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Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES 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 Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840 -
Landowska, Wanda (1879-1959) Wanda Landowska at the by Patricia Juliana Smith Harpsichord in 1907
Landowska, Wanda (1879-1959) Wanda Landowska at the by Patricia Juliana Smith harpsichord in 1907. Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Wanda Landowska, a member of Natalie Clifford Barney's famed lesbian salon, was almost single-handedly responsible for the revival of the harpsichord as a performance instrument in the twentieth century. In her enthusiastic research to uncover the forgotten music and performance styles of the seventeenth and eighteenth centuries, she paved the way for today's interest in authentic performances of early music on original instruments. Landowska, born July 5, 1879 in Warsaw, Poland, was a musical prodigy who began playing the piano at the age of four, and from a very young age was trained at the Warsaw Conservatory. At fifteen, she went to Berlin to study composition, and, although she was a rather rebellious student, began to win prizes in major competitions for her songs and piano works. While in Berlin, she met Polish folklorist Henry Lew, who encouraged her research and performance of early music, and assisted her in writing her book, Musique ancienne (1909). In 1900, she married Lew and moved with him to Paris, where she was able to gain a greater audience. While the relationship was a mostly supportive one, Landowska wished to be relieved of the sexual aspects of marriage. Accordingly, she arranged a ménage à trois, by hiring a maid who would also function as Lew's mistress. The situation was apparently satisfactory for all involved, and, even after Lew died in 1919, the maid remained in the musician's service until the latter's death. -
Myra Hess Had to Wait for Her Ultimate Breakthrough in Her English Homeland; for This Reason, She Initially Had to Earn Her Living by Teaching
Hess, Myra Irene Scharrer. However, Myra Hess had to wait for her ultimate breakthrough in her English homeland; for this reason, she initially had to earn her living by teaching. Her first major success abroad was her debut in Amster- dam, where she performed Schumann's Piano Concerto in A minor, Op. 54 with the Concertgebouw Orchestra un- der Willem Mengelberg in 1912. In 1922 followed her de- but in New York, where she was celebrated with equal en- thusiasm. Her career advanced rapidly from that point onwards, and she rose to the position of one of the most successful pianists in her homeland during the ensuing years. During the 1930s, she undertook extended concert tours throughout all of Europe, including the Scandinavi- an countries, Czechoslovakia, Hungary, Rumania, Tur- key, Yugoslavia, Germany, France and Holland. At the be- ginning of the Second World War, when all of London's concert halls were closed, she founded the legendary "Lunchtime Recitals" at the National Gallery, offering the London public a broad spectrum of high-quality pro- grammes with both young and established musicians. She herself performed at the National Gallery 146 times. The concerts were held without interruption until 10 Ap- Die Pianistin Myra Hess ril 1946. In 1941 Myra Hess was honoured with the title "Dame Commander of the Order of the British Empire" Myra Hess for her special efforts on behalf of musical life in her ho- meland. After the Second World War, the meanwhile fa- * 25 February 1890 in Hampstead (im heutigen mous pianist regularly gave concerts in her native count- Londoner Stadtbezirk Camden), England ry and in the USA, where she enjoyed great popularity. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
