In the Labyrinth of Identities Rediscovering Hans / Hanuš Winterberg by Michael Haas
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Tennisz És Golf 3. Évf. 20. Sz. (1931. November
- O I III. EVF. 20. SZAM fi* t03f OKI 31 SZERKESZTI: KEHRLING BELA Dr. Szlávy Béláné, Magyarország 1931. évi golf bajnoknője. ÁRA 1 PENGŐ 384 TENNISZ ÉS GOLF 384 DUNLOP tenniszia bd a a magyar versenyek kiválasztod labdája a LACOSTE által szerkeszieU Dunlop (enníszgép kapható ! II. ÉVFOLYAM 1931. NOVEMBER 1. TENNISZ is Cili Szerkesztőség és kiadóhivatal Felelős szerkesztő MEGJELENIK HAVONTA KÉTSZER kehrling béla minden 2-dik és 4>dik szombaton. BUDAPEST. V., LIPÓT-KRT 13. Előfizetési dij Helyettes szerkesztő Telefon: 105 - 85. Egész évre ... — — — — 20 pengő VÁSÁRHELYI L. JENŐ Fél évre ... _ ... _ ... _ _ M 10 pengő A MAGYAR LAWN TENNISZ SZÖVETSÉG HIVATALOS LAPJA 1912-ben gondtalan, boldog béke világban a hétről-hétre cikkei közé. Két új név jelent meg nyerte Kehrling Béla először Magyarország ten- a magyar bajnokok díszes sorának nevei között. iszbajnokságát. Tizenkilenc hosszú, súlyos év Gabrovitz Emil és gróf Zichy Imre a MAC két minden megpróbáltatásával nehezedik azóta vál- fiatal reménysége azok, akik a rég várt fiatalok lunkra s íme tizenkilenc év múlva is ugyanaz a előtörését tettbe valósították, megnyerve Magyar- férfi nyeri el a bajnokság büszke címét. Ez a telje- ország férfipáros bajnokságát. A mai modern sítmény olyan páratlan, hogy meg kell állnunk gyors és sokat merő és így sok labdát megölő, de egy pillanatra, mielőtt még a mai idők fergete- sokat is rontó párosnak a képviselői ők s tekintve, ges rohanása el nem borítja más esemény hullá- hogy mindketten huszonkét évesek, a legszebb mával ezt a példa nélkül álló bravúrt. Kehrling reményekkel nézhetünk további fejlődésük elé. ezen húsz év alatt tizennégyszer nyerte meg a Kettőjük közül Gabrovitz a nagyobb tehetség, magyar férfiegyes bajnokságot. -
Alexander Glazunov
Call & Response 2011 Music With Exotic Influences Glazunov, Schulhoff, Bloch, Debussy & Jeffery Cotton Listener’s Guide Join us for a performance of music inspired by the Exotic Call & Response 2011 Concert May 5, 2011, Herbst Theatre, San Francisco Details inside… Call & Response 2011: Music with exotic influences Concert Thursday, May 5, 2011 Herbst Theatre at the San Francisco War Memorial 401 Van Ness Avenue at McAllister Street San Francisco, CA 7:15pm Pre-Performance Lecture by composer Jeffery Cotton 8:00pm Performance Buy tickets online at: www.cityboxoffice .com or by calling City Box Office: 415-392-4400 Page Contents 3 The Concept: evolution of music over time and across cultures 4 Jeffery Cotton 6 Alexander Glazunov 8 Erwin Schulhoff 10 Ernest Bloch 12 Claude Debussy 2 Call & Response: The Concept Have you ever wondered how composers, modern composers at that, come up with their ideas? How do composers and other artists create new work? Our Call & Response program was born out of the Cypress String Quartet’s commitment to sharing with you and your community this process in music and all kinds of other artwork. We present newly created music based on earlier composed pieces. Why “Call & Response”? We usually associate the term “call & response” with jazz and gospel music, the idea being that the musician plays a musical “call” to which another musician “responds,”—a way of creating a new sound relating in some way to the original. In this program, the “call” is that of Cypress String Quartet searching for connections across musical, historical, and social boundaries. -
Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019
Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019 The competition is open to all Colburn School students enrolled for the Spring 2019 semester in the Conservatory, Music Academy, and Community School of Performing Arts. Divisions Prizes Pre-college (Music Academy and Community All finalists will receive a cash award (minimum School) $150 for each student). Solo musicians or College (Conservatory) members of a group judged by the adjudicating panel to be the most outstanding in the pre- Accompanists college and college divisions will receive a Pre-college entrants performing solo repertoire minimum of $1,500 each. with piano may engage a professional accompanist. Pianists in chamber ensembles About the Initiative must be students. All college entrants must LA Opera Music Director James Conlon formed be students in the Conservatory (this includes the groundbreaking Recovered Voices project collaborating pianists). to shine a spotlight on the music by composers suppressed by the Nazi regime. In honor of Deadline his efforts, the Ziering-Conlon Initiative for Entries to be submitted no later than March Recovered Voices sponsors seminars, academic 11, 2019 via YouTube video. Those selected conferences, and competitions in an effort to for the live, public finals on Monday evening, present a deeper understanding of the history March 25, will be notified no later than 9 pm of the music from the first half of the 20th on Tuesday, March 19. All entrants must be century. available to perform at the March 25 finals. Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019 List of Repertoire Submitting Your Video Performance The works on the provided list were selected When recording your performances, place as representative, and all are approved for this the video-recording device in such a way that showcase competition. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Viktor Ullmann
HERBERT GANTSCHACHER VIKTOR ULLMANN Witness and Victim of the Apocalypse Testimone e vittima dell'Apocalisse Prič in žrtev apokalipse Svědek a oběť apokalypsy Informations in English, Italian, Slovenian and Czech Language English (Viktor Ullmann) Page 2 English (Viktor Ullmann, Georg Friedrich Nicolai, Andreas Latzko) Page 7 Italian (Viktor Ullmann) Page 14 Slovenian (Viktor Ullmann) Page 17 Czech (Viktor Ullmann) Page 19 1 Herbert Gantschacher "Viktor Ullmann - Witness and Victim of the Apocalypse" The Austrian composer Viktor Ullmann in The Great War as an artillery observer and musician before, during and after the twelfth campaign in the theatre of war in the valley of the river Isonzo (September - October 1917) and in Barcola Riviera nearby the city of Trieste (November 1917 - April 1918) and as well as a composer and musician in the ghetto and concentration camp of the former imperial and royal fortress of Terezín (1942 - 1944), deportation to Auschwitz on 16th of October 1944, being murdered there on 18th of October 1944. Victor Ullmann (1898 - 1944) is one of the most important composers of the 20th century. His most well known work is the opera "The Emperor of Atlantis or The Disobedience of Death" composed 1943/44 in the ghetto and concentration camp of Terezín. A neglected chapter of his life have been the years from 1916 to 1918. During that time he has served as a one year volunteer in the First World War (such as the composer Ernst Krenek) as an artillery observer. Some years ago letters have been coming to the public, which Ullmann wrote from 1917 to 1918 from the theatre of war to his girlfriend Anny Wottitz. -
A Survey of Czech Piano Cycles: from Nationalism to Modernism (1877-1930)
