraternal non-profit association! s- - CO CD —X Д З> z я a-e. Ukrainian Weekl o-t o Vol. LI No. 10 THE UKRAINIAN WEEKLY SUNDAY. MARCH 6. 1983 25 і cents Catherine Yasinchuk, 86, dies; Historian's wife brutally beaten wrongly committed for 48 years by unknown assailants in Lviv PHILADELPHIA - Catherine Ya Russian, German, Austrian dialects, sinchuk, 86, who was wrongly institu Polish and Lithuanian. LVIV - The wife of Ukrainian at Lviv University, Mr. Dashkevych tionalized for 48 yeq`rs because she did Then Olga Mychajluk, an employee historian Yaroslav Dashkevych was was a reference specialist at the Aca not know English/died here at the in the state institution's personnel hospitalized after she was brutally demy of Sciences in Lviv before his Fairview Nursing Home in Erdenheim department, tried to talk to her in beaten by two men early in the year arrest in 1948. Imprisoned along with on Monday, February 14. Ukrainian. Miss Yasinchuk responded, while on her way home from work, his mother, he was released in 1956. No one had eVer heard of Miss and bit by bit she began to talk. reported the Harvard Ukrainian Re Soon after their release, his mother Yasinchuk until 1968, when, during a search Institute. died. It was learned that she had come to Liudmyla Dashkevych, whose hus Mr. Dashkevych has since become review ofthe status of patients at the United States alone at the age of IS. Philadelphia State Hospital, it was band is a noted Armenian specialist, one of the Soviet Union's most promi She met a young man, fell in love and was returning from her job as an editor nent experts in Armenian and Oriental learned that Miss Yasinchuk had been had a baby. -
RCA LHMV 1 His Master's Voice 10 Inch Series
RCA Discography Part 33 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA LHMV 1 His Master’s Voice 10 Inch Series Another early 1950’s series using the label called “His Master’s Voice” which was the famous Victor trademark of the dog “Nipper” listening to his master’s voice. The label was retired in the mid 50’s. LHMV 1 – Stravinsky The Rite of Spring – Igor Markevitch and the Philharmonia Orchestra [1954] LHMV 2 – Vivaldi Concerto for Oboe and String Orchestra F. VII in F Major/Corelli Concerto grosso Op. 6 No. 4 D Major/Clementi Symphony Op. 18 No. 2 – Renato Zanfini, Renato Fasano and Virtuosi di Roma [195?] LHMV 3 – Violin Concerto for Violin and Orchestra No. 2 (Bartok) – Yehudi Menuhin, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 4 – Beethoven Concerto No. 5 in E Flat Op. 73 Emperor – Edwin Fischer, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 5 – Brahms Concerto in D Op. 77 – Gioconda de Vito, Rudolf Schwarz and the Philharmonia Orchestra [1954] LHMV 6 - Schone Mullerin Op. 25 The Maid of the Mill (Schubert) – Dietrich Fischer-Dieskau, Gerald Moore [1/55] LHMV 7 – Elgar Enigma Variations Op. 36 Wand of Youth Suite No. 1 Op. 1a – Sir Adrian Boult and the London Philharmonic Orchestra [1955] LHMV 8 – Bach Brandenburg Concerto No. 2 in F/Brandenburg Concerto No. 5 in D – Harold Jackson, Gareth Morris, Herbert Sutcliffe, Manoug Panikan, Raymond Clark, Gerraint Jones, Edwin Fischer and the Philharmonia Orchestra [1955] LHMV 9 – Beethoven Symphony No. 5 in C Minor Op. -
MUSICWEB INTERNATIONAL Recordings of the Year 2019
