Undergraduate Student Recital Noelle Barr, Violin Erik Lawrence, Piano May 21, 2021 | 6 Pm PDT | Virtual Event Program
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The Family of Leopold Auer in Reminiscences and Letters
The Family of Leopold Auer in Memories and Letters by Marina Akimova I In 2018 it will be 150 years since Leopold Auer began his teaching career at the St. Petersburg Conservatory. Since his death his name has become synonymous with that of an incomparable pedagogue of violin in the same way as Paganini’s name has become identical to that of a supreme violinist. By now no one knows for certain how exactly he taught his students. Sometimes he is described as merely an adroit manager who helped to organise the concert life of the already accomplished musicians. This opinion can be contradicted by the words of Heifetz who worshipped Auer all his life: “Professor Auer was an extraordinary and incomparable teacher. I do not think that there has ever been anyone to touch him in the whole world. Ask me not how he taught. I know not how to tell you about it because he taught every student entirely differently. Perhaps it was because of this supremely individual approach that he was such a marvellous teacher. For me even half an hour with Auer was sufficient to provide me with emotional and intellectual stimulus. He was possessed of a first class brain, superb sense of humour, marvellous nervous system, and tremendous magnetism. As you see everything in him was superlative.” Of late, interest in Auer and his teaching seems to be everywhere. One can come across his name in the most unusual places, for instance on an internet site or in a new book by Dina Rubin, a contemporary writer in the Russian language. -
Nikolai Tcherepnin UNDER the CANOPY of MY LIFE Artistic, Creative, Musical Pedagogy, Public and Private
Nikolai Tcherepnin UNDER THE CANOPY OF MY LIFE Artistic, creative, musical pedagogy, public and private Translated by John Ranck But1 you are getting old, pick Flowers, growing on the graves And with them renew your heart. Nekrasov2 And ethereally brightening-within-me Beloved shadows arose in the Argentine mist Balmont3 The Tcherepnins are from the vicinity of Izborsk, an ancient Russian town in the Pskov province. If I remember correctly, my aged aunts lived on an estate there which had been passed down to them by their fathers and grandfathers. Our lineage is not of the old aristocracy, and judging by excerpts from the book of Records of the Nobility of the Pskov province, the first mention of the family appears only in the early 19th century. I was born on May 3, 1873 in St. Petersburg. My father, a doctor, was lively and very gifted. His large practice drew from all social strata and included literary luminaries with whom he collaborated as medical consultant for the gazette, “The Voice” that was published by Kraevsky.4 Some of the leading writers and poets of the day were among its editors. It was my father’s sorrowful duty to serve as Dostoevsky’s doctor during the writer’s last illness. Social activities also played a large role in my father’s life. He was an active participant in various medical societies and frequently served as chairman. He also counted among his patients several leading musical and theatrical figures. My father was introduced to the “Mussorgsky cult” at the hospitable “Tuesdays” that were hosted by his colleague, Dr. -
Boston Symphony Orchestra Concert Programs, Season 65,1945-1946
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-FIFTH SEASON, 1945-1946 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, I945, BY BOSTON SYMPHONY ORCHESTRA, ItlC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. Be Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N. Penrose Hallowell Oliver Wolcott G. E. Judd, Manager [453 1 ®**65 © © © © © © © © © © © © © © © © © © © Time for Revi ew ? © © Are your plans for the ultimate distribu- © © tion of your property up-to-date? Changes © in your family situation caused by deaths, © births, or marriages, changes in the value © © of your assets, the need to meet future taxes © . these are but a few of the factors that © suggest a review of your will. © We invite you and your attorney to make © use of our experience in property manage- © ment and settlement of estates by discuss- © program with our Trust Officers. © ing your © © PERSONAL TRUST DEPARTMENT © © The V^Cational © © © Shawmut Bank © Street^ Boston © 40 Water © Member Federal Deposit Insurance Corporation © Capital % 10,000,000 Surplus $20,000,000 © "Outstanding Strength" for 108 Years © © © ^oHc^;c^oH(§@^a^^^aa^aa^^@^a^^^^^©©©§^i^ SYMPHONIANA Musical Exposure Exhibition MUSICAL EXPOSURE Among the chamber concerts organ- ized by members of this orchestra, there is special interest in the venture of the Zimbler String Quartet. Augmented by a flute, clarinet, or harpsichord, they are acquainting the pupils of high schools with this kind of music. -
