The 11Th WIPAC Piano Competition!
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Robin Ticciati Grauschumacher Piano Duo – Klaviere Jens Hilse, Henrik M
Ticciati Robin Ticciati GrauSchumacher Piano Duo – Klaviere Jens Hilse, Henrik M. Schmidt – Schlagzeug Bartók: Konzert für zwei Klaviere, Schlagzeug und Orchester / Beethoven: Symphonie Nr. 4 Mo 21.9., 20 Uhr, Philharmonie Programm 2 3 Introduktion Mo 21.9./ 20 Uhr / Philharmonie Zeit der Kreativität Béla Bartók (1881ª1945) Es ist mir eine unbeschreibliche Freude, dass wir uns wieder in der Berliner Konzert für zwei Klaviere, Schlagzeug und Orchester BB 121 (1937/1940) Philharmonie musikalisch begegnen können: Sie, unser engagiertes, kritisches I. Assai lento – Allegro molto Publikum, und wir, die Musikerinnen und Musiker des DSO unter meiner Leitung. II. Lento, ma non troppo Es ist zwar alles ganz anders als vor einem guten halben Jahr, als wir hier zuletzt III. Allegro non troppo spielen konnten: Wir müssen auf Abstand bleiben – Sie im Saal, wir auf der Für die Urau°ührung werden zwei verschiedene Daten angegeben: Bühne; wir müssen Kartenkontingente begrenzen und Programme verkürzen. 14. November 1942 in der Royal Albert Hall, London, durch das London Philharmonic Orchestra unter Aber wir können das Erlebnis Musik wieder direkt und ohne mediale Vermittlung der Leitung von Sir Adrian Boult; Solisten: Louis Kentner und Ilona Kabos (Klavier), Ernest Gillegin und mit Ihnen teilen. Darüber sind wir sehr froh. Frederick Bradshaw (Schlagzeug). 21. Januar 1943 in der New Yorker Carnegie Hall durch das New York Philharmonic Orchestra unter der Leitung von Fritz Reiner; Klaviersolisten: Béla Bartók und seine Frau Ditta Pásztory. Am heutigen Abend präsentieren das DSO und ich erstmals eine Beethoven- Symphonie. Dabei setzen wir die Linie fort, die wir mit Händels ›Messias‹ begon- Ludwig van Beethoven (1770ª1827) nen und mit Mozarts letzten Symphonien weitergeführt haben: Die Streicher Symphonie Nr. -
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. -
Symphonic Dances
ADELAIDE SYMPHONY ORCHESTRA SEASON 2019 MASTER SERIES 6 Symphonic Dances August Fri 16, 8pm Sat 17, 6.30pm PRESENTING PARTNER Adelaide Town Hall 2 MASTER SERIES 6 Symphonic Dances August Dalia Stasevska Conductor Fri 16, 8pm Louis Lortie Piano Sat 17, 6.30pm Adelaide Town Hall John Adams The Chairman Dances: Foxtrot for Orchestra Ravel Piano Concerto in G Allegramente Adagio assai Presto Louis Lortie Piano Interval Rachmaninov Symphonic Dances, Op.45 Non allegro Andante con moto (Tempo di valse) Lento assai - Allegro vivace Duration Listen Later This concert runs for approximately 1 hour This concert will be recorded for delayed and 50 minutes, including 20 minute interval. broadcast on ABC Classic. You can hear it again at 2pm, 25 Aug, and at 11am, 9 Nov. Classical Conversation One hour prior to Master Series concerts in the Meeting Hall. Join ASO Principal Cello Simon Cobcroft and ASO Double Bassist Belinda Kendall-Smith as they connect the musical worlds of John Adams, Ravel and Rachmaninov. The ASO acknowledges the Traditional Custodians of the lands on which we live, learn and work. We pay our respects to the Kaurna people of the Adelaide Plains and all Aboriginal and Torres Strait Islander Elders, past, present and future. 3 Vincent Ciccarello Managing Director Good evening and welcome to tonight’s Notwithstanding our concertmaster, concert which marks the ASO debut women are significantly underrepresented of Finnish-Ukrainian conductor, in leadership positions in the orchestra. Dalia Stasevska. Things may be changing but there is still much work to do. Ms Stasevska is one of a growing number of young women conductors Girls and women are finally able to who are making a huge impression consider a career as a professional on the international orchestra scene. -
