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Journal of the American Viola Society Volume 9 No.2/3, 1993
JOURNAL afthe AMERICAN VIOLA SOCIETY Chapter of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research Vol. 9 Nos. 2&3 1993 The Journal ofthe American Viola Society is a publication ofthat organization and is produced at Brigham Young University, © 1993, ISSN 0898-5987. The Journalwelcomes letters and articles from its readers. Editorial andAdvertising Office: BYU Music Harris Fine Arts Center Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 Editor: David Dalton Assistant Editor: David Day Production: Helen Dixon JAVS appears three times yearly. Deadlines for copy and art work are March 1, July 1, and November 1; submissions should be sent to the editorial office. Ad rates: $100 full page, $85 two-thirds page, $65 halfpage, $50 one-third page, $35 one-fourth page. Classifieds: $25 for 30 words including address; $40 for 31-60 words. Advertisers will be billed after the ad has appeared. Payment to "American Viola Society" should be remitted to the editorial office. OFFICERS Alan de Vertich President School ofMusic University of So. California 830 West 34th Street Ramo Hall 112 Los Angeles, CA 90089 (805) 255-0693 Thomas Tatton Vice-President 2705 Rutledge Way Stockton, CA 95207 Pamela Goldsmith Secretary 11640 Amanda Drive Studio City, CA 91604 Ann Woodward Treasurer 209 w. University Ave. Chapel Hill, NC 27514 David Dalton Past President Editor, JA VS Brigham Young University Provo, Utah 84602 BOARD Mary Arlin J~ffery Irvine John Kella William Magers Donald !v1cInnes Kathryn Plummer Dwight Pounds -
A Chronology of All Artists' Appearances with the Chamber
75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 Season, 1938 – 1939 Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 Season, 1939 – 1940 The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 Season, 1940 – 1941 Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian PianoString Quartet The Coolidge Quartet th 4 Season, 1941 – 1942 The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 Season, 1942 – 1943 The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 Season, 1943 – 1944 The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 Season, 1944 – 1945 The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 Season, 1945 – 1946 The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 Season, 1946 – 1947 The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 Season, 1947 – 1948 Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 Season, 1948 – 1949 The Alma Trio -
APRIL 2009 LIST See Inside for Valid Dates
tel 0115 982 7500 fax 0115 982 7020 APRIL 2009 LIST See inside for valid dates Dear Customer As the weather here becomes positively agreeable and the evenings lengthen, we offer you a cornucopia of delights containing both new growth and old returning favourites in a seductively priced spring bouquet - we hope you cannot resist! The major new release this month is Angela Hewitt’s re-visit of the Bach 48, a fresh look at this masterpiece of the keyboard repertoire. The reports indicate a quite different approach from her original recordings a decade ago, resulting from her years of performing and living with this music - a ‘new-found freedom’ as Ms Hewitt calls it. We have made it available at a special price for this list, along with reductions on the whole of her Hyperion back catalogue. The LSO Live Gergiev Mahler series continues with Symphony no.8 recorded in the mammoth acoustic of St Paul’s Cathedral. DG, in this Handel year, provide us with the first ever studio recording of his neglected Ezio, first performed in London in 1732 and a fine example of ‘opera seria’. For fans of the Gheorghiu/Alagna duo, there is a fascinating new world premiere recording on the Larghetto label (see page 8) of excerpts from a little known opera by Vladimir Cosma, Marius and Fanny, inspired by the writings of Marcel Pagnol. As always, we have negotiated reduced price offers - HM Gold, Praga, Delphian, Accord, Handel sets on Hyperion, EMI Gemini and British Composers, and the Medici Arts DVD catalogue. Make the most of them. -