Boston Symphony Orchestra Concert Programs, Season 33,1913-1914, Trip
SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, MARCH 26 AT 8.00 COPYRIGHT, 1914, BY C. A. ELLIS PUBLISHED BY C, A. ELLIS, MANAGER M MELBA KUBELTK These world famous artists prefer and use exclusively Everywhere acknowledged to be, musically, the most beautiful piano the world has ever known. Send for a description of the MASON & HAM- LIN TENSION RESONATOR, the greatest discovery in pianoforte construction in the last fifty years. ESTABLISHED 1854 492-494 BOYLSTON STREET. BOSTON SANDERS THEATRE CAMBRIDGE HARVARD UNIVERSITY Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor SEVENTH CONCERT THURSDAY EVENING, MARCH 26 AT 8.00 PROGRAMME Chadwick Symphony No. 3, F major I, Allegro sostenuto. II. Larghetto. III. Vivace non troppo: L'istesso tempo. IV. Finale : Allegro molto energico. Wagner "A Siegfried Idyl Tschaikowsky . Concerto in D major, for Violin, Op. 35 I. Allegro moderato. II. Canzonetta: Andante. III. Finale: Allegro vivacissimo. Wagner • • Overture, "Tannhauser" SOLOIST FRITZ KREISLER There will be an intermission of ten minutes after the symphony 3 Victrolas $15 to $200 at Steinert's If you have a Victrola you should know how convenient and satis- factory it is to buy records at our stores. You can make selections from very large stocks. You will be pleased with the prompt, cour- teous and intelligent service. Mail orders promptly filled Accounts solicited Records delivered anywhere in New England We invite you to call and hear at either of our Boston stores 35 ARCH STREET STEINERT HALL Largest Exclusive Victor Store 162 BOYLSTON STREET in New England Piano and Victor Departments Branches in Bangor, Portland, Brockton, Fall River, New Bedford, Fitchburg, Worcester, Springfield, Lowell, Haverhill, Providence, Pawtucket, Manchester, New Haven, Bridgeport, and other principal cities. -
Tchaikovsky Violin Concerto
Tchaikovsky Violin Concerto Friday, January 12, 2018 at 11 am Jayce Ogren, Guest conductor Sibelius Symphony No. 7 in C Major Tchaikovsky Concerto for Violin and Orchestra Gabriel Lefkowitz, violin Tchaikovsky Violin Concerto For Tchaikovsky and The Composers Sibelius, these works were departures from their previ- ous compositions. Both Jean Sibelius were composed in later pe- (1865—1957) riods in these composers’ lives and both were pushing Johan Christian Julius (Jean) Sibelius their comfort levels. was born on December 8, 1865 in Hämeenlinna, Finland. His father (a doctor) died when Jean For Tchaikovsky, the was three. After his father’s death, the family Violin Concerto came on had to live with a variety of relatives and it was Jean’s aunt who taught him to read music and the heels of his “year of play the piano. In his teen years, Jean learned the hell” that included his disas- violin and was a quick study. He formed a trio trous marriage. It was also with his sister older Linda (piano) and his younger brother Christian (cello) and also start- the only concerto he would ed composing, primarily for family. When Jean write for the violin. was ready to attend university, most of his fami- Jean Sibelius ly (Christian stayed behind) moved to Helsinki For Sibelius, his final where Jean enrolled in law symphony became a chal- school but also took classes at the Helsinksi Music In- stitute. Sibelius quickly became known as a skilled vio- lenge to synthesize the tra- linist as well as composer. He then spent the next few ditional symphonic form years in Berlin and Vienna gaining more experience as a composer and upon his return to Helsinki in 1892, he with a tone poem. -