October 1936) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 10-1-1936 Volume 54, Number 10 (October 1936) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 54, Number 10 (October 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/849 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE zJxtusic ^Magazine ©ctefoer 1936 Price 25 Cents ENSEMBLES MAKE INTERESTING RECITAL NUVELTIES PIANO Pianos as are Available The Players May Double-Up on These Numbers Employing as Many By Geo. L. Spaulding Curtis Institute of Music Price. 40 cents DR. JOSEF HOFMANN, Director Faculty for the School Year 1936-1937 Piano Voice JOSEF HOFMANN, Mus. D. EMILIO de GOGORZA DAVID SAPERTON HARRIET van EMDEN ISABELLE VENGEROVA Violin Viola EFREM ZIMBALIST LEA LUBOSHUTZ Dr. LOUIS BAILLY ALEXANDER HILSBERG MAX ARONOFF RUVIN HEIFETZ Harp Other Numbers for Four Performers at One Piamo Violincello CARLOS SALZEDO Price Cat. No. Title and Composer Cat. No. Title and Composer 26485 Song of the Pinas—Mildred Adair FELIX SALMOND Accompanying and $0.50 26497 Airy Fairies—Geo. -
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. -
Widerstand Aus Katholischen Kreisen S
Inhalt Vorwort S. 5 Einleitung S. 7 Die Künstlerkolonie am Laubenheimer Platz S. 12 Organisierter Selbstschutz gegen SA – Übergriffe in den Jahren 1931-1933 – Grossrazzia und Verhaftungswelle im «Roten Block» – Einzelschicksale in der Künstlerkolonie und die Flucht ins Exil – Zugehörigkeit zu kommunisti- schen Widerstandskreisen nach 1939 – Hilfe für Verfolgte: Helene Jacobs und Dr. Franz Kaufmann – Josi von Koskull: Eine Oppositionelle im Umfeld der Künstlerkolonie Wilmersdorfer Schulen zwischen Anpassung und Verweigerung S. 32 An der Cecilienschule (Nikolsburger Platz 5) – Das Bismarck-Lyzeum (Lassenstrasse 16-20) – Das Grunewald-Gymnasium (Herbertstrasse 2) – Die jüdische Privatschule Dr. Leonore Goldschmidt (Hohenzollerndamm 110a) – Das Heinrich-von-Kleist-Gymnasium (Kranzer Strasse 3) – Die Hindenburg-Oberrealschule (Am Volkspark 36) Jugendliche wehren sich S. 47 Bei der Bündischen Jugend – Jazz-Fans – In den Reihen der Organisation Todt Neu Beginnen S. 55 «Neu beginnen!» – George Eliasberg – Ernst Bry – Hedwig Leibetseder – Edith Jacobsohn – Edith Taglicht – Edith Schumann – Kontakte zur «Deutschen Volksfront» (Hermann Brill) Die Sozialistische Arbeiterpartei S. 63 Leitungsmitglied Walter Fabian – Käthe Schuftan – Hans Ils – Werner Jahr und Peter Loewy – Fürsorgerin Hilde Ephraim –Trotzkisten (Robert Springer) Sozialdemokraten gegen Gewalt und Diktatur S. 69 Angeklagte im Prozess 1934: Oswald Zienau und Fritz Strauss – Helene Hirscht – Jungbanner um Alfred Nau – Stummer Massenprotest – Kurt Funk – Hildegard Wegscheider – Siegfried Nestriepke – Gewerkschafter Dr. Otto Suhr – Die «Kreisauer» Carlo Mierendorff und Theodor Haubach Widerstand aus den Reihen der KPD S. 82 Illegale Gewerkschafter – Im Geheimapparat der KPD (Heinz Riegel und Erna Ueberrhein) – Hilde Rubinstein – Verborgene Druckereien und Waffen- lager – Fluchthelfer – Ruth Mock – Marta Astfalck-Vietz – Die»Rütli-Gruppe» (Hanno Günther und Elisabeth Pungs) – Schulze-Boysen/Harnack- Organisation Verfolgte Künstler S. -
