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The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Tue, Jan 26, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:39 Mozart Adagio in B minor, K. 540 Mitsuko Uchida 00264 Philips 412 616 028941261625 00:13:3945:17 Dvorak Cello Concerto in B minor, Op. du Pre/Swedish Radio 07040 Teldec 85340 685738534029 104 Symphony/Celibidache 01:00:2631:11 Beethoven String Quartet No. 9 in C, Op. Tokyo String Quartet 04508 Harmonia 807424 093046742362 59 No. 3 Mundi 01:32:3708:09 Mozart Adagio & Fugue in C minor for Berlin 06660 DG 0005830 028947759546 Strings K. 546 Philharmonic/Karajan 01:42:1618:09 Telemann Paris Quartet No. 11 Kuijken 04867 Sony 63115 074646311523 Bros/Leonhardt 02:01:5529:22 Mozart Sinfonia Concertante in E flat, Frang/Rysanov/Arcang 12341 Warner 08256462 825646276776 K. 364 elo/Cohen Classics 76776 02:32:1726:39 Brahms Clarinet Trio in A minor, Op. Stoltzman/Ax/Ma 02937 Sony 57499 074645749921 114 Classical 03:00:2611:52 Liszt Mephisto Waltz No. 1 Evgeny Kissin 06623 RCA 58420 828765842020 03:13:1834:42 Strauss, R. Symphony in D minor Hong Kong 03667 Marco Polo 8.220323 73009923232 Philharmonic/Scherme rhorn 03:49:0009:52 Schubert Overture to Rosamunde, D. Leipzig Gewandhaus 00217 Philips 412 432 028941243225 797 Orchestra/Masur 04:00:2215:04 Haydn Piano Sonata No. 50 in D Julia Cload 02053 Meridian 84083 N/A 04:16:2628:32 Mozart Symphony No. 29 in A, K. 201 Prague Chamber 05596 Telarc 80300 089408030024 Orch/Mackerras 04:45:58 12:20 Webern In the Summer Wind Philadelphia 10424 Sony 88725417 887254172024 Orchestra/Ormandy 202 04:59:4806:23 Lehar Merry Widow Waltz Richard Hayman 08261 Naxos 8.578041- 747313804177 Symphony 42 05:07:11 21:52 Rachmaninoff Rhapsody on a Theme of Entremont/Philadelphia 04207 Sony 46541 07464465412 Paganini, Op. -
L'importanza Dell'etica Nella Grande Interpretazione Musicale: Testimonianze E Incontri Con Celebri Pianisti
L’importanza dell’etica nella grande interpretazione musicale: testimonianze e incontri con celebri pianisti Kazimierz Morski Pianista. Direttore d’orchestra. Catedratico di Scienze Musicali Università Slesiana di Katowice Università Autonoma di Madrid1 Università di Roma 2 “Tor Vergata”2 Sintesi. Il saggio è frutto di personali esperienze e di considerazioni sorte nell’accostarsi a grandi personaggi della musica, in questo caso pianistica, il cui impegno etico-estetico sta alla base della profonda grandezza di esecuzioni divenute ormai patrimonio storico. Modelli in tal senso sono stati Neuhaus, Benedetti Michelangeli o Arrau per chi, come me, ha potuto incontrarli o sentirli in concerto e si trova oggi a porli nella prospettiva storica assieme ad altri artisti del mondo compositivo ed interpretativo. Nonostante le differenze e le soggettive concezioni di approccio alla musica, dal concertismo puro, all’impegno didattico, alla riflessione teorica, quanto appare nelle loro realizzazioni è un atteggiamento umano e culturale spesso celato da un nobile riserbo, segno irripetibile dell’arte nella sua essenza. Di qui l’affermazione della necessaria componente etica nell’ambito estetico delle grandi interpretazioni, sia in relazione all’originaria idea creativa che al suo mutare a seconda del gusto e delle epoche. Le testimonianze addotte conducono a profonde considerazioni sul rapporto tra l’elemento ontologico relativo soprattutto alla creatività e quello fenomenologico soggetto alle continue variazioni del modo di sentire. Parole chiave. idea creativa - interpretazione ideale - esecuzione - concertismo - pianisti - personalità artistica - virtuosismo - espressione- tradizione - didattica - etica - estetica - esperienze – testimonianze. Abstract. This essay is the result of personal experiences and considerations while addressing the fate of great musicians – in this case of piano players - whose ethic-aesthetic commitment is behind the greatness of certain interpretations that have become part our cultural heritage. -
Leonard Bernstein's Piano Music: a Comparative Study of Selected Works