June 1924) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1924 Volume 42, Number 06 (June 1924) 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 42, Number 06 (June 1924)." , (1924). https://digitalcommons.gardner-webb.edu/etude/713 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]. MVSIC “ETVDE MAGA ZINE Price 25 cents JUNE, 1924 $2.00 a Year JUNE 1924 Page 363 THE ETUDE New Publications that will serve Many Schools and Colleges Noteworthy Announcements in this Issue on Pages 363, 384, 366, 367, 368 _ Branches of the Music Profession \AMERICAN INSTITUTE ^njumitr g>rluml of JHuBiral Ir-Buralton Professional The Presser Policy is to Issue Only Those Book Publications that have Merit and are of Real Value \0F APPLIED MUSIC Music taught thru the awakening of the inner consciousness Directory to the Profession. With Compilations and Teaching Works the Aim is to Make Each Work One of \ Metropolitan College of Music High Standing in its Particular Classification. -
Concert Handout 2014-04-13
Wethersfield Chamber Concerts 13 April 2013 – 4pm THE VILLIERS QUARTET Violin - James Dickenson | Violin - Tamaki Higashi | Viola - Carmen Flores | Cello - Nick Stringfellow PROGRAMME NOTES by John Woollard BENJAMIN BRITTEN (1913-1976) – Three Divertimenti 1. March March contains spiky rhythms, sliding notes and colourful 2. Waltz harmonics typical of music from the first half of the 20th 3. Burlesque century, with clear influences from Stravinsky, Bartók and Britten’s teacher Bridge. At the same time the music is As a young man, Britten was a prolific composer, with tonal, accessible and appealing, as with most of Britten’s over 100 compositions completed before the age of 18. works throughout his career. Whilst the mature composer is perhaps best known for his stage and choral works such as Peter Grimes and the War The Second movement Waltz nods towards the pastoral Requiem, his early output contains many examples of very character of earlier English composers such as Vaughan skilful compositions for small ensembles and solo Williams, with compelling textures and dialogue between instruments. the players, and the third movement returns to the rhythms, techniques and sonorities of the 20th century. Apart from three numbered string quartets, Britten wrote The whole work demonstrates that Britten promised great these Divertimenti in 1933 when he was in his early things in his maturity; a composer of great skill, twenties. They were extensively revised a few years later imagination and originality. in 1936. Britten also showed that he was dedicated to the mission Perhaps Divertimento can best be “translated” as of writing music for the public, without needing to retreat “pleasing entertainment” without necessarily any serious into an isolated intellectual world. -
TWENTIETH REHEARSAL and CONCERT
Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telepkene, M92 Back Bay.) TWENTY-FOURTH SEASON, J904-J905. WILHELM GERICKE, CONDUCTOR programme OF THE TWENTIETH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, MARCH 31, AT 2.30 O'CLOCK. SATURDAY EVENING, APRIL J, AT 8.00 O'CLOCK. Published by C A. ELLIS^ Manager. 1293 "THE MAKERS OF THESE INSTRUMENTS have shown that genius for piano-, forte making that has been defined as 'an infinite capacity for taking pains'. The result of over eighty- one years of application of this genius to the production of musical tone is shown in the Chickering of to-day." Catalogue upon Application CHICKERING & SONS EttaHisAed iSaj 79, Tremont St, Boston U94 : TWENTY-FOURTH SEASON, I904-J905. Twentieth Rehearsal and Concert* FRIDAY AFTERNOON, MARCH 3J, at 2.30 o'clock. SATURDAY EVENING, APRIL J, at 8.00 o'clock. PROGRAMME. Brahms . Tragic Overture, Op. 8i . Violin, Tschaikowsky . Concerto in D major, for Op. 35 I. Allegro moderato. II. Canzonetta. III. Allegro vivacissimo. Hugo Wolf ..... Italian Serenade, First time Huber ..... Symphony No. 2, E minor, Op. 115 I. Allegro con fuoco. II. Allegro con fuoco non troppo. III. Adagio ma non troppo. " IV. Finale : Metamorphoses suggested by pictures by Bocklin." SOLOIST Mr. KARL BARLEBEN. There will be an intermission of ten minutes before ttie symphony. The doors of the hall will be closed during the performance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval 6e- tween the numbers. -
City Research Online
Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) City Research Online Original citation: Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) Permanent City Research Online URL: http://openaccess.city.ac.uk/7937/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. EARLY RECORDED VIOLINISTS CIHAT AS KIN 1996 EARLY RECORDED VIOLINISTS Cihat Askin Thesis submitted in partial fulfilment of the requirements for the degree of Doctorate of Musical Arts City University Music Department April 1996 2 CONTENTS Acknowledgements 25 Abstract 26 Preface 27 Introduction 29 Abbreviations & Symbols 32 1. Joseph Joachim 33 1.1 A Short Biography 34 1.2 Joachim: Beethoven and Brahms Concertos 35 1.3 Joachim as Performer 39 1.4 Joachim as Teacher 40 1.5 Analysis of Joachim's Recordings 43 1.5.1 Bach Adagio and Tempo di Borea 44 1.5.2 Vibrato 60 1.5.3 Chords 61 1.5.4 Perfect Rubato 62 1.5.5 Agogic Accents 62 1.5.6 Intonation 63 1.6 Conclusion 66 2. -
