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CASADESUS the Complete French Columbia Recordings
THE FRENCH PIANO SCHOOL ROBERT CASADESUS The complete French Columbia recordings ROBERT CASADESUS The complete French Columbia recordings 1928–1939 including the first release of the 1931 Mozart ‘Coronation’ Concerto COMPACT DISC 1 (78.15) SCARLATTI 11 Sonatas 1. Sonata in D major, Kk430 (L463) .................................................................. (1.51) 2. Sonata in A major, Kk533 (L395) .................................................................. (2.23) 3. Sonata in D major, Kk23 (L411) ................................................................... (2.29) 4. Sonata in B minor, Kk377 (L263) .................................................................. (1.17) 5. Sonata in D major, Kk96 (L465) ................................................................... (4.10) 6. Sonata in D minor, Kk9 (L413) ..................................................................... (1.36) 7. Sonata in G major, Kk125 (L487) .................................................................. (2.00) 8. Sonata in B minor, Kk27 (L449) ................................................................... (1.54) 9. Sonata in G major, Kk14 (L387) ................................................................... (1.53) 10. Sonata in E minor, Kk198 (L22) ................................................................... (2.10) 11. Sonata in G major, Kk13 (L486) ................................................................... (1.58) Recorded on 15 June 1937; matrices CLX 1952-1Tracks 1,2, 1953-33,4, 1954-15, 1955-36,7, 1956-38,9, -
Philharmonic Au Dito R 1 U M
LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living. -
Current Review
Current Review Wolfgang Amadeus Mozart & Richard Strauss: Violin Concerto K 219 & Symphonia Domestica aud 97.535 EAN: 4022143975355 4022143975355 www.musicweb-international.com (Mark Sebastian Jordan - 2008.09.05) This disc provides a pleasant snapshot of the work of Vladimir Ashkenazy live in concert with the Deutsches Symphonie Orchester, Berlin, the ensemble originally formed as the RIAS-Berlin Symphony and led by the great Ferenc Fricsay in the 1950s. Before Fricsay’s death, the ensemble changed its name to the Berlin Radio Symphony, a name it kept through several music directors. Ashkenazy was director of the orchestra for a decade, starting in 1989, and was presiding when the ensemble changed to its present name in 1993. Presented here are two snapshots of his work with the orchestra, featuring Ashkenazy’s “private passions” for the orchestral works of Richard Strauss and the concerted pieces of Wolfgang Mozart. Ashkenazy has shown a strong commitment to Strauss both in concert and in the recording studio, so his Symphonia Domestica is a welcome visitor. The live performance from 1998 captured here brings Ashkenazy’s soulful warmth and a delight in Strauss’s orchestral effects—yes, even the vulgar ones, such as the infamous crying baby sequence. This release serves well to represent this part of Strauss’s body of works in Ashkenazy’s career, as well as a nice souvenir of his work in Berlin. I have seen that Ondine also released a Symphonia Domestica from when Ashkenazy conducted the Czech Philharmonic, but I haven’t been able to hear that for comparison. The present performance is amply satisfying, even if doesn’t unseat any of the great recordings of the past, especially considering that a couple of those are performed by formidable representatives of what was once known as “the American sound”. -
Boston Symphony Orchestra Concert Programs, Summer, 1951-1953