Annual Brochure 2016
· 2016 · www.ecma-music.com www.ecma-music.com EUROPEAN CHAMBER MUSIC ACADEMY Oslo 2015 Vilnius 2015 Großraming 2016 contents 04 Preface Bern 2015 Fiesole 2015 08 Erasmus+ 10 ECma – Educational program 12 Partnerships 14 Partners 23 Cooperating partners 24 STaTEmEnTs about ECma i 26 Ensembles 29 Alumni 30 Guest Ensembles 31 Awards and achievements Vienna/Grafenegg 2015 41 General assembly, 2015 42 STaTEmEnTs about ECma ii Oslo 2016 44 Tutors 49 Cd releases Manchester 2016 50 Obituary – peter Cropper 52 Events Vilnius 2016 54 The association as of october 2016 EuropEan ChambEr musiC aCadEmy 3 PREFACE – ThE STORY OF ECMA t was piero Farulli who had the original idea and subsequently asked potential how to search for and find their own inter pre tations. The expansion his good friends hatto beyerle (alban berg Quartet), Norbert brainin from string quartets to ensembles with piano or other instruments was a i (amadeus Quartet), and milan skampa (smetana Quartet) to head the natural consequence. first accademia Europea del Quartetto with him in Fiesole. This course, held during 2001 and 2002, was an extraordinary success for the young Today, following more than ten years of excellent work and out standing participants: the incredible experience of spending one week with four great success under the leadership of its two artistic directors, ECma has come artists and masters, each of them so different from the others, was utterly to be regarded as an apex of chamber music training. and a continuously unlike any of the master classes in which they had participated before! increasing number of institutions, academies, and festivals have come to view ECma as an anchor point: not as a standalone school, but as a strate- so piero asked hatto to take the lead and fashion a true programme of ad- gic partnership of institutions, each of which makes its own contribution in vanced training for chamber musicians that would travel throughout Europe. -
Analysis and Performance Problems of Vítězslava Kaprálová’S
ANALYSIS AND PERFORMANCE PROBLEMS OF VÍTĚZSLAVA KAPRÁLOVÁ’S STRING QUARTET, OP. 8 (1935-1936) by MARTA BLALOCK (Under the direction of Clint Taylor) ABSTRACT Vítězslava Kaprálová might have been forgotten due to her untimely death during the World War II, however her music has resurfaced in the past decades and her name is well known in the Czech Republic. With no published edition of Kaprálová’s String Quartet, currently available instrumental parts and recordings vary from the original autograph. This study focuses on historical and theoretical analysis of the work, editorial suggestions, and performance issues. The original autograph is compared to two copyist manuscripts of individual parts as well as two available sound recordings. INDEX WORDS: Vitezslava Kapralova, Vítězslava Kaprálová, String quartet, Czech, Moravia, Modernism, 1935, 1936, Analysis, Performance, Woman composer, Women in music, String quartet tradition, Folk music ANALYSIS AND PERFORMANCE PROBLEMS OF VÍTĚZSLAVA KAPRÁLOVÁ’S STRING QUARTET, OP. 8 (1935-1936) by MARTA BLALOCK B.Mus., Music Performance, University of Georgia, 2000 M.M., Music Performance, University of Georgia, 2003 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2008 © 2008 Marta Blalock All Rights Reserved ANALYSIS AND PERFORMANCE PROBLEMS OF VÍTĚZSLAVA KAPRÁLOVÁ’S STRING QUARTET, OP. 8 (1935-1936) by MARTA BLALOCK Major Professors: Levon Ambartsumian Clint Taylor Committee: Adrian Childs Stephen Valdez Mark Neumann Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2008 DEDICATION To my mother Ivanka Žaludová, for her encouragement and support. -