ARSC Journal XXV I I 1994
JEFFREY HOLLANDER The Artistry of Myra Hess: Recent Reissues Dame Myra Hess-Vol. I Pearl GEMM CD 9462 Jin, Felix Salmond, 'cello), Brahms: Piano [Pearl I] (69'40") Trio in C Major, op. 87 (with Jelly d'Aranyi, Contents: Bach: French Suite no. 5, BWV violin, Gaspar Cassad6, 'cello) 816: Gigue; Schubert: Sonata in A Major, D. 664; Schubert: Rosamunde, 'Ballet Music' Dame Myra Hess (1890-1965) EMI CDH 7 (arr. Ganz); Beethoven: Sonata in A Major, 63787 2 [EM!] (75'57") op. 69 (with Emanuel Feuermann, 'cello); Contents: Beethoven: Piano Sonata in E Chopin: Nocturne in F-sharp Major, op. 15, Major, op. 109; Piano Sonata in A-flat no. 2; Mendelssohn: Song without Words in Major, op. 110; Scarlatti: Sonata in C A-flat Major, op. 38, no. 6; Brahms: Minor, K. 11/L. 352; Sonata in G Major, K. Capriccio in B Minor, op. 76, no. 2; Dvorak: 14/L. 387; Beethoven: Fur Elise; Bagatelle Slavonic Dance in C Major, op. 46, no. 1 in E-flat Major, op. 126, no. 3; (with Hamilton Harty, piano); Debussy: Mendelssohn: Song without Words in A Images, Book II, 'Poissons d'or'; Preludes, Major, op. 102, no. 5; Granados: Goyescas Book I, 'La fille aux cheveux de Jin' and no. 4, 'La maja y el ruiseiior'; Brahms: 'Minstrels'; Bach: Chorale, 'Jesu, Joy of Waltz in A-flat Major, op. 39, no. 15; Man's Desiring' (arr. Hess) Intermezzo in C Major, op. 119, no. 3; J.S. Bach: Toccata, Adagio, and Fugue, BWV Dame Myra Hess-Vol. II Pearl GEMM CD 564: Adagio (arr. -
Programm 2017
Musiksommer am Zürichsee 2017 Interkantonale Festkonzerte Programm www.musiksommer.ch OSTWÄRTS Herzlichen Dank Liebe Freundinnen und Freunde des Musiksommers am Zürichsee unseren Sponsoren, Gönnerinnen und Gönnern, Ge meinde-, Kirchen- und Kantonsbehörden, Firmen, Institutionen und Privatpersonen, die den «Musiksommer am Zürichsee» ideell Einmal mehr freuen wir uns, Ihnen ein musikalischen Nachwuchs im Podium und finanziell grosszügig unterstützen. facettenreiches Programm an den zahl- junger Künstler oder im Chopin-Salon Hauptsponsoren: reichen Wunderorten rund um den Zü- auf der Halbinsel Au. richsee zu präsentieren. Ein besonderer Akzent liegt heuer auf der Musik aus dem Wir würden uns freuen, Sie an diesen osteuropäischen Raum: Mit Dvorˇák, inspirierenden und geschichtsträchti- Smetana, Liszt, Chopin, Kodály und gen Orten am Zürichsee mit Klängen, Co-Sponsoren: Rachmaninow, aber auch mit unbe- Gedanken und musikalischen Formen kannteren Komponisten wie z.B. Luboš zu begeistern. Gleichzeitig möchten wir Fišer, öffnen wir unsere Ohren dem uns für die wichtige Unterstützung des Klang der slawischen Seele. Auch ein 22. Musiksommers bedanken. Blick auf die Interpretinnen und Interpre- ten zeigt die grosse Verehrung des Musiksommers für die Künstler aus Ein herzliches Dankeschön dem Osten: sie stammen aus Weiss- Eventsponsoren: russland, Rumänien, Russland, Tsche- Ihre chien und Serbien. Selbstverständlich präsentiert das Festival auch wieder verschiedene Schweizer Ensembles, Medienpartner Solistinnen und Solisten und fördert den Giovanni Bria Graziella Contratto 2 3 Programmübersicht Freitag Rapperswil Eröffnungskonzert – Aus Böhmen und Mähren Seite 8 Freitag Bubikon Schubertiana Seite 10 26. Mai Schloss, Rittersaal 11. August Ritterhaus 19.30 Uhr Dvorˇák Trio 19.30 Uhr Alexander Kaimbacher (Tenor) und Alexander Boldachev (Harfe) Werke von Fišer, Smetana und Dvorˇák Liederabend mit Werken von Schubert, Glinka, Beethoven, Chopin, Smetana und Schumann Freier Eintritt (Kollekte) Nummerierte Plätze zu CHF 30 Freitag Rüti/ZH Meisterpianisten – Ana Silvestru Seite 8 9. -