MUSICWEB INTERNATIONAL Recordings Of The Year 2019 This is the seventeenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2018-November 2019). The 128 selections have come from 27 members of the team and 65 different labels, the choices reflecting as usual, the great diversity of music and sources; I say that every year, but still the spread of choices surprises and pleases me. Of the selections, one has received three nominations: An English Coronation on Signum Classics and ten have received two nominations: Gounod’s Faust on Bru Zane Matthias Goerne’s Schumann Lieder on Harmonia Mundi Prokofiev’s Romeo & Juliet choreographed by John Cranko on C Major Marx’s Herbstymphonie on CPO Weinberg symphonies on DG Shostakovich piano works on Hyperion Late Beethoven sonatas on Hyperion Korngold orchestral works on Chandos Coates orchestral works on Chandos Music connected to Leonardo da Vinci on Alpha Hyperion was this year’s leading label with nine nominations, just ahead of C Major with eight. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2300 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year one recording in particular put itself forward as the obvious candidate. An English Coronation 1902-1953 Simon Russell Beale, Rowan Pierce, Matthew Martin, Gabrieli Consort; Gabrieli Roar; Gabrieli Players; Chetham’s Symphonic Brass Ensemble/Paul McCreesh rec. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section. -
825646078684.Pdf
JOHANNES BRAHMS 1833–1897 Concerto for violin and cello in A minor, Op.102* 1 I Allegro 16.10 2 II Andante 7.39 3 III Vivace non troppo 8.10 FELIX MENDELSSOHN 1809–1847 Violin Concerto in E minor, Op.64 4 I Allegro molto appassionato 12.28 5 II Andante 7.42 6 III Allegretto non troppo — Allegro molto vivace 6.38 58.47 ITZHAK PERLMAN violin YO-YO MA cello* Chicago Symphony Orchestra/Daniel Barenboim IGOR STRAVINSKY 1882–1971 Violin Concerto in D 7 I Toccata 5.40 8 II Aria I 4.04 9 III Aria II 5.00 10 IV Capriccio 5.52 SERGEI PROKOFIEV 1891–1953 Violin Concerto No.2 in G minor, Op.63 11 I Allegro moderato 10.06 12 II Andante assai 9.15 13 III Allegro, ben marcato 6.13 46.10 ITZHAK PERLMAN violin Chicago Symphony Orchestra/Daniel Barenboim 2 Original album cover 3 he erato & Teldec Recordings Mendelssohn · Prokofiev · Brahms · Stravinsky On these two albums — the Mendelssohn and Prokofiev concertos originally released on Erato, the two others on Teldec — Itzhak Perlman was revisiting repertoire he had first recorded earlier on in his career. He had recorded Prokofiev’s Second Violin Concerto for RCA (with the Boston Symphony Orchestra under Erich Leinsdorf) as early as 1966, and Mendelssohn’s Concerto (with the London Symphony Orchestra and André Previn; see volume 5) six years later. He had also gone on to commit a further interpretation of each work to disc: the Prokofiev with the BBC Symphony Orchestra and Gennady Rozhdestvensky in 1980 (see volume 29), the Mendelssohn with the Amsterdam Concertgebouw and Bernard Haitink in 1983 (volume 33). -
08 De Noviembre De 2013 12A 12:00:00A 18:08 Sinfonía Op.3 No.4 En Mi Bem.May
PROGRAMACION DEL DIA: 08 NOVIEMBRE 2013 HORA PROGRAMA O TITULO DIRECTOR SOLISTA (S) 12:00:00a 00:00 Viernes, 08 de Noviembre de 2013 12A 12:00:00a 18:08 Sinfonía op.3 no.4 en Mi Bem.May. / Franz Ignaz Beck (1734-1809) Franz Ignaz Beck (1734-1809) Michael Schneider La Stagione Frankfurt 12:18:08a 18:26 Escenas infantiles op.15 p/piano / Robert Schumann (1810-1856) Robert Schumann (1810-1856) Catherine Collard-piano 12:36:34a 17:26 Kammermusik no.3 op.36 no.2 p/cello y orq. / Paul Hindemith (1895- Paul Hindemith (1895-1963) Riccardo Chailly Real del Concertgebouw Lynn Harrell-cello 12:54:00a 00:50 Identificación estación 01:00:00a 00:00 Viernes, 08 de Noviembre de 2013 1AM 01:00:00a 03:00 * CORTE INFORMATIVO * 01:03:00a 05:00 TODO LO QUE SOMOS ESTÁ EN LOS LIBROS (con Alicia Zendejas) 01:08:00a 22:53 Variaciones sinfónicas op.78 / Antonin Dvorak (1841-1904) Antonin Dvorak (1841-1904) Vaclav Neumann Filarmónica Checa 01:30:53a 03:32 Concierto no.2 p/violín y orq. / Bohuslav Martinu (1890-1959) Bohuslav Martinu (1890-1959) Vaclav Neumann Filarmónica Checa Josef Suk-violín 01:58:25a 00:50 Identificación estación 02:00:00a 00:00 Viernes, 08 de Noviembre de 2013 2AM 02:00:00a 06:00 ACENTOS 02:30:00a 03:00 AL HILO DEL TIEMPO (con Ernesto de la Peña) 02:57:00a 00:50 Identificación estación 03:00:00a 00:00 Viernes, 08 de Noviembre de 2013 3AM 03:00:00a 16:19 5 Piezas p/orq. -
