Albert Einstein: the Violinist
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
From the Violin Studio of Sergiu Schwartz
CoNSERVATORY oF Music presents The Violin Studio of Sergiu Schwartz SPOTLIGHT ON YOUNG VIOLIN VIRTUOSI with Tao Lin, piano Saturday, April 3, 2004 7:30p.m. Amamick-Goldstein Concert Hall de Hoernle International Center Program Polonaise No. 1 in D Major ..................................................... Henryk Wieniawski Gabrielle Fink, junior (United States) (1835 - 1880) Tambourin Chino is ...................................................................... Fritz Kreisler Anne Chicheportiche, professional studies (France) (1875- 1962) La Campanella ............................................................................ Niccolo Paganini Andrei Bacu, senior (Romania) (1782-1840) (edited Fritz Kreisler) Romanza Andaluza ....... .. ............... .. ......................................... Pablo de Sarasate Marcoantonio Real-d' Arbelles, sophomore (United States) (1844-1908) 1 Dance of the Goblins .................................................................... Antonio Bazzini Marta Murvai, senior (Romania) (1818- 1897) Caprice Viennois ... .... ........................................................................ Fritz Kreisler Danut Muresan, senior (Romania) (1875- 1962) Finale from Violin Concerto No. 1 in g minor, Op. 26 ......................... Max Bruch Gareth Johnson, sophomore (United States) (1838- 1920) INTERMISSION 1Ko<F11m'1-za from Violin Concerto No. 2 in d minor .................... Henryk Wieniawski ten a Ilieva, freshman (Bulgaria) (1835- 1880) llegro a Ia Zingara from Violin Concerto No. 2 in d minor -
Complete Beethoven Piano Sonatas--Artur Schnabel (1932-1935) Added to the National Registry: 2017 Essay by James Irsay (Guest Post)*
The Complete Beethoven Piano Sonatas--Artur Schnabel (1932-1935) Added to the National Registry: 2017 Essay by James Irsay (guest post)* Artur Schnabel Austrian pianist Artur Schnabel has been called “the man who invented Beethoven”... a strange thing to say considering Schnabel was born more than half a century after Beethoven, universally recognized as the greatest composer in Europe, died in 1827. What, then, did Artur Schnabel invent? The 32 piano sonatas of Ludwig van Beethoven (1770-1827) represent one of the great artistic achievements in human history, and stand as the musical autobiography of the great composer's maturity, from his 25th until his 53rd year, four years before his death. The fruit of those years mark a staggering creative journey that began and ended in the composer's adopted home of Vienna, “Music Central” to the German-speaking world. Beethoven's musical path led from the domain of Haydn and Mozart to the world of his late period, when the agonizing progress of his deafness had become complete. By then, Beethoven's musical narrative had begun to speak a new language, proceeding according to a new logic that left many listeners behind. While the beauties of his music and his deep genius were generally recognized, at the same time, it was thought by some critics that Beethoven frequently smudged things up with his overly- bold, unfettered invention, even well before his final period: Beethoven, who is often bizarre and baroque, takes at times the majestic flight of an eagle, and then creeps in rocky pathways. He first fills the soul with sweet melancholy, and then shatters it by a mass of shattered chords. -
Rachmaninoff's Rhapsody on a Theme By
RACHMANINOFF’S RHAPSODY ON A THEME BY PAGANINI, OP. 43: ANALYSIS AND DISCOURSE Heejung Kang, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2004 APPROVED: Pamela Mia Paul, Major Professor and Program Coordinator Stephen Slottow, Minor Professor Josef Banowetz, Committee Member Steven Harlos, Interim Chair of Piano Jessie Eschbach, Chair of Keyboard Studies James Scott, Dean of the College of Music Sandra L. Terrill, Interim Dean of the Robert B. Toulouse School of Graduate Studies Kang, Heejung, Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43: Analysis and Discourse. Doctor of Musical Arts (Performance), May 2004, 169 pp., 40 examples, 5 figures, bibliography, 39 titles. This dissertation on Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43 is divided into four parts: 1) historical background and the state of the sources, 2) analysis, 3) semantic issues related to analysis (discourse), and 4) performance and analysis. The analytical study, which constitutes the main body of this research, demonstrates how Rachmaninoff organically produces the variations in relation to the theme, designs the large-scale tonal and formal organization, and unifies the theme and variations as a whole. The selected analytical approach is linear in orientation - that is, Schenkerian. In the course of the analysis, close attention is paid to motivic detail; the analytical chapter carefully examines how the tonal structure and motivic elements in the theme are transformed, repeated, concealed, and expanded throughout the variations. As documented by a study of the manuscripts, the analysis also facilitates insight into the genesis and structure of the Rhapsody. -