Simone Dinnerstein, Piano Sat, Jan 30 Virtual Performance Simone Dinnerstein Piano
SIMONE DINNERSTEIN, PIANO SAT, JAN 30 VIRTUAL PERFORMANCE SIMONE DINNERSTEIN PIANO SAT, JAN 30 VIRTUAL PERFORMANCE PROGRAM Ich Ruf Zu Dir Frederico Busoni (1866-1924) Johann Sebastian Bach (1685-1750) Three Chorales Johann Sebastian Bach Ich Ruf Zu Dir Richard Danielpour Frederico Busoni (1866-1924) | Johann Sebastian Bach, (1685-1750) (b, 1956) Les Barricades Mysterieuses François Couperin (1688-1733) Arabesque in C major, Op. 18 Robert Schumann (1810-1856) Mad Rush Philip Glass (b. 1937) Tic Toc Choc François Couperin BACH: “ICH RUF’ ZU DIR,” BWV 639 (ARR. BUSONI) Relatively early in his career, Bach worked in Weimar as the court organist. While serving in this capacity, he produced his Orgelbüchlein (little organ book): a collection of 46 chorale preludes. Each piece borrows a Lutheran hymn tune, set in long notes against a freer backdrop. “Ich ruf’ zu dir,” a general prayer for God’s grace, takes a particularly plaintive approach. The melody is presented with light ornamentation in the right hand, a flowing middle voice is carried by the left, and the organ’s pedals offer a steady walking bassline. The work is further colored by Bach’s uncommon choice of key, F Minor, which he tended to reserve for more wrought contrapuntal works. In this context, though, it lends a warmth to the original text’s supplication. In arranging the work for piano, around the year 1900, Busoni’s main challenge was to condense the original three-limbed texture to two. Not only did he manage to do this, while preserving the original pitches almost exactly, he found a way to imitate the organ’s timbral fullness. -
Kathleen Ferrier
Kathleen Ferrier ARIADNE 5004 In Celebration of BACH Kathleen Ferrier Johann Sebastian Bach (1685-1750) In Celebration of Kathleen Ferrier contralto Ena Mitchell, Friedl Riegler, Irmgard Seefried soprano William Herbert, Hugo Meyer-Welfing tenor BACH Otto Edelmann, William Parsons bass Wiener Staatsopernchor, The Cantata Singers Wiener Philharmoniker / Volkmar Andreae Magnificat Jacques Orchestra / Dr Reginald Jacques FIRST RELEASE Wiener Staatsopernchor 1 bn a – JS Bach: Magnificat, BWV 243.2 31:36 Wiener Philharmoniker bo – co JS Bach: Cantata No.11, Praise our God *b 26:07 Volkmar Andreae cp – dl JS Bach: Cantata No.67, Hold in affection Jesus Christ *c 16:24 dm JS Bach: Cantata No.147, Jesu, Joy of Man’s Desiring *d 3:33 Praise our God *Sung in English (Cantata 11) Total duration: 77:41 Hold in affection Jesus Christ Recorded at: a Grosser Musikvereinssaal, Vienna on June 10, 1950 (Cantata 67) b Kingsway Hall, London on October 6 and November 1, 1949 c Kingsway Hall, London on November 3, 1949 d Kingsway Hall, London on October 8, 1949 Jesu, Joy of Man’s Desiring Audio restoration: Adrian Tuddenham and Norman White (Cantata 147) Mastering: Paul Arden-Taylor Ariadne Cover: Kathleen Ferrier, June 7, 1950, International Bach Festival, Vienna The Cantata Singers Design: Andrew Giles Booklet Editor: Michael Quinn The Jacques Orchestra © & 2019 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND AAD Made in the EU Dr Reginald Jacques Ariadne Kathleen Ferrier In Celebration of BACH br Ah, tarry yet, my dearest Saviour Kathleen Ferrier contralto -
Wwciguide April 2019.Pdf