TANGLEWOOD ">••••: : : :S* :Si : In Massachusetts and New Hampshire new Steinway Pianos are sold ONLY by M. STEINERT & SONS STEINWAY... A century of leadership is significant of the unfailing QUALITY of the Steinway Piano. Since 1 853 this superb instrument has been chosen by an overwhelming majority of musicians and concert artists— and by thousands of homes, large and small— as all that is finest in music. Many Steinway models, vertical or grand, invite your comparison, for beauty of tone, exacting craftsmanship and sustained stamina. No other piano is so worthy of your consideration. /JJyjN M'Stoinert & Sons 162 BOYLSTON STREET • BOSTON Jerome F. Murphy, President BRANCHES IN WORCESTER • SPRINGFIELD • WELLESLEY HILLS BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director Berkshire Festival Season igj2 TANGLEWOOD, LENOX, MASSACHUSETTS THEATRE-CONCERT HALL Concerts by Members of the Orchestra Charles Munch, Conducting Concert Bulletin, with historical and descriptive notes by John N. Burk COPYRIGHT, 1952, BY BOSTON SYMPHONY ORCHESTRA, INC. Trustees of the Boston Symphony Orchestra, Inc. Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richard C. Paine, Treasurer Philip R. Allen Theodore P. Ferris N. Penrose Hallowell M. A. De Wolfe Howe Michael T. Kellehkr Lewis Perry John Nicholas Brown Alvan T. Fuller Francis W. Hatch Charles D. Jackson Edward A. Taft Raymond S. Wilkins Oliver Wolcott Tanglewood Advisory Committee \V. F. Anthony Hanlon George E. Mole Whitney S. Stoddard Alan J. Blau Henry Dwight Lenges Bull Georcf. W. Edman Lawrence K. Miller James T. Owens Robert K. Wheeler George E. Judd, Manager Assistant Managers: T. D. Perry, Jr. N. S. Shirk gfWNtffWffWtffW^^ On July 24 — First Boston Symphony Concert Since London Of year-round Upera Season Charles Munch will assemble the Boston Symphony at your Uwn L/urtain C^bne Orchestra in full force for the first time since the orches- tra's return from Europe at the opening Shed concert on July 24. -
Press Info 40 Years
PRESS INFO 40 years Beethoven Complete Works for Piano Trio • Vol. II HDdownloaDs & stereo surround ‹ ‹ available at audite.de Piano Trio No. 2 in G major, Op. 1,2 Piano Trio No. 5 in D major, Op. 70,1 SWIss PIANO TRIO Angela Golubeva, violin Sébastien Singer, cello Martin Lucas Staub, piano The concept of the stimulating contrast between early and later trios is being continued in the second part of the complete edition of Beethoven‘s Piano Trios: the early Trio, Op. 1 No. 2 and the Trio, Op. 70 No. 1 composed 13 years later convey an impression of Ludwig van Beet hoven‘s widely differing compositional concepts and bear witness to the inexhaustible variety of his musical ideas. audite Musikproduktion Ludger Böckenhoff • Tel.: +49-5231-870320 • Fax: +49-5231-870321 • [email protected] • www.audite.de PRESS INFO 40 years After the successful beginning of the new complete edition of the Beethoven Piano Trios with the Swiss Piano Trio, audite now presents the second part of the series. The concept of the stimulating contrast between early and later Trios is being continued. In the early Piano Trio, Op. 1 No. 2, Ludwig van Beethoven turns to formal concepts of the symphony and string quartet, as he does in the other two Lichnowsky Trios. He incorporates the contrapuntal compositional techniques that he had studied extensively with Johann Georg Albrechtsberger concurrently with the composition of the Trios. With the Piano Trio in D major, Op. 70 No. 1, composed 13 years later, Beethoven embarks on the path of a consistent individualisation of each work, for example through the use of novel compositional techniques and detachment from fixed generic forms. -
Carmel Music Society
Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna -
Albert Einstein: the Violinist
Albert Einstein: The Violinist By Peregrine White* o the press of his time Albert Einstein was two parts renowned scientist, one jigger pacifist and TZionist fundraiser, and a dash amateur musician. These proportions persisted during 1979, the 100th an- niversary of his birth, as writers in all media jostled each other as they recounted his achievements. Relativity tended to hog the show. Relatively little space was given to Einstein the musician. This report, an attempt to redress the balance, is based on conversations with several people who used to play chamber music with him. Einstein was given violin lessons at an early age. By his own testimony he first became really interested in music when he was 13 and made the acquaintance of the Mo- zart