ABSTRACT Title of Dissertation: A SURVEY OF CZECH PIANO CYCLES: FROM NATIONALISM TO MODERNISM (1877-1930) Florence Ahn, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Larissa Dedova Piano Department The piano music of the Bohemian lands from the Romantic era to post World War I has been largely neglected by pianists and is not frequently heard in public performances. However, given an opportunity, one gains insight into the unique sound of the Czech piano repertoire and its contributions to the Western tradition of piano music. Nationalist Czech composers were inspired by the Bohemian landscape, folklore and historical events, and brought their sentiments to life in their symphonies, operas and chamber works, but little is known about the history of Czech piano literature. The purpose of this project is to demonstrate the unique sentimentality, sensuality and expression in the piano literature of Czech composers whose style can be traced from the solo piano cycles of Bedřich Smetana (1824-1884), Antonín Dvořák (1841-1904), Leoš Janáček (1854-1928), Josef Suk (1874-1935), Bohuslav Martinů (1890-1935) to Erwin Schulhoff (1894-1942). A SURVEY OF CZECH PIANO CYCLES: FROM ROMANTICISM TO MODERNISM (1877-1930) by Florence Ahn Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2018 Advisory Committee: Professor Larissa Dedova, Chair Professor Bradford Gowen Professor Donald Manildi Professor -
Svi Osvajači Rolan Garosa
UNIVERZITET CRNE GORE FAKULTET ZA SPORT I FIZIČKO VASPITANJE – NIKŠIĆ Adnan Kuloglija SVI OSVAJAČI ROLAN GAROSA (Završni rad) Nikšić, 2018. Godine UNIVERSITY OF MONTENEGRO FACULTY OF SPORT AND PHYSICAL EDUCATION – NIKSIC Adnan Kuloglija ALL INVADERS OF ROLAND GARROS (Final work) Niksic, 2018th year ii UNIVERZITET CRNE GORE FAKULTET ZA SPORT I FIZIČKO VASPITANJE – NIKŠIĆ SVI OSVAJAČI ROLAN GAROSA (Završni rad) Predmet: Teorijske osnove tenisa i stonog tenisa Kandidat: Adnan Kuloglija Mentor: Doc. dr Milovan Ljubojević Broj indeksa: 1720/14 Studijski program: Sportsko novinarstvo Nikšić, Jul 2018. godine iii SAŽETAK U savremenom sportu rezultati se brzo zaboravljaju, pa je period od 10-20 godina veliki period, a ne vijek ili dva koliko traju takmičenja kao što je Rolan Garos. Zato imamo hroničare i sportske novinare koji pisanjem o šampionima u prošlosti ne daju da se zaborave šampioni tog vremena. Upravo ovim radom žele se pomenuti svi šampioni ovako velikog turnira kao što je Rolan Garos koji se igra od 1891. godine. Uz sve muške osvajače od 1891. godine, poseban akcenat biće na “4 Musketara” koji su vladali 1920-ih i 1930-ih godina teniskim svijetom. Njih su činili Žak Briunon, Žan Borotra, Anri Koše i Rene Lakosta. Istaknutu pažnju u ovom radu ima Rafael Nadal, koji je 11 puta osvajao ovaj turnir, što je rekord na Gren slem turnirima, biće prikazana njegova biografija kao i profesionalna karijera. Ključne riječi: Rolan Garos, ”4 Musketara”, muški osvajači , Rafael Nadal iv ABSTRACT In modern sport, results are quickly forgotten, so the period from 10 to 20 years is quite long period of time, but some competitions like Roland Gaross lasts for century ot two. -
Job, Zeisl, Exile, and the Suffering of the Ordinary
Job, Zeisl, Exile, and the Suffering of the Ordinary MICHAEL BECKERMAN Mendel Singer, the protagonist of the Josef Roth’s 1930 novel, Job gets out his phylacteries, takes off his prayer shawl, and prepares to throw both into the fire. He wants to burn them, but cannot bring himself to do so. Instead he curses the Almighty: “God is cruel, and the more one obeys Him the more brutally He treats one. He is mightier than the most mighty; with the nail of one of His little fingers He can wipe them out, but He does not do it. Only the weak He gladly destroys. The weakness of a man tempts His strength and obedience awakens his scorn.” And why shouldn’t Mendel Singer, a “pious, ordinary and utterly commonplace man” from Galicia curse the Lord? Didn’t he have four children who broke his heart; Jonas, a soldier who drank vodka with the peasants; Shemaria, interested only in money; Miriam, who lies with soldiers in the fields, and poor crippled Menuchim, deformed and mute? Hasn’t the flesh of his wife, Deborah become alien to him? And didn’t the whole family move to America, abandoning poor Menuchim, only to confront an endless wave of sorrows? The composer Eric Zeisl encountered Roth’s Job in Paris in 1939 when the director Paul Gordon asked him to write some incidental music for a staged version being put to honor the author just after his death. Himself a recent exile from Vienna, where he had enjoyed considerable early success, Zeisl quickly came to identify with Mendel Singer, and also with his mute but somehow visionary son, Menuchim. -