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Leonard Bernstein's Piano Music: A Comparative Study of Selected Works Leann Osterkamp 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/2572 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] LEONARD BERNSTEIN’S PIANO MUSIC: A COMPARATIVE STUDY OF SELECTED WORKS by LEANN OSTERKAMP A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 ©2018 LEANN OSTERKAMP All Rights Reserved ii Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp 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 Musical Arts. Date Ursula Oppens Chair of Examining Committee Date Norman Carey Executive Director Supervisory Committee Dr. Jeffrey Taylor, Advisor Dr. Philip Lambert, First Reader Michael Barrett, Second Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp Advisor: Dr. Jeffrey Taylor Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions. -
THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW in 1949, to Mark the Centennial of the Death of Fryderyk
THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW In 1949, to mark the centennial of the death of Fryderyk Chopin, the Kosciuszko Foundation’s Board of Trustees authorized a National Committee to encourage observance of the anniversary through concerts and programs throughout the United States. Howard Hansen, then Director of the Eastman School of Music, headed this Committee, which included, among others, Claudio Arrau, Vladimir Horowitz, Serge Koussevitzky, Claire Booth Luce, Eugene Ormandy, Artur Rodzinski, George Szell, and Bruno Walter. The Chopin Centennial was inaugurated by Witold Malcuzynski at Carnegie Hall on February 14, 1949. A repeat performance was presented by Malcuzynski eight days later, on Chopin’s birthday, in the Kosciuszko Foundation Gallery. Abram Chasins, composer, pianist, and music director of the New York Times radio stations WQXR and WQWQ, presided at the evening and opened it with the following remarks: In seeking to do justice to the memory of a musical genius, nothing is so eloquent as a presentation of the works through which he enriched our musical heritage. … In his greatest work, Chopin stands alone … Throughout the chaos, the dissonance of the world, Chopin’s music has been for many of us a sanctuary … It is entirely fitting that this event should take place at the Kosciuszko Foundation House. This Foundation is the only institution which we have in America which promotes cultural relations between Poland and America on a non-political basis. It has helped to understand the debt which mankind owes to Poland’s men of genius. At the Chopin evening at the Foundation, two contributions were made. -
The Ultimate On-Demand Music Library
2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P. -
Claudio Arrau: Número 20 Entre Los 20 Más Grandes Pianistas En El Disco
18/5/2020 [CEDOC] Muestra XML Publicación Fecha de publicación Cuerpo Sección Autor El Mercurio 13-08-2010 Cuerpo A Cultura Juan Antonio Muñoz H. Página Materia Supervisor 12 Cultura y espectáculos LPBL Claudio Arrau: número 20 entre los 20 más grandes pianistas en el disco Encuesta de la revista Music de la BBC a 100 famosos pianistas de nuestros días, ubica al artista chileno entre los mejores de la historia de las grabaciones. La lista es liderada por Sergei Rachmaninov. Juan Antonio Muñoz H. Por el atractivo especial que entre otros instrumentistas despiertan los ejecutantes de piano, la revista "Music" de la BBC publicó este mes una encuesta a 100 grandes pianistas de nuestros días, destinada a escoger a los 20 más grandes de la historia del disco. En el lugar número 20 se ubicó el chileno Claudio Arrau (1903-1991). La publicación destaca el talento precoz de Arrau, que hizo que "el gobierno chileno financiara su viaje a Berlín para buscar allí al mejor profesor. Durante unos pocos años, Martin Krause, alumno de Liszt, fue como un padre para él, introduciéndolo en un vasto rango de cultura y ayudándolo a desarrollar su trascendental técnica. Cuando Krause murió, en 1918, Arrau quedó desolado y entró en el psicoanálisis. Gradualmente, construyó una inmensa reputación internacional, en especial después de la Segunda Guerra Mundial. A pesar de que podía demostrar un deslumbrante virtuosismo, su verdadera preocupación fue la búsqueda, la exploración de las grandes obras, sobre todo de Beethoven y Schubert. Arrau fue un fáustico entre los pianistas, siempre descontento y alterado, que además cultivaba calidez y profundidad de tono únicas", se lee en "Music". -
Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian 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/2762 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] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian 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 Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community. -
Jansen/Maisky/ Argerich Trio Tuesday 6 February 2018 7.30Pm, Hall
Jansen/Maisky/ Argerich Trio Tuesday 6 February 2018 7.30pm, Hall Beethoven Cello Sonata in G minor, Op 5 No 2 Shostakovich Piano Trio No 2 in E minor, Op 67 interval 20 minutes Schumann Violin Sonata No 1 in A minor, Op 105 Mendelssohn Piano Trio No 1 in D minor, Op 49 Janine Jansen violin Mischa Maisky cello Martha Argerich piano Adriano Heitman Adriano Part of Barbican Presents 2017–18 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel. 020 3603 7930) Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers. Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we are delighted to welcome three friend Ivan Sollertinsky, an extraordinarily musicians so celebrated that they need no gifted man in many different fields. introduction. Martha Argerich and Mischa Maisky have been performing together We begin with Beethoven, and his Second for more than four decades, while Janine Cello Sonata, a work that is groundbreaking Jansen is a star of the younger generation. for treating string instrument and piano equally and which ranges from sheer Together they present two vastly different wit to high drama. -
Bach, Mozart, and Beethoven: Sorting Piano Excerpts Based on Perceived Similarity Using Distatis
New Ideas in Psychology 57 (2020) 100757 Contents lists available at ScienceDirect New Ideas in Psychology journal homepage: http://www.elsevier.com/locate/newideapsych Bach, Mozart, and Beethoven: Sorting piano excerpts based on perceived similarity using DiSTATIS Rachna Raman a,*, Michael A. Kriegsman a, Herv�e Abdi a, Barbara Tillmann b, W. Jay Dowling a a The University of Texas at Dallas, USA b Lyon Neuroscience Research Center, Lyon, France ARTICLE INFO ABSTRACT Keywords: Our initial aim in this study was to show that Western listeners can sort the music of 3 Western composers Constrained sorting consistently on the basis of their compositional style. We found that they could, and proceeded to investigate Free sorting what cues they might be using to accomplish that task, as well as whether their use of those cues was related to Musical style their level of musical training. In Experiment 1, we presented 21 excerpts from the keyboard music of Bach, Musical training Mozart, and Beethoven, each excerpt linked to an icon on the computer screen. Participants were to place the Style perception icons in different groups following the rule that the icons in one group could have been written by the same composer. First, they did a free sort in which they could form as many groups as they liked, and then we told them that there were just 3 composers, and they should make 3 groups in a constrained sort. In Experiment 1, the excerpts were produced with MIDI transcriptions of the scores, such that the composer’s pitch and time infor mation of the notes was preserved, but there was no variation in tempo, dynamics (loudness), or articulation (connectedness or separateness of notes in time). -
Marist CLS Favorite Concertos January 11, 2021