La Sonnambula, Robert Le Diable, and Norma
PERFORMANCE SUGGESTIONS FOR FRANZ LISZT'S OPERATIC ARRANGEMENTS ON DON JUAN (DON GIOVANNI), LA SONNAMBULA, ROBERT LE DIABLE, AND NORMA BY CHARLES JOSEPH SMITH B.M., Roosevelt University (Chicago), 1994 M.M., University of Illinois at Urbana-Champaign, 1995 TRANSCRIPTS OF THE TWO LECTURE-RECITALS Submitted in partial fulfillment for the degree of Doctor of Musical Arts in Piano Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2002 Urbana, Illinois UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN SCHOOL OF MUSIC DECEMBER 2002 WE HEREBY RECOMMEND THAT THE RESEARCH PROJECT BY CHARLES JOSEPH SMITH ENTITLED PERFORMANCE SUGGESTIONS FOR FRANZ LISZTrS OPERATICE ARRANGEMENTS ON DON JUAN (Don GIOVANNI), LA SONNAMBULA, ROBERT LE DIABLE, AND NORMA BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS IN PERFORMANCE AND LITERATURE. Director of Research Head of Department Committee on Final Examination O 1H42 ABSTRACT The purpose of the dissertation is to find out how would a modern-day pianist of a new generation interpret the Liszt opera fantasies for piano--as Liszt wanted it to be done. The foci of the problem were in five interpretative areas of piano performance: tempo, dynamics, phrasing, pedal, and articulation. The study focused on these Liszt opera fantasies: Don Juan (Mozart), La Sonnambula (Bellini), Robert le Diable (Meyerbeer), and Norma (Bellini) . They not only give the best possible sample of Liszt's opera fantasies, but also show the best of the piano transcriptions Liszt had in his repertoire. Primary sources for this study included Dover's Franz Liszt: Piano Transcriptions of French and Italian Operas, Diary Notes of August Gollerich, and past and present recordings of pianists playing the selected fantasies, including Leslie Howard, Ferruccio Busoni, Louis Kentner, Raymond Lewenthal, Ian Hobson, and Michele Campanella. -
Program Berlinica Presents
THE AMERICAN PUBLISHING COMpaNY FOR BOOKS, MOVIES, AND MUSIC FROM BERLIN 2018 PROGRAM Berlinica Presents: 2018 Program BERLINICA, a publisher based in New from outside of Berlin, namely Mar- York and Berlin, brings Berlin to tin Luther’s Travel Guide. On the Trail of America. Our 2018 program features the Reformation in Germany, by Corne- A Place They Called Home: Reclaiming lia Doemer and Leipzig! One Thousand Citizenship, written by children and Years of German History by Sebastian grandchildren of Holocaust survi- Ringel. Both books are full color with vors who recently became German numerous pictures and maps. citizens. The collection is compiled In 2019, we will release Kurt Tuchol- and edited by Donna Swarthout. sky. The Short Fat Berliner Who Tried to Later in 2018 will have another Stop a Catastrophe With A Typewriter. book out by Kurt Tucholsky, Hereaf- This is a reprint of Harold Poor’s ter, where the iconic Weimar author landmark Tucholsky biography. Also imagines funny musing about the af- coming up: Our West-Berlin, a story terlife. The book is translated by Cin- collection by numerous Berlin writ- dy Opitz, the preface is by William ers and journalists. And finally, we Grimes. This will be our fifth book will publish a series of plays, start- by the German-Jewish writer after ing with Hinkemann by Ernst Toller, Germany? Germany! Satirical Writings; translated by Peter Wortsman. Prayer After the Slaughter, Rheinsberg; A All our books are in English and Storybook for Lovers; and Berlin! Berlin! available through Amazon, Barnes Berlinica publishes books on the & Noble, and all bookstores, and Berlin Wall and World War II history, also as ebooks. -