Press Release
Press Berlin / Munich, January 24, 2020 Lest we forget – Siemens to honor work of “ostracized” musicians with 3D recording • Siemens Arts Program to showcase work of persecuted and “ostracized” Jewish musicians in order to mark 75th anniversary of liberation of Auschwitz concentration camp • Composer Viktor Ullmann (1898-1944), murdered in Auschwitz, to be honored with new 3D recording to be released on January 31 • Ullmann’s Piano Concerto Opus 25 recorded for first time in 3D audio format by Rundfunk-Sinfonieorchester Berlin and Annika Treutler (piano) under the direction of Stephan Frucht The Siemens Arts Program has teamed up with pianist Annika Treutler to produce a new recording of Viktor Ullmann’s Piano Concerto Opus 25, composed in 1939. This is the first time the work has been recorded using 3D audio processing. The recording was produced in cooperation with the German broadcaster Deutschlandfunk Kultur and the Rundfunk-Sinfonieorchester Berlin at Berlin-Brandenburg Broadcasting’s large studio in Berlin under the direction of Stephan Frucht (Artistic Director of the Siemens Arts Program). The recording process was directed by Professor Thorsten Weigelt (Berlin University of Fine Arts) and the 3D immersive audio specialist Stefan Bock (IAN Munich). In addition to the Piano Concerto Opus 25, the new recording, which comprises an audio CD and Blu-ray, includes Ullmann’s piano sonatas No. 3 (1940) and No. 7 (1944), which were recorded by Annika Treutler in the Church of Jesus Christ in the Dahlem district of Berlin. The album will be released on the Berlin Classics label (Edel) on January 31, 2020. -
On the Trail of Jewish Music Culture in Leipzig
Stations Mendelssohn-Haus (Notenspur-Station 2) On the trail of Jewish Mendelssohn House (Music Trail Station 2) / Goldschmidtstraße 12 The only preserved house and at the same time the deathbed of Felix Mendelssohn Bartholdy (1809-1847), conductor of Leipzig’s Gewandhaus and founder of the rst German conservatory. music culture in Leipzig Musikverlag C.F.Peters / Grieg-Begegnungsstätte (Notenspur-Station 3) C.F.Peters Publishers/Grieg Memorial Centre (Music Trail Station 3) / Talstraße 10 Headquarters of the Peters’ Publishing Company since 1874, expropriated by the National Socialists in 1939; Henri Hinrichsen, the publishing manager and benefactor, was murdered in Auschwitz Concentration Camp in 1942. Wohnhaus von Gustav Mahler (Notenbogen-Station 4, Notenrad-Station 13) Gustav Mahler’s Residence (Music Walk Station 4, Music Ride Station 13) / Gustav-Adolf-Str.aße12 The opera conductor Gustav Mahler (1869-1911) lived in this house from 1887 till 1888 and composed his Symphony No.1 here. Wohnhaus von Erwin Schulho (Notenbogen-Station 6) Erwin Schulho ‘s Residence (Music Walk Station 6) / Elsterstraße 35 Composer and pianist Erwin Schulho (1894-1942) lived here during his studies under the instruction of Max Reger between 1908 and 1910. Schulho died in Wülzburg Concentration Camp in 1942. Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ - Max Reger (Notenbogen-Station 9, Notenrad-Station 3) Leipzig Conservatory named after its founder Felix Mendelssohn Bartholdy (Music Walk Station 9, Music Ride Station 3) / Grassistraße 8 The main building of the Royal Conservatory founded by Mendelssohn, inaugurated in 1887; place of study and instruction of prominent Jewish musicians such as Salomon Jadassohn, Barnet Licht, Wilhelm Rettich, Erwin Schulho , Günter Raphael and Herman Berlinski. -