From the President & CEO The Guide The Member Magazine for WTTW and WFMT Dear Member, Renée Crown Public Media Center This month, we are excited to bring you a sweeping new adaptation of Victor Hugo’s 5400 North Saint Louis Avenue Chicago, Illinois 60625 classic novel Les Misérables. This new six-part series, featuring an all-star cast including Dominic West, David Oyelowo, and recent Oscar winner Olivia Colman, tells the story of fugitive Jean Valjean, his relentless pursuer Inspector Javert, and other colorful characters Main Switchboard (773) 583-5000 in turbulent 19th century France. We hope you’ll join us on Sunday nights for this epic Member and Viewer Services drama, and explore extra content on our website including episode recaps and fact vs. (773) 509-1111 x 6 fiction. If spring is a time of renewal, that is also certainly true of some of WTTW’s offerings Websites wttw.com in April, including eagerly awaited new seasons of three very different British detective wfmt.com series – Father Brown, Death in Paradise, and Unforgotten – and Mexico: One Plate at a Time, Jamestown, and Islands Without Cars. On wttw.com, as American Masters features Publisher newspaper magnate Joseph Pulitzer, we profile Chicago winners of the journalism and Anne Gleason arts award that bears his name, and highlight some extraordinary African American Art Director Tom Peth entrepreneurs in Chicago. WTTW Contributors WFMT will present the annual Rising Stars concert of the Ryan Opera Center, and Julia Maish Dan Soles organist Nathan Laube’s four-part international organ festival on Friday evenings, All the WFMT Contributors Stops with Nathan Laube. -
MUSIC Artist in Residence Recital Inna Faliks, Piano
Department of MUSIC College of Fine Arts presents a Artist in Residence Recital Inna Faliks, piano PROGRAM Ludwig van Beethoven Polonaise, Op. 89 in C Major ( 1770-1827) Robert Schumann DavidsbOndlertanze, Op. 6 (1810-1856) Lebhaft lnnig Mit Humor Ungeduldig Einfach Sehr rasch Nicht schnell Frisch No tempo indication Balladenma~ig Einfach Mit Humor Wild und lustig Zart und singend Frisch Mit gutem Humor Wie aus der Ferne (Come da lontano) Nicht schnell INTERMISSION Rodion Shchedrin Basso Ostinato {b. 1932) Lev Zhurbin Sirota (b . 1978) Maurice Ravel Gaspard de la Nuit (1875-1937) Ondine Le Gibet Scarbo Tuesday, January 28, 2014 7:30 p.m. Dr. Arturo Rando-Grillot Recital Hall Lee and Thomas Beam Music Center University of Nevada, Las Vegas Biography Called "adventurous" and "passionate" by The New Yorker, Ukrainian-born, New York City based pianist Inna Faliks has established herself as one of the most passionately committed, exciting and poetic artists of her generation. After acclaimed teenage debuts at the Gilmore Festival and with the Chicago Symphony Orchestra, she performed on many of the world's great stages, with numerous orchestras, in solo appearances, and with conductors such as Leonard Slatkin and Keith Lockhart. Critics praise her "courage to take risks, expressive intensity and technical perfection" (General Anzeiger, Bonn), "Infusing every note with brilliance and personality," (Hilton Head Competition Review), "poetry and panoramic vision" (Washington Post), "riveting passion, playfulness" (Baltimore Sun) and her "virtuosity, humor, lyricism and a way to make every note an important part of the texture of the music" (Free Times, South Carolina). Her critically acclaimed CD on MSR Classics, Sound of Verse, was released in 2009, featuring music of Boris Pasternak, Rachmaninoff and Ravel. -
Marshall University Music Department Presents an Eighth Annual Festival of New Music Steve Hall
