Chamberfest 2019
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String Quartet in E Minor, Op 83
String Quartet in E minor, op 83 A quartet in three movements for two violins, viola and cello: 1 - Allegro moderato; 2 - Piacevole (poco andante); 3 - Allegro molto. Approximate Length: 30 minutes First Performance: Date: 21 May 1919 Venue: Wigmore Hall, London Performed by: Albert Sammons, W H Reed - violins; Raymond Jeremy - viola; Felix Salmond - cello Dedicated to: The Brodsky Quartet Elgar composed two part-quartets in 1878 and a complete one in 1887 but these were set aside and/or destroyed. Years later, the violinist Adolf Brodsky had been urging Elgar to compose a string quartet since 1900 when, as leader of the Hallé Orchestra, he performed several of Elgar's works. Consequently, Elgar first set about composing a String Quartet in 1907 after enjoying a concert in Malvern by the Brodsky Quartet. However, he put it aside when he embarked with determination on his long-delayed First Symphony. It appears that the composer subsequently used themes intended for this earlier quartet in other works, including the symphony. When he eventually returned to the genre, it was to compose an entirely fresh work. It was after enjoying an evening of chamber music in London with Billy Reed’s quartet, just before entering hospital for a tonsillitis operation, that Elgar decided on writing the quartet, and he began it whilst convalescing, completing the first movement by the end of March 1918. He composed that first movement at his home, Severn House, in Hampstead, depressed by the war news and debilitated from his operation. By May, he could move to the peaceful surroundings of Brinkwells, the country cottage that Lady Elgar had found for them in the depth of the Sussex countryside. -
Tertis's Viola Version of Elgar's Cello Concerto by Anthony Addison Special to Clevelandclassical
Preview Heights Chamber Orchestra conductor's notes: Tertis's viola version of Elgar's Cello Concerto by Anthony Addison Special to ClevelandClassical An old adage suggested that violists were merely vio- linists-in-decline. That was before Lionel Tertis! He was born in 1876 of musical parents who had come to England from Poland and Russia and, at three years old, he started playing the piano. At six he performed in public, but had to be locked in a room to make him practice, a procedure that has actually fostered many an international virtuoso. At thirteen, with the agree- ment of his parents, he left home to earn his living in music playing in pickup groups at summer resorts, accompanying a violinist, and acting as music attendant at a lunatic asylum. +41:J:-:/1?<1>95@@1041?@A0510-@(>5:5@E;88131;2!A?5/@-75:3B5;85:-?45? "second study," but concentrating on the piano and playing concertos with the school or- chestra. As sometime happens, his violin teacher showed little interest in a second study <A<58-:01B1:@;8045?2-@41>@4-@41C-?.1@@1>J@@102;>@413>;/1>E@>-01 +5@4?A/4 encouragement, Tertis decided he had to teach himself. Fate intervened when fellow stu- dents wanted to form a string quartet. Tertis volunteered to play viola, borrowed an in- strument, loved the rich quality of its lowest string and thereafter turned the old adage up- side down: a not very obviously gifted violinist becoming a world class violist. But, until the viola attained respectability in Tertis’s hands, composers were reluctant to write for the instrument. -
Guildhall School Gold Medal 2020 Programme
Saturday 26 September 7pm Gold Medal 2020 Finalists Soohong Park Ben Tarlton Ke Ma Guildhall Symphony Orchestra Richard Farnes conductor Guildhall School of Music & Drama Founded in 1880 by the City of London Corporation Chairman of the Board of Governors Vivienne Littlechild Principal Lynne Williams am Vice Principal & Director of Music Jonathan Vaughan Please visit our website at gsmd.ac.uk Guildhall School is part of Culture Mile: culturemile.london Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal 2020 Saturday 26 September, 7pm The Gold Medal, Guildhall School’s most prestigious award for musicians, was founded and endowed in 1915 by Sir H. Dixon Kimber Bt MA Guildhall Symphony Orchestra Finalists Richard Farnes conductor Soohong Park piano During adjudication, Junior Guildhall Rachmaninov Piano Concerto No 2 in violinist Leia Zhu performs Ravel’s C minor Op 18 Tzigane with pianist Kaoru Wada. Leia’s Ben Tarlton cello performance was recorded in January 2020. Elgar Cello Concerto in E minor Op 85 The presentation of the Gold Medal will Ke Ma piano take place after Leia’s performance. Tchaikovsky Piano Concerto No 1 in B-flat minor Op 23 The Jury Jonathan Vaughan Vice-Principal & Director of Music Richard Farnes Conductor Emma Bloxham Editor, BBC Radio 3 Nicholas Mathias Director, IMG Artists Performed live on Friday 25 September and recorded and produced live by Guildhall School’s Recording and Audio Visual department. Gold Medal winners -