Marist CLS Favorite Concertos January 11, 2021 Paul Stoddard Zoom reminders • Use the View icon to change from gallery to speaker if you want. • When I share my screen (which will be most of the class) you will see my Power Point slides and YouTube videos in the main window. • If you want to ask a question: - Click the Raise Hand icon (you can find it after you click the Participants button). - Or, type your question in the Chat • Keep yourself muted unless asking your question after I call on you. Thanks! 2 Concertos (Concerti if you speak Italian) ✢ Music for an instrumental soloist and orchestra. The vast majority are for piano or violin soloist. ✢ Cello is a distant third. There are also some for clarinet, flute, oboe, French horn, trumpet, etc. ✢ Other instruments have only a few, although in the 20th century composers started writing them for all kinds of odd instruments. (See the list “Concertos for other instruments” at the end of the Wikipedia article.) 3 Concertos – your favorites and mine Mozart ✢ Violin Concerto No 5 played by Anne Sophie-Mutter ✢ Piano Concerto No 17 played by Lenny (Mozart wrote 27) ✢ Piano Concerto No 21, 2nd movement played by Yeol Eum Son ✢ One of my favorites, Piano Concerto No 22 played by Mitsuko Uchida ✢ Horn Concerto No 4 E flat major K 495 played by Radek Baborák (Mozart wrote 5 for Horn, 1 for bassoon) ✢ Clarinet Concerto K.622 played by Richard Stoltzman ✢ Sinfonia Concertante (violin & viola) played by Perlman and Zuckerman ✢ Concerto for Flute Harp and Orchestra in C major, K 299 5 Musical Forms – understanding structure v Classical pieces are long. -
February 02, 2018
February 02, 2018: (Full-page version) Close Window “If you've heard this story before, don't stop me, because I'd like to hear it again.” — Groucho Marx Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Rachmaninoff Symphony No. 3 in A minor, Op. 44 BBC Welsh Symphony/Otaka Nimbus 5344 083603534424 Awake! 00:44 Buy Now! Kreisler Beautiful Rosemary Shaham/Orpheus Chamber Orch. DG 449 923 028944992328 00:47 Buy Now! Schubert Impromptu in C minor, D. 899 No. 1 Simone Dinnerstein Sony 798943 Heifetz/New Symphony Orchestra of 01:01 Buy Now! Bruch Violin Concerto No. 1 in G minor, Op. 26 RCA 6214 07863561242 London/Sargent 01:24 Buy Now! Mendelssohn Octet in E flat, Op. 20 Saint Paul Chamber Orchestra/Zukerman Philips 412 212 028941221223 01:59 Buy Now! Rossini Overture ~ Semiramide New York Philharmonic/Bernstein Sony 62653 077776265321 02:12 Buy Now! Dowland Pavana Paul O'dette HM 907160 093046716028 02:20 Buy Now! Franck Piano Quintet in F minor Bolet/Juilliard String Quartet Sony Classical 62709 074646270929 02:58 Buy Now! Tchaikovsky Memory of a Dear Place, Op. 42 Koh/Odense Symphony/Vedernikov Cedille 166 735131916622 03:19 Buy Now! Hoffstetter Serenade (Andante cantabile) Kodaly Quartet Naxos 8.558180 636943818022 03:25 Buy Now! Reinecke Symphony No. 3 in G minor Tasmanian Symphony/Shelley Chandos 9893 095115989326 04:00 Buy Now! Bach Orchestral Suite No. 1 in C, BWV 1066 Stuttgart Chamber Orchestra/Munchinger London 414 505 028941450524 04:21 Buy Now! Chopin Ballade No. -
Beethoven Piano Concerto No. 4 Mendelssohn Double Concerto
BEETHOVEN INTRODUCTION sometimes very different approaches, but both allowing the dialogue between the soloists and PIANO CONCERTO NO. 4 Why the fourth Beethoven Piano Concerto? There orchestra to come through. We learnt so much MENDELSSOHN are so many recordings of this concerto that together and had a lot of fun. DOUBLE CONCERTO I admire, from Emil Gilels, Claudio Arrau and Wilhelm Kempf from one generation to Lars Vogt Recording this disc is a realisation of the and Leif Ove Andsnes to another. The simple many people who have supported me throughout answer is that I wanted to record something my musical years. I am so grateful that this that I enjoyed playing, and this concerto – has been achieved. Piano Concerto No. 4 in G Major, Op. 58 Ludwig van Beethoven one of my favourites – has always intrigued Min-Jung Kym 1 I. Allegro Moderato [19.38] me. The moment the piano opens with this 2 II. Andante con moto [4.51] passage almost from nowhere, the association 3 III. Rondo: Vivace [10.28] in the second movement of the tale of Orpheus taming the Furies at the gates to Hades to Concerto for Violin, Piano and String Orchestra in D Minor Felix Mendelssohn the jubilant Rondo third movement, I took to 4 I. Allegro [19.06] the concerto immediately when I first began 5 II. Adagio [9.48] studying it and I have travelled with the 6 III. Allegro molto [9.33] work having performed it several times over the years, and recently with the culmination of Total timings: [73.28] this recording.