格拉斯曼david Greilsammer
合辦 Co-presenter “One of the most accomplished and adventurous musicians of his generation.” The New York Times “Freshness, elegance, spark, intelligence, simplicity, evidence.” Le Monde © JULIEN MIGNOT SONY CLASSICAL 指揮/鋼琴 Conductor/Piano 節目Programme 格拉斯曼 拉莫 歌劇組曲 David Greilsammer 海頓 降E大調第103交響曲,「鼓聲」 利蓋蒂 《旋律》(1971) 莫扎特 G大調第17鋼琴協奏曲,K453 Rameau Orchestral Suite from Operas 25.6.2016 (星期六 Sat) 8pm Haydn Symphony No 103 in E-flat, “Drum Roll” Ligeti Melodien (1971) 香港大會堂音樂廳 Mozart Piano Concerto No 17 in G, K453 Hong Kong City Hall Concert Hall $360 $240 $150 支持 With the support of 香港小交響樂團由香港特別行政區政府資助 香港小交響樂團為香港大會堂場地伙伴 Hong Kong Sinfonietta is financially supported by the Hong Kong Sinfonietta is the Venue Government of the Hong Kong Special Administrative Region Partner of the Hong Kong City Hall 型格指揮家格拉斯曼不但是技藝精湛的鋼琴家, “Greilsammer’s conducting and piano playing 他在節目策劃及選曲鋪排上亦甚有創意。作為日 generate a freshness and imagination that 內瓦室樂團藝術總監,他策劃的音樂會每每令觀 allow each of the works to be enjoyed 眾驚喜萬分。除了經常與著名獨奏家演出外,他 as a dynamic interpretation in its own right.” The Telegraph 甚至物色編舞家、爵士及搖滾音樂人合作,積極 擴展古典音樂的各種藝術可能。 “An astonishing achievement, 格拉斯曼與香港小交響樂團首次聚首,除了演奏 a triumph of innovative programming and brilliantly probing execution... 莫扎特的第17鋼琴協奏曲外,還會指揮樂團,激 There’s no question that he’s an artist 發無限音樂對話。音樂會由巴羅克時期法國歌劇 of major importance.” 大師拉莫的作品展開,配上「交響樂之父」海頓 The San Francisco Chronicle 晚期的交響曲及20世紀前衛作曲家之一,匈牙利 的利蓋蒂於1971年為紀念文藝復興著名藝術家杜 “The brilliant Israeli pianist David Greilsammer has a gift for devising programs that 勒 (Albrecht Dürer) 誕生500周年而寫的《旋律》, -
SAISON 19/20 DANS LE SON DE TES YEUX SAISON 19/20 DANS LE SON DE TES YEUX Sommaire
SAISON 19/20 DANS LE SON DE TES YEUX SAISON 19/20 DANS LE SON DE TES YEUX Sommaire PAGE PAGE 4 6 MESSAGE DE JEAN-PHILIPPE RAPP 5 7 MESSAGE DE CÉLINE MEYER & DAVID GREILSAMMER 8 DAVID GREILSAMMER 10 GENEVA CAMERATA (GECA) 12 LES MUSICIENS 16 LES ARTISTES INVITÉS 18 AGENDA 19/20 24 LES CONCERTS PRESTIGE « Adieu, dit le renard. Voici mon secret. Il est très simple : on ne voit bien qu’avec le cœur. L’essentiel est invisible pour les yeux. » 30 LES CONCERTS SAUVAGES 32 LES CONCERTS EN FAMILLE 34 LES RENCONTRES MAGIQUES Antoine de Saint-Exupéry, Le Petit Prince 35 LA MUSIQUE DU CŒUR 36 GECA EN TOURNÉE 39 LA CLASSE À L’ORCHESTRE ! 40 DEVENEZ AMIS DU GENEVA CAMERATA POUR LA SAISON 19/20 ! 41 LES AMIS DU GENEVA CAMERATA 42 ABONNEMENT & BILLETTERIE 43 BULLETIN D’ABONNEMENT AUX CINQ CONCERTS PRESTIGE & BULLETIN D’ADHÉSION AUX AMIS DU GENEVA CAMERATA POUR LA SAISON 19/20 46 PLAN DU BFM 48 PARTENAIRES 50 COMITÉS & ÉQUIPE Message de Jean-Philippe Rapp Message de Céline Meyer & David Greilsammer PAGE PAGE 6 7 © Elias Amari © Elias Amari Cher Public, Chères Amies, Chers Amis, J’écris ces quelques lignes aujourd’hui, empli de joie et de fierté : la saison « Si la musique est l’aliment de l’amour, jouez encore, donnez-m’en jusqu’à 18/19 de GECA fut à mes yeux l’une des plus stupéfiantes que l’orchestre l’excès », déclare Shakespeare avec exaltation, dans l’un des moments les n'ait jamais présentée. Je me remémore les moments les plus renversants plus féeriques de La Nuit des Rois. -