Boston Symphony Orchestra Concert Programs, Season 46,1926-1927, Trip
E. F. ALBEE THEATRE . PROVIDENCE Tuesday Evening, February 15, at 8.15 PRSGRKttttE 5* c « ill . // cries tuhen IfeeI like cry- ing, it singsjoyfully when Ifeel like singing. It responds—like a human being—to every mood. " 1 love the Baldivin Piano. V^-^^ rn- a-^-v^j Vladimir de Pachmann loves the Baldwin piano. Through the medium of Baldwin tone, this most lyric of contemporary pianists discovers complete revealment of his musical dreams. For a generation de Pachmann has played the Baldwin; on the concert stage and in his home. That love- liness and purity of tone which appeals to de Pach- mann and to every exacting musician is found in all Baldwins, alike in the Concert Grand, in the smaller Grands, in the Uprights. The history of the Baldwin is the history of an ideal. jfctitarin AM. Hume Music Co. 194-196 Boylston Street Boston E. F. ALBEE THEATRE PROVIDENCE FORTY-SIXTH SEASON, 1926-1927 INC. SERGE KOUSSEVITZKY, Conductor A 1 ]f 1 ill 'W \J) 1% L^» j&i C\ 11 TUESDAY EVENING, FEBRUARY 15, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1927, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager After more than half a century on Fourteenth Street, Steinway Hall is now located at 109 West 57th Street. -
Cello Concerto. Creating a Classic
Cello Concerto. Creating a Classic How Elgar Came to Write the Concerto Most of Elgar's music was written between 1890 and 1914, part of the flowering of European art that preceded the Great War. The Enigma variations, Gerontius and the two symphonies belong to the same world as the poetry of Yeats and Rilke, the plays of Galsworthy and Shaw, the music of Strauss and Puccini. All of these artists created new works after 1914, but the world they came from, and which had nourished them, was gone. The scale of the war was apocalyptic, and, before it happened, few people had thought such destruction were even possible. In Britain, for example, the public's notion of modern warfare had been formed by the Boer War, in which 22,000 British troops had died over a period of two-and-a-half years. In this new conflict, nearly that many British soldiers were killed on a single day: July 1, 1916, the first day of the Battle of the Somme. Over the course of four years, more than 900,000 people from Britain and the Empire countries lost their lives - not only men, but women, too, serving as nurses. Submarines and long-range artillery made no exceptions on grounds of gender. Even as the conflict raged, many people recognized that they were now living in a changed society. Writing in 1916, D.H. Lawrence felt that two thousand years of civilisation were collapsing before his eyes: "so much beauty and pathos of old things passing away and no new things coming: my God, it breaks my soul." These were the circumstances when Edward Elgar checked into a London nursing home in March of 1918 to have his tonsils removed. -
ALBAN Gerhardt ANNE-Marie Mcdermott
THE KINDLER FOUNDATION TRUST FUND iN tHE LIBRARY oF CONGRESS ALBAN GERHARDT ANNE-MARIE MCDERMOTT Saturday, January 16, 2016 ~ 2 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building In 1983 the KINDLER FOUNDATION TRUST FUND in the Library of Congress was established to honor cellist Hans Kindler, founder and first director of the National Symphony Orchestra, through concert presentations and commissioning of new works. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Saturday, January 16, 2016 — 2 pm THE KINDLER FOUNDATION TRUST FUND iN tHE LIBRARY oF CONGRESS ALBAN GERHARDT, CELLO ANNE-MARIE MCDERMOTT, PIANO • Program SAMUEL BARBER (1910-1981) Sonata for cello and piano, op. 6 (1932) Allegro ma non troppo Adagio—Presto—Adagio Allegro appassionato BENJAMIN BRITTEN (1913-1976) Sonata in C major for cello and piano, op. 65 (1960-1961) Dialogo Scherzo-pizzicato Elegia Marcia Moto perpetuo LUKAS FOSS (1922-2009) Capriccio (1946) iNtermission 1 LEONARD BERNSTEIN (1918-1990) Three Meditations from Mass for cello and piano (1971) Meditation no. -
Phd-FLSHASE-2018-21 the Faculty of Language and Literature