Tertis's Viola Version of Elgar's Cello Concerto by Anthony Addison Special to Clevelandclassical
Preview Heights Chamber Orchestra conductor's notes: Tertis's viola version of Elgar's Cello Concerto by Anthony Addison Special to ClevelandClassical An old adage suggested that violists were merely vio- linists-in-decline. That was before Lionel Tertis! He was born in 1876 of musical parents who had come to England from Poland and Russia and, at three years old, he started playing the piano. At six he performed in public, but had to be locked in a room to make him practice, a procedure that has actually fostered many an international virtuoso. At thirteen, with the agree- ment of his parents, he left home to earn his living in music playing in pickup groups at summer resorts, accompanying a violinist, and acting as music attendant at a lunatic asylum. +41:J:-:/1?<1>95@@1041?@A0510-@(>5:5@E;88131;2!A?5/@-75:3B5;85:-?45? "second study," but concentrating on the piano and playing concertos with the school or- chestra. As sometime happens, his violin teacher showed little interest in a second study <A<58-:01B1:@;8045?2-@41>@4-@41C-?.1@@1>J@@102;>@413>;/1>E@>-01 +5@4?A/4 encouragement, Tertis decided he had to teach himself. Fate intervened when fellow stu- dents wanted to form a string quartet. Tertis volunteered to play viola, borrowed an in- strument, loved the rich quality of its lowest string and thereafter turned the old adage up- side down: a not very obviously gifted violinist becoming a world class violist. But, until the viola attained respectability in Tertis’s hands, composers were reluctant to write for the instrument. -
2017-2018 Master Class-Leon Fleisher
Welcome to the 2017-2018 season. The talented students and extraordinary faculty of the Lynn LEON FLEISHER MASTER CLASS Conservatory of Music take this opportunity to share with you the beautiful world of music. Your Wednesday, January 24, 2018 at 7:00 pm ongoing support ensures our place among the premier conservatories Amarnick-Goldstein Concert Hall of the world and a staple of our community. - Jon Robertson, dean PROGRAM There are a number of ways by which you can help us fulfill our mission: Friends of the Conservatory of Music Sonata Op. 2 No. 2 in A Major Ludwig van Beethoven Lynn University’s Friends of the Conservatory of Music is a IV Rondo: Grazioso (1770-1827) volunteer organization that supports high-quality music education through fundraising and community outreach. Raising more than $2 million since 2003, the Friends support Lynn’s effort to provide Chance Israel, piano free tuition scholarships and room and board to all Conservatory of Music students. The group also raises money for the Dean’s Discretionary Fund, which supports the immediate needs of the university’s music performance students. This is accomplished through annual gifts and special events, such as outreach concerts and the annual Gingerbread Holiday Concert. To learn more about joining the Friends and its many benefits, Scherzo No. 4 in E Major Frederic Chopin such as complimentary concert admission, visit Give.lynn.edu/support-music. (1810-1849) The Leadership Society of Lynn University Meiyu Wu, piano The Leadership Society is the premier annual giving society for donors who are committed to ensuring a standard of excellence at Lynn for all students. -
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. -
Current Review
Current Review Christian Ferras plays Beethoven and Berg Violin Concertos aud 95.590 EAN: 4022143955906 4022143955906 Fanfare (Robert Maxham - 2012.05.01) Audite’s program of violin concertos by Ludwig van Beethoven and Alban Berg captures two moments in the life of Christian Ferras, the first a studio recording from November 19, 1951, made in the Jesus-Christus-Kirche after the 18-year-old violinist had given a live performance of the work at the Titania Palast and more than a decade before he would record the work with Herbert von Karajan and the same orchestra. The young Ferras sounds both flexible and sprightly in the first movement’s passagework, producing a suave tone that might be described as almost gustatory in its effect as he soars above the orchestra. That tone lacks the sharp edge of Zino Francescatti’s and even the slightly reedy quality of Arthur Grumiaux’s, and he never seems to be deploying it simply for the sheer beauty of it: As sumptuous as it might sound, it always serves his high-minded concept of the work itself. And his playing of Fritz Kreisler’s famous cadenza similarly subordinates virtuosity to musical effect. Karl Böhm sets the mood for a probing exploration of the slow movement, in which Ferras sounds similarly committed; he never allows himself to be diverted into mannerism or eccentricity, as Anne-Sophie Mutter does in her performance with Kurt Masur and the New York Philharmonic (Deutsche Grammophon 289 471 349, Fanfare 26:5 and 26:6). What the young Michael Rabin achieved in the showpieces of Wieniawski and Paganini, Ferras arguably exceeded in the music of Beethoven. -