ANNIE FISCHER Mozart Piano Concerto No.22 Schumann Piano Concerto Op.54
SWR T al ap n e i s g i r O 1958 • • 1959 D R E E M AST E R ANNIE FISCHER Mozart Piano Concerto No.22 Schumann Piano Concerto Op.54 Radio-Sinfonieorchester Stuttgart des SWR Hans Müller-Kray SWR Sinfonieorchester Baden-Baden und Freiburg Hans Rosbaud Luzidität und Innigkeit Annie Fischer spielt Mozart und Schumann Annie Fischer WOLFGANG AMADEUS MOZART (1756–1791) Annie Fischer steht für eine von klassischer geworden und hatte eine begeisterte Kritik Luzidität und tief empfundener, romantischer verfasst. 1937, 14 Jahre später, sollten die bei- Konzert für Klavier und Orchester Nr. 22 Es-Dur KV 482 34:07 Piano Concerto No.22 E flat Major K482 Innigkeit getragene Kunst als einzigartige Er- den heiraten. 1 scheinung innerhalb der großen ungarischen I Allegro 13:47 Pianistentradition. Geboren am 5. Juli 1914 in 1925 wurde Annie Fischer als Studentin Ar- 2 II Andante 9:35 Budapest in eine jüdische Familie, zeigte sie nold Székélys an der Franz-Liszt-Musikakade- 3 III Allegro. Rondo 10:33 früh herausragende musikalische Begabung. mie in Budapest aufgenommen, wo sie ab Bis heute kursieren allerdings falsche Anga- 1929 von Ern�ő�������������������������������������������������������� Dohnányi, dem großen Kompo- Radio-Sinfonieorchester Stuttgart des SWR ben über ihre ersten Auftritte, die auch noch nisten und Pianisten, unterrichtet wurde und Hans Müller-Kray Eingang in die viel zitierten Nachrufe Allan Georg Solti (damals noch Györg Stern), Louis Kozinns in der New York Times und Niel Im- Kentner und Andor Foldes zu ihren Kommili- ROBERT SCHUMANN (1810–1856) melmans im Independent fanden: Weder trat tonen zählten. Während des Studiums debü- sie achtjährig erstmals öffentlich auf, noch tierte sie 1930 in Paris und 1931 in Rom. -
An Assessment of the Contribution to Australian String Pedagogy and Performance of Jan Sedivka
\ AN ASSESSMENT OF THE CONTRIBUTION TO AUSTRALIAN STRING PEDAGOGY AND PERFORMANCE OF JAN SEDIVKA BY MARlNA LOUISE PHILLIPS B.Mus (Hons) (The University of Western Australia) M.Mus (The University of Western Australia) SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (VIOLIN PERFORMANCE) UNIVERSITY OF TASMANIA HOBART, DECEMBER 2001 f~ I LL\fS y ',.\ t'h .1)_ I 2w l vof.1 This exegesis contains no material which has been accepted for a degree or diploma by the University or any other institution, nor is it material published or written by another person except where due acknowledgment has been made in the text. 2g 11 0 ' Date Jk,,~ touiu, P~· 11,f~ Marina Louise Phillips This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. 18 / 11 o / Date PL11°j1/ Marina Louise Phillips ABSTRACT The doctoral exegesis presented here has assessed the contribution to Australian string performance and pedagogy of Jan Sedivka, Professor of Violin for almost forty years at the Tasmanian Conservatorium of Music. The exegesis examines and documents the pedagogical philosophy, content, and process of Jan Sedivka. A biographical overview _of his musical life and a brief outline of signiflGant developments in the evolution of the Australian string culture precede a literature review. The methodology employed in this research included questionnaires, an extensive series of interviews and many hours of observation. The interviews were conducted with Sedivka and his former students from each five-year period of his teaching in Australia, in addition to prominent associates and colleagues. -