CUMULATIVE INDEX: SECTION (A): ARTICLES
CUMULATIVE INDEX to Czech Music and Other Society Journals: 1974-1994 Abstracted by Richard Beith Issue 2 July 1995 INTRODUCTION The Dvořák Society has always published a journal since the Society was founded in 1974. In the early years, the format and title changed frequently, but the name Czech Music has been used since 1978 and the familiar A5 format has been in use since 1980. Journal size has varied from the first issue, a single sheet of foolscap, printed on both sides, to the latest issue with 192 A5 size pages. Up until the Autumn 1987 issue, Czech Music also contained the “current information” listing concert dates, latest record news and forthcoming Society events. Since 1988 the entirely separate Newsletter has been published to cover such “current information”. Ephemeral items such as crosswords, concert announcements and new record issue news are omitted from the index, particularly such information appearing in the Journals prior to 1988, i.e. before the introduction of the separate Newsletter. The titles of articles, as printed, have occasionally been expanded by additional explanations in parenthesis. For example, “Music to Dismember” referring to cuts in live performances of Dvořák’s works now has the added comment: (Performance Cuts). Titles of musical works have generally been left in the language of the original articles, Czech, English or Slovak as appropriate. As the journals have not been given continuous pagination within one volume, i.e., as every separate issue starts with a page 1, a very full reference is given, egg: “March 74 1:1:1” = March 1974 issue, Volume 1, No 1, article starting on page 1; Summer 1993 18:1:87 = Summer 1993 issue, Volume 18, No 1, article starting on page 87. -
Catalogo Per Autori Ed Esecutori
Abel, Carl Friedrich Quartetti, archi, Op. 8, No. 5, la maggiore The Salomon Quartet The Schein String Quartet Addy, Obo Wawshishijay Kronos Quartet Adorno, Theodor Wiesengrund Zwei Stucke fur Strechquartett op. 2 Buchberger Quartett Albert, Eugene : de Quartetti, archi, Op. 7, la minore Sarastro Quartett Quartetti, archi, Op. 11, mi bemolle maggiore Sarastro Quartett Alvarez, Javier Metro Chabacano Cuarteto Latinoamericano 1 Alwyn, William Quartetti, archi, n. 3 Quartet of London Rhapsody for String Quartet Arditti string quartet Andersson, Per Polska fran Hammarsvall, Delsbo The Follinger-Hedberg Quartet The Galli Quintet The Goteborg Quartet The Halsingborg Quartet The Kjellstrom Quartet The Skane Quartet Andriessen, Hendrik Il pensiero Raphael Quartet Aperghis, Georges Triangle Carre Trio Le Cercle Apostel, Hans Erich Quartetti, archi, Op. 7 LaSalle Quartet Arenskij, Anton Stepanovic Quartetti, archi, op. 35 Paul Rosenthal, Vl Matthias Maurer, Vla Godfried Hoogeveen, Vlc Nathaniel Rosen, Vlc Arriaga y Balzola, Juan Crisostomo Jacobo Antonio : de Quartetti, archi, No. 1, re minore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet Quartetti, archi, No. 2, la maggiore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet 2 Quartetti, archi, Nr. 3, mi bemolle maggiore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet Atterberg, Kurt Quartetti, archi, Op. 11 The Garaguly Quartet Aulin, Tor Vaggvisa The Follinger-Hedberg Quartet The Galli Quintet The Goteborg Quartet The Halsingborg Quartet The Kjellstrom -
The String Quartet