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, -
825646079247.Pdf
FRITZ KREISLER 1875–1962 1 Caprice viennois, Op.2 3.59 2 Andantino in the style of Martini 3.41 3Allegretto in the style of Boccherini 3.18 4 La gitana 3.12 5 Slavonic Dance , Op.72 no.8 (Dvo ˇrák, arr. Kreisler) 5.27 6 Chanson Louis XIII & Pavane in the style of Couperin 4.06 7 Schön Rosmarin 1.57 8 Liebesfreud 3.18 9 Danse espagnole (from Falla La vida breve , arr. Kreisler) 3.24 10 Liebesleid 3.25 11 Recitativo & Scherzo capriccio, Op.6 4.03 12 Tango (Albéniz, arr. Kreisler) 2.32 13 Rondino on a theme by Beethoven 2.42 14 Tambourin chinois, Op.3 3.35 Arrangements by Fritz Kreisler 15 TARTINI Violin Sonata in G minor “Devil’s Trill” 14.41 16 POLDINI Dancing Doll 2.44 17 WIENIAWSKI Caprice 1.33 18 TRAD. Londonderry Air 4.33 19 MOZART Rondo (from Serenade in D, K250 “Haffner”) 7.00 20 CORELLI Sarabande & Allegretto 4.00 21 ALBÉNIZ Malagueña, Op.165 no.3 4.20 22 HEUBERGER Midnight Bells (from Der Opernball ) 3.42 23 BRAHMS Hungarian Dance in F minor 3.56 24 MENDELSSOHN Song Without Words, Op.62 no.1 3.16 25 KREISLER La Précieuse in the style of Couperin 2.44 26 KREISLER Siciliano & Rigaudon in the style of Francœur 5.09 27 CHAMINADE Sérénade espagnole, Op.150 (arr. Kreisler) 2.13 28 KREISLER Aubade provençale in the style of Couperin 2.32 29 KREISLER Menuet in the style of Porpora 4.02 30 LEHÁR Serenade (from Frasquita , arr. -
Riccardo Muti Conductor Rudolf Buchbinder Piano Wagner Siegfried’S Rhine Journey and Funeral March from Götterdämmerung Beethoven Piano Concerto No
Please note that pianist Leif Ove Andsnes has withdrawn from these concerts. The CSO welcomes Rudolf Buchbinder, who has graciously agreed to perform. The program remains unchanged. PROGRAM ONE HUNDRED TWENTY-SECOND SEASON Chicago Symphony Orchestra Riccardo Muti Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, June 13, 2013, at 8:00 Friday, June 14, 2013, at 1:30 Saturday, June 15, 2013, at 8:00 Riccardo Muti Conductor Rudolf Buchbinder Piano Wagner Siegfried’s Rhine Journey and Funeral March FROM Götterdämmerung Beethoven Piano Concerto No. 4 in G Major, Op. 58 Allegro moderato Andante con moto— Rondo: Vivace RUDOLF BUCHBINDER INTERMISSION Bruckner Symphony No. 1 in C Minor Allegro Adagio—Andante Scherzo: Lively Finale: Agitated and fiery These performances have been enabled by the Juli Grainger Fund. Support of the music director and related programs is made possible in part by a generous gift from the Zell Family Foundation. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS BY PHILLIP HUSCHER Richard Wagner Born May 22, 1813, Leipzig, Germany. Died February 13, 1883, Venice, Italy. Siegfried’s Rhine Journey and Funeral March FROM Götterdämmerung iegfried’s Death was the original then e Young Siegfried, and finally Stitle of the prose sketch for an e Valkyrie each demanded yet opera that grew, over the span of another opera before it to provide twenty-eight years, into the most background and to set all the nec- monumental undertaking in the essary narrative strands in motion. -
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. -
Concert Program
Jonathan Koh, violoncello Native of Chicago, Illinois, Jonathan began his cello 2004 Sejong Cultural Festival studies at the age of five. His teachers include Hans Jorgen Jensen of Northwestern University and Johann Lee of Seoul National Symphony Orchestra. Jonathan made his debut at the Kennedy Center for the Performing Spring Family Concert Arts in Washington D.C. at the tender age of fifteen playing the Elgar Cello Concerto. Soon after, he soloed with numerous orchestras, including the Evanston Sym- phony, Springfield Symphony, San Jose Symphony, Sejong Piano Trio Harper Symphony and Korean-American Youth Or- Myunghee Chung, piano chestras. He has been a featured soloist in Tchaikovsky’s Kyung Sun Lee, violin Rococo Variations, Kabalevsky Concerto, Lab Con- certo, Saint-Saëns Concerto, and Shostakovich Con- Jonathan Koh, cello certo. In 2001, Jonathan was invited to participate in the 7:30 - 9:30 p.m. prestigious Leonard Rose International Competition as well as other international compe- April 18, 2004 (Sunday) titions. His achievements include receiving top prizes at the Hellam International Compe- tition, Society of American Musicians, Midwest Young Artists, AACS National String Recital Hall Competition, Donna Reed Foundation, National ARTS Foundation, Yonsei University The Fine Arts Center Young Artists, and others. He also had success at the Julius Stulberg International Northeastern Illinois University Competition, Irving Klein International Competition, Johansen International Competition, Chicago, Illinois, USA and the Kingsville International Competition. He has performed under Lorin Mazel of the New York Philharmonic, Leonard Slatkin of the National Symphony, Apo Hsu of the Springfield Symphony and among others. He also served as the principal cellist of the Texas Music Festival Orchestra.