PhD-FLSHASE-2018-21 The Faculty of Language and Literature, Humanities, Arts and Education DISSERTATION Defense held on 16/07/2018 in Esch-sur-Alzette, Luxembourg to obtain the degree of DOCTEUR DE L’UNIVERSITÉ DU LUXEMBOURG EN SCIENCES DE L’EDUCATION by Demosthenes DIMITRAKOULAKOS Born on 25 May 1979 in New York, USA AN INVESTIGATION INTO THE LIFE AND WORKS OF RICHARD LANE, MEMBER OF THE YOUNG COMPOSERS PROJECT: A COMPARATIVE STYLISTIC ANALYSIS OF CHORAL, CHAMBER ENSEMBLE, STRING ORCHESTRA, AND WIND BAND WORKS Dissertation Defense Committee Dr. Damien François Sagrillo, Dissertation Supervisor Assistant-Professor, Université du Luxembourg Dr. Claudine Kirsch, Dissertation Co-Supervisor Assistant-Professor, Université du Luxembourg Dr. Jon Mitchell, Dissertation Co-Supervisor Professor Emeritus, University of Massachusetts-Boston Dr. Nigel Marshall, External Member Senior Lecturer, University of Sussex Dr. Martin Uhrmacher, Chairperson Assistant-Professor, Université du Luxembourg ii ABSTRACT Richard Lane (1933-2004) was a prolific American composer from Paterson, New Jersey with approximately five-hundred pieces in his oeuvre. The primary research contribution of this study was to stylistically analyze, compare and contrast eight pieces composed by Lane during his career, with a focus on discovering the extent to which Lane developed his stylistic features as an adaptable and eclectic composer. Four of these works were completed early in his career during his two-year residency (1959-1961) in Rochester, New York and Lexington, Kentucky as a member of the Young Composers Project (YCP), while the other four works were completed during the last decade of his life (1994-2004). Choral, chamber ensemble, string orchestra and wind band works were selected to represent a broad overview of Lane’s repertoire for each of these four genres, across educational, community, and professional levels. -
Notes on the Program by James M
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Cello Concerto in E minor, Op. 85 Edward Elgar dward Elgar is an essential representative major work as his Cello Concerto was ac - Eof the Edwardian Era, the late Imperialist corded only a modicum of rehearsal time be - moment of British history named after Edward fore its premiere by the London Symphony VII, who, on July 4, 1904, turned the composer Orchestra. Elgar, who was to conduct the first into Sir Edward. The son of an organist in performance, stood waiting as the orchestra’s Worcester, Elgar deputized for his father in new music director, 37-year-old Albert church lofts, picked up a bit of instruction on Coates, spent almost all the allotted rehearsal violin, served as bandmaster at the Worcester period ironing out the kinks of pieces that he County Lunatic Asylum, and, in 1882, acceded would lead in the concert. Elgar did his best to the position of music director of the Worces - to ready the orchestra, following through for ter Amateur Instrumental Music Society. By the sake of the soloist, Felix Salmond, who the mid-1890s he was deemed a name to had worked diligently to prepare his part. The reckon with, and in 1900 his oratorio The performance went poorly, as could have been Dream of Gerontius established him as predicted, although the audience gave Elgar Britain’s leading composer, a perfect embodi - a warm ovation, if only out of respect for his ment of the comfortably plush, vigorously status as a senior eminence. -
Justin Solomon 1 Deconstructing the Definitive Recording: Elgar's Cello Concerto and the Influence of Jacqueline Du Pré Accou
Justin Solomon 1 Deconstructing the Definitive Recording: Elgar’s Cello Concerto and the Influence of Jacqueline du Pré Accounts of Jacqueline du Pré’s 1965 recording session for the Elgar Cello Concerto with Sir John Barbirolli border on mythical. Only twenty years old at the time, du Pré impressed the audio engineers and symphony members so much that word of a historic performance quickly spread to an audience of local music enthusiasts, who arrived after a break to witness the remainder of the session.1 Reviewers of the recording uniformly praised the passion and depth of du Pré’s interpretation; one reviewer went so far as to dub the disc “the standard version of the concerto, with or without critical acclaim.”2 Even du Pré seemed to sense that the recording session would become legendary. Despite the fact that the final recording was produced from thirty-seven takes spanning the entirety of the Concerto, du Pré hinted to her friends that “she had played the concerto straight through,” as if the recording were the result of a single inspired performance rather than a less glamorous day of false starts and retakes.3 Without doubt, du Pré’s recording is one of the most respected interpretations of the Concerto. Presumably because of the effectiveness of the recording and the attention it received, the famous cellist Mstislav Rostropovich “erased the concerto from his repertory” after the recording was released.4 For this reason, it comes as no surprise that in the wake of such a respected and widely distributed rendition, amateur and professional cellists alike would be conscious of du Pré’s stylistic choices and perhaps imitate their most attractive features. -
PROGRAM NOTES by Daniel Maki Variations on a Theme by Haydn By