The Cambridge Companion to THE STRING QUARTET ............ edited by Robin Stowell published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge, CB2 2RU, UK 40 West 20th Street, New York, NY 10011–4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Minion 10.75/14 pt. SystemLATEX2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data The Cambridge Companion to the string quartet / edited by Robin Stowell. p. cm. – (Cambridge companions to music) Includes bibliographical references and indexes. ISBN 0 521 80194 X (hardback) – ISBN 0 521 00042 4 (paperback) 1. String quartet. I. Stowell, Robin. II. Series. ML1160.C36 2003 785.7194 – dc21 2003043508 ISBN 0 521 80194 X hardback ISBN 0 521 00042 4 paperback Contents List of illustrations [page viii] Notes on the contributors [ix] Preface [xii] Acknowledgements [xiv] Note on pitch [xv] r Part I Social -
Program Trio in C Major, No
Long Theater * Stockton, California * March 31, 1979 * 8:00 p.m. FRIENDS OF CHAMBER MUSIC in cooperation with UNIVERSITY OF THE PACIFIC, and SAN JOAQUIN DELTA COLLEGE present Bruno Canino, piano Cesare Ferraresi, violin Rocco Filippini, cello PROGRAM TRIO IN C MAJOR, NO. 43 (HOBOKEN XV NO. 27) • (Franz) Joseph Haydn (1732 - 1809) Allegro Andante Finale (Presto) TRIO IN A MINOR (1915) . ... Maurice Ravel Modere (1875 - 1937) Pantoum (Assez vif) Passacaille (Tres large) Final (Anime) INTERMISSION TRIO IN B FLAT MAJOR, OPe 97 •• ..... Ludwig ("The Archduke") van Beethoven Allegro moderado (1770 - 1827) Scherzo (Allegro) Andante cantabile, rna pero con moto (Variations) Allegro moderato - Presto Trio di Milano is represented by Mariedi Anders Artists Manage ment, Inc., 535 El Camino Del Mar, San Francisco, California. The TRIO DI MILANO, composed of three noted and talented musicians, was formed in the spring of 1968. Engaged by the most important Italian musical societies to play at Milan, Torino, Venice, Rome, Florence, Pisa, Genoa, and Padua, the Trio has also performed in Germany, Switzerland, Spain, Portugal and the United States and has been acclaimed with enthu siasm and exceptional success everywhere. CESARE FERRARESI was born at Ferrara in 1918, took his degree for violin at the Verdi Conservatorio of Milan, where he is now Principle Professor. Winner of the Paganini Prize and of the International Compe tition at Geneva, he has now for many years enjoyed an intensely full and busy career as a concert artist. Leader of the Radio Symphony Orchestra (RAI) at Milan and soloist of the "Virtuosi di Roma", he has played at the most important music festivals at Edinburgh, Venice, Vienna, and Salz burg and in the major musical centers of Europe, Japan, and the United States. -
Pavel Haas Quartet
IN ASSOCIATION WITH DUKE PERFORMANCES THE CHAMBER ARTS SOCIETY OF DURHAM PRESENTS PAVEL HAAS QUARTET FRI, MAY 7 VIRTUAL PERFORMANCE IN ASSOCIATION WITH DUKE PERFORMANCES THE CHAMBER ARTS SOCIETY OF DURHAM PRESENTS PAVEL HAAS QUARTET FRI, MAY 7 VIRTUAL PERFORMANCE PROGRAM String Quartet No. 11 in F Minor, Ludwig van Beethoven op. 95 (“Serioso”) (1770-1827) I. Allegro con brio II. Allegretto ma non troppo III. Allegro assai vivace ma serioso IV. Larghetto espressivo; Allegretto agitato; Allegro String Quartet No. 7, H. 314, Bohuslav Martinů Concerto de camera (1890-1959) I. Poco allegro II. Andante III. Allegro vivo Beethoven: String Quartet No. 11 in F Minor, op. 95 (“Serioso”) Written in 1810, Beethoven’s eleventh quartet occupies a special position in his output. Stylistically and historically, it forms a bridge between what would become known as his middle and late periods. Both were characterized by highly influential formal experiments, with the late works taking well-established conventions to new extremes. Beethoven himself was highly aware of this transition, perhaps explaining why he provided the “Serioso” subtitle, himself. In this piece, the composer’s approach foreshadows some of his more radical ideas, but it also confidently cements the fearless verve that built his reputation over the preceding decade. With its explosive opening motto, the Allegro con brio announces itself as a work that means business. But, clear though the music’s resolve may be, it is also unstable. To use a spatial metaphor, Beethoven renders a carved-up landscape: patches of calm beauty immediately juxtapose with violent outcroppings. Holding the movement together, in spite of its volatility, is a relatively small network of melodic fragments. -