Marshall University Marshall Digital Scholar All Performances Performance Collection 3-2-2017 Marshall University Music Department Presents an Eighth Annual Festival of New Music Steve Hall Follow this and additional works at: http://mds.marshall.edu/music_perf Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Hall, Steve, "Marshall University Music Department Presents an Eighth Annual Festival of New Music" (2017). All Performances. 760. http://mds.marshall.edu/music_perf/760 This Recital is brought to you for free and open access by the Performance Collection at Marshall Digital Scholar. It has been accepted for inclusion in All Performances by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. MARSHALL UNIVERSITY SCHOOL OF MUSIC EIGHTH ANNUAL FESTIVAL OF NEW MUSIC sponsored by Marshall University School of Music, College of Arts and Media, and MUsic Alive Concert Series Featured Guest Composers 2017 Featured Composers Marshall University School of Music Luciano Berio (1925-2003) Jarohn Grandstaff, Marshall University Eighth Annual Craig Hultgren, Decorah, IA James Harley, University of Guelph Charles Ingram, University of Southern Mississippi Festival of New Music Daniel Kessner, California State University, Northridge Mike McFerron, Lewis University David Morneau, Artistic Director of Circuit Bridges March 2-3, 2017 Charles Norman Mason, University of Miami Gene Pritsker, founder Sound Liberation John Shuff, Marshall University Anne Warren, Artistic Director of Concrete Timbre, NY Luigi Zaninelli, University of Southern Mississippi Frank Zappa (1940-1993) Mark Zanter, Marshall University FESTIVAL SCHEDULE Featured Performers (see http://www.marshall.edu/music/vcalendar/ for an up-to-date li sting) Craig Hultgren Thursday, March 2, 2017 For several decades, cellist Craig Hultgren ha s been Concert One: Collage a fixture on the scenes for new music, the newly 7:30 PM, Marshall University Smith Recital Hall creative arts, and the avant-garde. -
Myra Hess Artur Rubinstein
COMMUNITY CIVIC MUSIC ASSOCIATION OF LOS ANGELES Moss and Hayman, Directors MYRA HESS April 11 ARTUR RUBINSTEIN April 13 contents April 1959 MYRA HESS April 11..................................... Pages 7-13 ARTUR RUBINSTEIN April 13..................................... Pages 18-21 WHO’S WHO Myra Hess......................................... 14 Artur Rubinstein ............................. 23 FIRE NOTICE: Look around now, choose the nearest exit to your seat, and in case of disturbance of any kind, to avoid the dangers of panic, WALK (do not run) to that exit. SMOKING IS NOT PERMITTED in the foyer of this theatre by order of the Los Angeles Fire Department. ______________ JOHN F. HUBER PUBLISHING COMPANY, INC. 1149 North McCadden Place • Hollywood 38 • Hollywood 2-6961 Advertising Sales Representatives for THE PLAYGOER • SYMPHONY MAGAZINE • MUSIC MAGAZINE HOLLYWOOD BOWL MAGAZINE • GREEK THEATRE MAGAZINE JOHN F. HUBER, Publisher; DOUGLAS CRANE and MARY L. LACY, Associate Publishers and Editors; JANE MARSHALL, Executive Secretary; KAY SIMS, Art Assistant; HELENE REILLY, Editorial Assistant; BARBARA HUBER, Shopwindows Editor; FRED WILLIAM CARTER, Photographer; PARKER & PARKER, Auditors; RUTH L. WAGNER, Comptroller; FREDERICK HANAU STERN, D. A. CAMPBELL, IRWIN FRIES, Advertising Sales Representatives; RAY ROVIN, Magazine Sales. Eastern Representative: NATIONAL THEATRE & CONCERT MAGAZINE, 258 Fifth Avenue, New York 1, N. Y. Saturday Evening, April 11, 1959 at 8:30 COMMUNITY CIVIC MUSIC ASSOCIATION Moss and Hayman, Directors presents MYRA HESS pianist PROGRAM Group I. Prelude and Fugue in E Major, Book II, No. 9........................... Bach Prelude and Fugue in B Minor, Book II, No. 24......................... Bach Toccata in D Major .................................................................................Bach LAST ACT—C. C. Brown’s World Famous Hot Fudge Sundaes. LOCATION—7007 Hollywood Blvd.—/é Block West of Chinese Theatre.