BRAHMS VIOLIN SONATAS 1—2—3 & SCHERZO Augustin Dumay & Louis Lortie Johannes Brahms 1833–1897
1 Johannes BRAHMS VIOLIN SONATAS 1—2—3 & SCHERZO Augustin Dumay & Louis Lortie Johannes Brahms 1833–1897 Violin Sonata no. 1 in G op.78 2 Violinsonate Nr. 1 G-dur / Sonate pour violon et piano n° 1 en sol majeur 3 1 I Vivace ma non troppo 11.23 2 II Adagio – Più andante – Adagio 7.57 3 III Allegro molto moderato 9.16 Violin Sonata no. 2 in A op.100 Violinsonate Nr. 2 A-dur / Sonate pour violon et piano n° 2 en la majeur 4 I Allegro amabile 8.57 5 II Andante tranquillo – Vivace – Andante – Vivace di più – Andante – Vivace 6.06 6 III Allegretto grazioso (quasi andante) 5.30 Violin Sonata no. 3 in D minor op.108 Violinsonate Nr. 3 d-moll / Sonate pour violon et piano n° 3 en ré mineur 7 I Allegro 8.31 8 II Adagio 4.50 9 III Un poco presto e con sentimento 3.01 10 IV Presto agitato 5.19 Scherzo in C minor WoO 2 (F–A–E Sonata) 11 Scherzo c-moll / Scherzo en ut mineur 5.32 Augustin Dumay violin, Louis Lortie piano Violin : Guarneri del Gesù, 1743–44 (ex-Kogan) & Bow : Pierre Patigny (ex-Grumiaux) Piano : Steinway Model D Eternal recurrence Augustin Dumay sees in the Regensonate a spiritual, melancholy mood, suggested by the Regenlied which runs through it and the fine summer rain that falls on the Black Forest. The ‘Thun’ Sonate seems more classical and more cheerful, whereas the impassioned, heroic Third Sonata reveals a symphonic spirit. Yet their internal richness 4 The secret of a fulfilled artistic life might be said to be found in that aspiration embraces all of life’s contradictions, and they represent a corresponding range of challenges 5 towards indefinite repetition, ever alike and yet different, in a cyclical process of constant for performers wishing to capture the works’ essence ‘in a clear, subtle fashion, without DE > P. -
BIOGRAPHY AVI AVITAL, Mandoline
BIOGRAPHY AVI AVITAL, mandoline “Everything you never dreamt a mandolin could do… truly breathtaking in virtuosity and dedication.” Haaretz Daily The first mandolin soloist to be nominated for a classical Grammy, Avi Avital is one of the foremost ambassadors for his instrument. Passionate and “explosively charismatic” (New York Times) in live performance, he is a driving force behind the reinviGoration of the mandolin repertory. More than 90 contemporary compositions, 15 of them concertos, have been written for him, while his inspired re-imaGininGs of music for other instruments include the arrangements heard on his 2014 recording Between Worlds. Enhanced by his infectious spirit of adventure and the warm rapport he fosters with his audience, Avital’s championship of his instrument is taking the mandolin centre staGe. “The exciting part of being a classical mandolin player,” he says, “is that it opens a wide field for creative freedom. When I commission new pieces and engage with different musical styles, I feel that I am bringing to light new faces of this unique instrument, uncovering what is hiding there.” An exclusive Deutsche Grammophon artist, he has made four recordings for the label including his ECHO Klassik Award-winninG Vivaldi (2015). Recently released Avital meets Avital (2017) with oud/bassist, Omer Avital, explores their shared cultural heritage and brings their differing classical and jazz musical backgrounds into dialogue. Earlier releases featured his own Bach concerto transcriptions (2012) and Between Worlds (2014), a cross-generic chamber collection exploring the nexus between classical and traditional music. He has also recorded for Naxos and SONY Classical winninG a first ECHO Klassik Award for his 2008 collaboration with the David Orlowsky Trio.