Acies Quartett (Photo: Emir Memedovski)
Acies Quartett (Photo: Emir Memedovski) Glenn Gould (1932–1982) String Quartet Streichquartett 1 measure/Takt 1 7:56 2 measure/Takt 196 7:14 3 measure/Takt 347 9:03 4 measure/Takt 525 12:48 Friedrich Gulda (1930–2000) Music for String Quartet in F-sharp Minor Musik für Streichquartett fi s-Moll 5 I Andante appassionato 5:55 6 II Presto 4:28 7 III Tranquillo 8:58 Acies Quartett Benjamin Ziervogel 1st violin / 1. Violine Raphael Kasprian 2nd violin / 2. Violine Jozef Bisak (1-4), Simon Schellnegger (5-7) viola / Viola Thomas Wiesfl ecker cello / Violoncello 2 Glenn Gould, Komponist und Antidogmatiker Eine der besten Biographien über Glenn Herbert Gould, Als Glenn Gould zwischen 1953 und 1955 sein Streichquartett verfasst von Kevin Bazzana, trägt im Original den Titel: (welchem er dann die Opuszahl „1“ verlieh) schrieb, war er “Wondrous Strange: The Life and Art of Glenn Gould”. Der noch eine kleine Weile entfernt von dem Weltruhm, in den erste Teil des Titels ist in seiner Ambiguität nicht einfach, ihn 1955 seine beiden Klavierabende in Washington und aber immerhin annähernd als “wundersam-absonderlich” New York und die darauf folgende Einspielung der Goldberg zu übersetzen. (In der deutschen Ausgabe heißt es, pro- Variationen für Columbia Records katapultieren sollte. In saisch und schlicht: “Glenn Gould: Die Biographie”.) Der Kanada hingegen war seine Karriere schon länger aktiv. Originaltitel passt so gut, weil Glenn Gould, 1932 in Toronto Seinen ersten Auftritt mit dem Toronto Symphony Orchester geboren, alles darstellt, was diese Phrase konnotiert. So war bestritt er immerhin im Alter von 14 Jahren (mit Beethovens Gould ein wandelnder Widerspruch. -
Brahms String Sextets WDR Chamber Players
Brahms String Sextets WDR Chamber Players 1 Johannes Brahms (1833-1897) A testing ground for chamber music Thoughts on the Brahms string sextets String Sextet No. 1 in B-flat Major, Op. 18 (1862) 1 I. Allegro ma non troppo 13. 33 “One hears six intelligent people at the same time are granted absolute 2 II. Andante, ma moderato 8. 56 conversing among themselves, derives individuality. 3 III. Scherzo. Allegro molto 3. 04 pleasure from their discourse, and gets to 4 IV. Rondo. Poco allegretto e grazioso 9. 15 know the peculiarities of the instruments.” On this basis, the string quartet — If Goethe’s well-known aperçu concerning probably the most significant chamber- String Sextet No. 2 in G Major, Op. 36 (1865) the string quartet could be so easily music genre in the history of European 1 I. Allegro non troppo 13. 48 adapted to the string sextet by merely music, thanks to its aesthetic appeal — has 2 II. Scherzo. Allegro non troppo - Presto giocoso - Tempo primo 7. 04 replacing the number four by six, then one developed a tradition that extends from 3 III. Adagio 8. 37 would truly be oversimplifying matters its beginnings with Haydn through Mozart 4 IV. Poco allegro 8. 12 with regard to the string sextet. For and Beethoven until well into the 20th the essence of Goethe’s thinking — the century. The string sextet cannot present Total playing time: 72. 45 conversation in which each participant a comparable development as a genre, has an equally important say — cannot irrespective of the varying combination WDR Symphony Orchestra Cologne be transferred without further ado to of instruments: for there was no standard Chamber Players: the extended ensemble.