The Living Daylights 2(12) 26 March 1974
University of Wollongong Research Online The Living Daylights Historical & Cultural Collections 3-26-1974 The Living Daylights 2(12) 26 March 1974 Richard Neville Editor Follow this and additional works at: https://ro.uow.edu.au/livingdaylights Recommended Citation Neville, Richard, (1974), The Living Daylights 2(12) 26 March 1974, Incorporated Newsagencies Company, Melbourne, vol.2 no.12, March 26 - April 1, 28p. https://ro.uow.edu.au/livingdaylights/22 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The Living Daylights 2(12) 26 March 1974 Publisher Incorporated Newsagencies Company, Melbourne, vol.2 no.12, March 26 - April 1, 28p This serial is available at Research Online: https://ro.uow.edu.au/livingdaylights/22 Don Dunstan gags press • Brawling at Pentridge • Prying on teachers • Student news special a plagiarised potpourri of of news, Daylight Robbery views and trivia with MIKE MORRIS having to deal with the demoralising N december 12, 1969, a series of idealism . with one notable excep 22 today tion: Richard Milhous Nixon is a prospect o f a review o f their work bomb explosions rocked the Ital O by the Sydney morning herald's ian bank o f agriculture in Milan, killing quaker. Now aint that a spanner in the Thelma Forshaw. Last Saturday For- AST WEEK was our 21st issue, 16 people and wounding 88. Police G ood Works. shaw found herself unable to read which we characteristically forgot to and the judiciary moved, as they say, L HH, the last o f the high divers, more than 100 of the 760 words of announce, and this week we try out a new quickly and in a whirlwind drive ar the heavy rollers, the crazy Thomas Pynchon’s Gravity's rainbow. -
JUNE, 1969 60C WASHINGTON/ BALTIMORE EDITION
JUNE, 1969 60c WASHINGTON/ BALTIMORE EDITION THE FM LISTENING GUIDE . r . 'n YG} itas-er".175ro ó _o °.. - i ,1!11 (! TV 1151,!S~ .. ha...,.. .,wv . _ . v '7.] gl "The Sony 6060 is the brightest thing that happened to stereo in a long while. If outshines receivers costing hundreds more." i///,ompoo.11 111111111IIIt111Í11111SM\\\\\\\\\\\ SONY FM 88 90 92 94 96 98 100 102104 10E 108 MHz at I 1UNING .lN"WI, 1 .. .r. I STEREO RECEIVER 0060 SO110 STATE Sony Model STR-6060 FW AM/FM Stereo Receiver MANUFACTURER'S SPECIFICATIONS- 0.5°/o. FM Stereo Separation: More :han 0.2°/o at rated output; under 0.15°/o at FM Tuner Section-IHF Usable Sensitivity: 40 dB @ 1 kHz. AM Tuner Section-Sensi- 0.5 watts output. Frequency Response: 1.8 /t, V. S/N Ratio: 65 dB. Capture Ratio: tivity: 160 µ,V (built-in antenna); 10 µ,V Aux, Tape: 20 Hz to 60 kHz +0, -3 dB. 1.5 dB. IHF Selectivity: 80 dB. Antenna: (external antenna). S/N Ratio: 50 dE @ S/N Ratio: Aux, Tape: 100 dB; Phono: 70 300 ohm & 75 ohm. Frequency Response: 5 mV input. Amplifier Section Dynamic dB; Tape Head; 60 dB. Tone Control 20 to 20,000 Hz ±1 dB. Image Rejection: Power Output: 110 watts (total), 8 ohms. Range: Bass: ±10 dB @ 100 Hz; Treble: 80 dB. IF Rejection: 90 dB. Spurious Rejec- RMS Power Output: 45 watts per charnel, ±10 dB @ 10 kHz. General-Dimensions: tion: 90 dB. AM Suppression: 50 dB. Total 8 ohms.