PROGRAM NOTES by Daniel Maki Variations on a Theme by Haydn by Johannes Brahms (1833 –1897) Duration: Approximately 17 minutes First Performance: November 2, 1873 in Vienna Last ESO Performance: October, 2010; Robert Hanson, conductor The theme and variation is an old and honorable form, tracing its pedigree at least as far back as the 16th century. As one of the most obvious and commonsensical of musical procedures, it has spawned a huge amount of music, ranging from the innocuous to the most sophisticated, challenging many of the most acute musical minds from Sebastian Bach and Beethoven to Dizzy Gillespie. (The form has always lent itself to improvisation, and much jazz is actually variations on a theme.) To this list of worthies may be added the name of Johannes Brahms, who left a number of distinguished examples of the genre. Applying the full panoply of his formidable technique, he became so adept at disguising his themes that it became a standing joke with his cronies that it was as difficult to find the theme amidst his variations as it was to find his face beneath his famous thick beard. The so-called Haydn Variations exist not only in the familiar orchestral version but also in a version for two pianos which was written roughly at the same time. The orchestral version was first performed in November of 1873 in Vienna and was one of the earliest examples of a freestanding set of variations for orchestra in history. (Previous orchestral variations had been part of larger works.) Like many another set of variations, the Haydn Variations are based on a simple, easily memorable theme whose very simplicity is a virtue, as the composer gradually reveals its full potential. -
Buffalo Chamber Music Society 1924-2019 Ensembles – Artists
BUFFALO CHAMBER MUSIC SOCIETY 1924-2019 ENSEMBLES – ARTISTS ACADEMY OF ST. MARTIN IN THE FIELDS, IONA BROWN, Director and violin soloist ACADEMY OF ST. MARTIN IN THE FIELDS OCTET Kenneth Sillito, violin, leader; Harvey de Souza, violin; Mark Butler, violin; Paul Ezergailis, violin Robert Smissen, viola; Duncan Ferguson, viola; Stephen Orton, cello; John Heley, cello AIZURI QUARTET Emma Frucht & Miho Saegusa, violins; Ayane Kozasa, viola; Karen Ouzounian, cello ; ALBENERI TRIO Alexander Schneider, violin; Benar Heifetz, cello; Erich Itor Kahn, piano – 1945, 1948 Giorgio Ciompi, violin; Benar Heifetz, cello; Erich Itor Kahn, piano 1951, 1952,1955 Giorgio Ciompi, violin; Benar Heifetz, cello, Ward Davenny, piano 1956, 1958 Giorgio Ciompi, violn; Benar Heifetz, cello; Arthur Balsam, piano 1961 ALEXANDER SCHNEIDER AND FRIENDS Alexander Schneider, violin; Ruth Laredo, piano; Walter Trampler, viola, Leslie Parnas, cello 1973 Alexander Schneider, violin; Walter Trampler, viola; Laurence Lesser, cello; Lee Luvisi, piano 1980 ALEXANDER STRING QUARTET Eric Pritchard, violin; Frederick Lifsitz, violin; Paul Yarbrough, viola; Sandy Wilson, cello 1988 Ge-Fang Yang, violin; Frederick Lifsitz, violin; Paul Yarbrough, viola; Sandy Wilson, cello 1994 Zakarias Grafilo, violin; Frederick Lifsitz, violin; Paul Yarbrough, viola; Sandy Wilson, cello 2006 ALMA TRIO Andor Toth, violin; Gabor Rejto, cello; Adolph Baller, piano 1967 Andor Toth, violin; Gabor Rejto, cello; William Corbett Jones, piano 1970 ALTENBERG TRIO Claus-Christian Schuster, piano; Amiram Ganz, -
Oration Phantasm
SRCD.244 STEREO ADD FRANK BRIDGE (1879-1941) Oration Concerto elegiaco for Cello and Orchestra (1930) * (31’07”) 1 Lento (5’44”) 2 - Allegro (4’03”) 3 - Ben Moderato (poco lento) (4’28”) 4 - Allegro giusto (2’54”) 5 - Ben Moderato mesto e tranquillo (3’07”) 6 - Allegro (2’48”) 7 - Lento (5’02”) 8 - Epilogue: Andante tranquillo (3’01”) Frank Bridge Phantasm Oration Rhapsody for Piano and Orchestra (1931) (27’19”) Julian Lloyd 9 Allegro moderato – poco piu lento (5’21”) 10 - Allegro moderato (6’07”) Webber 11 - Andante molto moderato (8’46”) 12 - Allegro moderato (7’03”) Peter (58’32”) Wallfisch Julian Lloyd Webber, cello Peter Wallfisch, piano Phantasm London Philharmonic Orchestra (Leader Rodney Friend) conducted by Nicholas Braithwaite The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one after the end. ൿ 1977 * ൿ 1979 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England This compilation and digital remastering ൿ 2007 Lyrita Recorded Edition, England London Philharmonic Orchestra © 2007 Lyrita Recorded Edition, England. Made in the UK LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita Nicholas Braiithwaite by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK ration (1930) and Phantasm (1931) were Frank Bridge’s most substantial O orchestral works and his only concertos. By the time of their composition Bridge was in his early 50s and at the height of his creative powers. With a string of powerful www.lyrita.co.uk chamber works behind him it might be expected that his reputation would also have been soaring.