sonatas. When Einstein was an adult, a well-worn fiddle case accompanied him wherever he went. In 1921, when Einstein arrived in the United States for the first time, reporters saw a kindly man with undis- ciplined hair, somewhat wayward black trousers—a man of no particular style, fiddle case in hand. He looked for all the world like a professional musician on tour. Einstein spent many years of his life in Berlin, deeply involved in the scientific and cultural life there. He hob- (Photo courtesy of the Southold Historical Society and the Family of Reginald Donahue.) nobbed with musical greats like Fritz Kreisler and the philosopher-artist Artur Schnabel. He used to play violin sonatas with Max Planck, the father of quantum theory. At the time, Schnabel was the greatest living per- Beethoven that troubled Einstein, according to one former of piano works of Beethoven. -
French Violin Performance from Franck to Ravel A
UNIVERSITY OF CALIFORNIA Los Angeles In Search of a Style: French Violin Performance from Franck to Ravel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Ji Young An 2013 © Copyright by Ji Young An 2013 ABSTRACT OF THE DISSERTATION In Search of a Style: French Violin Performance from Franck to Ravel by Ji Young An Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert Winter, Chair My dissertation focuses on issues of French sound and style in late nineteenth and early twentieth-century French violin repertoire. As a violinist who studied at the Paris Conservatory, I have long been puzzled as to why so little had been written about something that everyone seems to take for granted—so called French style. I attacked this elusive issue from three perspectives: 1) a detailed look at performance directions; 2) comparisons among recordings by artists close to this period (Jacques Thibaud, Zino Francescatti, as well as contemporary French artists such as Philippe Graffin and Guillaume Sutre); and 3) interviews with three living French violinists (Olivier Charlier, Régis Pasquier, and Gérard Poulet) with strong ties to this tradition. After listening to countless historical recordings, I settled on three pivotal works that illustrate the emergence and full flowering of the French style: César Franck’s Violin Sonata (1886), Claude Debussy’s Violin Sonata (1917), and ii Maurice Ravel’s Tzigane: Rapsodie de Concert pour Violon et Piano (1924). Each of them presents specific challenges: notational and stylistic issues in Franck’s Violin Sonata, Debussy’s performance directions in his Violin Sonata, and notational and interpretive issues in Ravel’s Tzigane that led to a separate, orally-transmitted French tradition. -
95644 Digibooklet Lucerne Festival Vol. X
HISTORIC PERFORMANCES Wolfgang Schneiderhan Mozart Violin Concerto, K. 219 Henze Violin Concerto No. 1 Martin Magnificat Irmgard Seefried Swiss Festival Orchestra Paul Hindemith | Ferdinand Leitner | Bernard Haitink Wolfgang Amadé Mozart (1756–1791) Violin Concerto in A major, K. 219 I. Allegro aperto – Adagio – Allegro aperto 9:52 II. Adagio 10:09 III. Rondeau. Tempo di Menuetto – Allegro – Tempo di Menuetto 8:50 Lucerne, Kunsthaus, 13 August 1952 Hans Werner Henze (1926–2012) Violin Concerto No. 1 I. Largamente, rubato – Allegro molto 8:27 II. Vivacissimo – Alla marcia 2:21 III. Andante con moto 7:20 IV. Allegro molto vivace 6:37 Lucerne, Kunsthaus, 26 August 1964 By courtesy of SCHOTT MUSIC, Mainz Frank Martin (1890–1974) Magnificat (1967 version) 11:26 Lucerne, Kunsthaus, 14 August 1968 (world premiere) © Universal Edition A.G., Wien By courtesy of SCHOTT MUSIC, Mainz Wolfgang Schneiderhan violin Irmgard Seefried soprano (Martin) Swiss Festival Orchestra Paul Hindemith (Mozart) | Ferdinand Leitner (Henze) | Bernard Haitink (Martin) recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Previously unreleased “Essential listening” Wolfgang Schneiderhan in Lucerne “When an artist of the musical and technical prowess of Wolfgang Schneiderhan champi- ons a masterpiece, one may look forward to a rare musical treat. And that is indeed how it turned out. The Violin Concerto in A major by Wolfgang Amadeus Mozart (K. 219) saw a performance which will remain unforgettable. What sonic noblesse, musical sophistica- tion, what a consummate sense of style, what technical brilliance and elegance! This was essential listening, and one is all the richer for that enormously lifting experience.” This was the enthusiastic response from the Lucerne newspaper Vaterland on 16 August 1952 to a concert that the violinist Wolfgang Schneiderhan had given three days previously at the Internationale Musikfestwochen, today’s LUCERNE FESTIVAL. -
The Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more. -
Current Review
Current Review Claudio Abbado conducts Schubert, Beethoven & Wagner aud 95.627 EAN: 4022143956279 4022143956279 Classical Recordings Quarterly (Norbert Hornig - 2014.03.01) Last June Audite celebrated ist fortieth birthday. Based in Detmold, Germany, this label has built up a remarkable catalogue of carefully remastered historical recordings, especially from German broadcast archives, using radio tapes. The anniversary was an appropriate time for Audite to introduce a new series if historical recordings – The Lucerne Festival Historic Performances, in cooperation with the famous Swiss festival, which was founded in 1938. The series started with three outstanding concert recordings of artists including Clara Haskil, Otto Klemperer, Robert Casadesus, Dimitri Mitropoulos, Isaac Stern, Ernest Ansermet, Lorin Maazel and George Szell. The latest release is dedicated “in memoriam” to Claudio Abbado, who died on 20 January at the age of 80. Abbado was closely connected with the Lucerne Festival for nearly five decades, and he was responsible for the revival of the Lucerne Festival Orchestra, which immediately became one of the best symphony orchestras of the world under his baton. Some live performances on DVD are impressive in showing Abbado’s highly sensitive musi making with this orchestra. A new CD from Audite couples Schubert’s Symphony No. 8 “Unfinished”, played by the Vienna Philharmonic Orchestra and Beethoven’s Symphony No. 2 and Wagner’s Siegfried Idyll with the Chamber Orchestra of Europe, recorded at the Lucerne Festival of 1978 and 1988. These are impressive live performances that should not be missed by all who admire this great conductor (Φ 95.627). String Quartet enthusiasts will be interested in Audite’s Volume 2 of RIAS’ recordings of the Amadeus Quartet. -
[email protected] JOSHUA W
FOR IMMEDIATE RELEASE ARTIST CHANGE December 29, 2017 Contact: Katherine E. Johnson (212) 875-5700; [email protected] JOSHUA WEILERSTEIN TO CONDUCT THE NEW YORK PHILHARMONIC IN PROGRAM SPOTLIGHTING RAVEL RAVEL’s Piano Concerto for the Left Hand with JEAN-YVES THIBAUDET Ravel’s Orchestration of DEBUSSY’s Sarabande et Danse And More Saturday Matinee Concert To Feature Jean-Yves Thibaudet and Philharmonic Musicians Performing FRANCK’s Piano Quintet January 17–20, 2018 Joshua Weilerstein will conduct the New York Philharmonic in a French program spotlighting Ravel. The program he will lead, in which he is replacing Charles Dutoit (who withdrew from the performances), remains unchanged: the Piano Concerto for the Left Hand, with Jean-Yves Thibaudet as soloist; Le Tombeau de Couperin; Valses nobles et sentimentales; Boléro; and Ravel’s orchestration of Debussy’s Sarabande et Danse, Wednesday, January 17, 2018, at 7:30 p.m.; Thursday, January 18 at 7:30 p.m.; Friday, January 19 at 8:00 p.m.; and Saturday, January 20 at 8:00 p.m. The program honors the 90th anniversary of Ravel’s only North American tour, in 1928, during which he conducted the New York Symphony — a forebear of today’s New York Philharmonic — in his Le Tombeau de Couperin and orchestration of Debussy’s Sarabande et Danse (both of which will be heard in this program), in addition to his Rapsodie espagnole, Tzigane, and La Valse. He wrote Boléro (also on this program) while resting at home after this four-month tour. The Philharmonic gave the U.S. Premieres of Ravel’s Boléro and Valses nobles et sentimentales, and the New York Premiere of his orchestration of Debussy’s Sarabande et Danse.