Der Auftakt 1920-1938
Der Auftakt 1920-1938 The Prague music journal Der Auftakt [The upbeat. AUF. Subtitle: “Musikblätter für die tschechoslowakische Republik;” from volume seven, issue two “Moderne Musikblätter”]1 appeared from December 1920 to April 1938.2 According to Felix Adler (1876-1928), music critic for the Prague journal Bohemia and editor of the first eight issues of AUF,3 the journal was formed out of the Musiklehrerzeitung [Journal for music teachers] (1913-16, organ of the Deutscher Musikpädagogischer Verband [German association for music pedagogy] in Prague) and was to be a general music journal with a modern outlook and with a concern for the interests of music pedagogues.4 Under its next editor, Erich Steinhard, AUF soon developed into one of the leading German-language modern music journals of the time and became the center of Czech-German musical collaboration in the Czechoslovakian Republic between the wars.5 Adolf Weißmann, eminent music critic from Berlin, writes: “Among the journals that avoid all distortions of perspective, the Auftakt stands at the front. It has gained international importance through the weight of its varied contributions and the clarity of mind of its main editor.”6 The journal stopped publication without prior announcement in the middle of volume eighteen, likely a result of the growing influence of Nazi Germany.7 AUF was published at first by Johann Hoffmanns Witwe, Prague, then, starting with the third volume in 1923, by the Auftaktverlag, a direct venture of the Musikpädagogischer Verband.8 The journal was introduced as a bimonthly publication, but except for the first volume appearing in twenty issues from December 1920 to the end of 1921, all volumes contain twelve monthly issues, many of them combined into double issues.9 The issues are undated, but a line with the date for the “Redaktionsschluss” [copy deadline], separating the edited content from the 1 Subtitles as given on the first paginated page of every issue. -
Viktor Ullmann's Steffen-Lieder Op.17
UPTON, RADHA, D.M.A. Between Heaven and Earth: Viktor Ullmann‟s Steffen-Lieder Op.17. (2011) Directed by Dr. Andrew Harley. 92 pp. The life and the work of Austrian composer, conductor, pianist, and musical essayist Viktor Ullmann (1898-1944) were for many years largely lost to history. One factor that may well have contributed to this situation was that, being Jewish, he was among those who were persecuted and killed under the National Socialist regime during the Second World War. Only the persistent work of musicologists, mainly within the last twenty to thirty years, has been able to shed some light on the circumstances of his life. While much research has been done regarding Ullmann‟s life, the body of research focusing on his works is still fairly small. Ullmann‟s Lieder, in particular, have not been discussed to their full extent. The growing availability of his Lieder in print and on audio recordings expands the possibilities for further research. The present study discusses Ullmann‟s Sechs Lieder Op. 17 (1937), settings of poetry by the Swiss anthroposophic poet Albert Steffen (1884-1963). First, the paper familiarizes the reader with general aspects of Ullmann‟s life and work, his holistic Weltanschauung Anthroposophy, and his musical ideals. Second, it provides an overview of his Lieder, including his general knowledge and assessment of the human voice. Finally, after a brief introduction to both life and work of the poet, the study provides an interpretative analysis of the Steffen-Lieder in terms of Ullmann‟s musical language and his response to the poetry.