Boston Symphony Orchestra Concert Programs, Season 48,1928
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Eack Bay 1492 INC. SERGE KOUSSEVITZKY, Conductor FORTY-EIGHTH SEASON, 1928-1929 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1929, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA. Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-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 1449 THE INSTRUMENT OF THE IMMORTALS "RUSSIAN MASS," by Sergei Rachmaninoff, painted for the STEINWAY COLLECTION by Rockwell Kent Even to those who have no expert The extraordinary durability of knowledge of pianos, it is apparent the Steinway is the true index of its that some good reason must exist economy. For 30, 40, and even 50 for the universal prestige of the years or more it will serve you well. Steinway. Calculated on the basis of cost-per- The answer is simplicity itself, year, the Steinway is the most eco- The Steinway is the leading piano nomical piano you can own. among musicians everywhere be- And you need never buy another cause it is by far the best piano piano. • • • made and has been for more than — A new Steinway piano can be seventy-five years! bought from Artists of this rank demand a $875 up sonority and brilliance of tone, a Any Steinway piano may be purchased with degree of sensitivity which lie be- a cash deposit of 10%, and the balance will yond the range of the ordinary be extended over a period of two years. -
Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein Iolinv Methods
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein iolinV Methods. Allan Riggs Fuller Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Music Commons Recommended Citation Fuller, Allan Riggs, "Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein ioV lin Methods." (1974). LSU Historical Dissertations and Theses. 8156. https://digitalcommons.lsu.edu/gradschool_disstheses/8156 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. ^'SYNOPSES, COMPARISONS, AND EVALUATIONS OF THE LEOPOLD AUER AND ERICH DOFLEIN VIOLIN METHODS / A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Allan Riggs Fuller B.M., Central College, 1953 M.M,, University of Rochester, 1956 December, 1974 UMI Number: DP69543 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI Dissertation Publishing UMI DP69543 Published by ProQuest LLC (2015). -
Notes on the Program by James M
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Concerto in D major for Violin and Orchestra, Op. 77 Johannes Brahms ohannes Brahms was the chief acolyte of time. It was Joachim who had championed Jthe conservative stream of 19th-century Beethoven’s Violin Concerto to a degree that Romanticism. As a young composer, he lifted it in musical prestige from a perceived sought out the composer and critic Robert footnote in Beethoven’s catalogue to a reper- Schumann in 1853. Schumann was hugely toire masterwork. He would introduce such impressed by the young man’s talent, and on important works as Schumann’s Phantasie October 28 of that year he published in the for Violin and Orchestra (1854) and Violin Neue Zeitschrift für Musik, a musical maga- Concerto (though the latter only in private zine he had founded, an effusive article that performances beginning in 1855) and the acclaimed Brahms as a sort of musical Mes- final version of Max Bruch’s Violin Concer- siah, “destined to give ideal presentation to to No. 1 (in 1868), as well as Brahms’s Violin the highest expression of the time, … spring- Concerto and Double Concerto for Violin ing forth like Minerva fully armed from the and Cello. head of Jove.” Joachim’s presence looms large in the Brahms filled Schumann’s prophecy and case of Brahms’s Violin Concerto, as the became the figure who most fully adapted composer consulted with him very closely the models of Beethoven (via Mendelssohn while writing the piece and there is no ques- and Schumann himself) to the evolving aes- tion that Joachim’s influence on the final thetics of the mid-to-late 19th century.