Harpsichordist Igor Kipnis Performs

Total Page：16

File Type：pdf, Size：1020Kb

Harpsichordist Igor Kipnis performs April 24, 1970 Harpsichordist Igor Kipnis, internationally known through his recitals, solo appearances with major symphonies, and his recordings, is scheduled to perform at 8:30 p.m., Saturday, May 9, in Sherwood Hall, La Jolla. The concert is sponsored by the University of California, San Diego's Committee for Arts and Lectures. Reserved seats are $3.00 for general admission, $2.50 for UCSD faculty and staff, and $1.50 for UCSD students. Tickets may be reserved by calling the UCSD Box Office at 453-6151. Kipnis, son of the famous Metropolitan Opera basso Alexander Kipnis, has been associated with music ever since his boyhood in the 1930's, receiving his first piano lessons from his grandfather, the Chicago composer Heniot Levy. It was at Harvard University, where he graduate in 1952, that Kipnis became fascinated by the harpsichord and music of the Baroque period. At Harvard, under the tutelage of the American composer Randall Thompson, and later under Thurston Dart and others, Kipnis made an extensive study of Renaissance and Baroque styles and is now a recognized authority in this field. Kipnis' debut as a harpsichordist was made in 1959 over New York City's municipal radio station WNYC and his first New York solo recital followed in 1961 at the New York Historical Society. Since that time he has appeared in concert and lecture recitals throughout the United States and has performed with many orchestras including the Boston Symphony, the Symphony of the Air, the Brooklyn Philharmonic, the Princeton Chamber Orchestra, the Fort Wayne Philharmonic, and the Clarion Concerts Orchestra in New York City among others. Kipnis has recorded extensively and is currently engaged in a recording project for Epic Records featuring the harpsichord music of different countries. He recorded the harpsichord background music for the sound track of the 1963 American motion picture, Hallelujah the Hills. During the summers from 1964 to 1967, Kipnis served as Chairman of the Baroque Department at the Berkshire Music Center (Tanglewood) at Lenox, Massachusetts, where he supervised the preparation of Baroque concerts by the members of the Berkshire Music Center Performance Department. He lectured on the subject of Baroque performance practices and taught harpsichord. During the 1967-68 season, Kipnis toured Europe extensively where he was hailed by critics and public alike in his triumphant debuts in London, Amsterdam, Munich, Vienna, Cologne, and Bern. Immediately after his return from Europe, Kipnis did a coast-to-coast tour of the United States which included a comprehensive tour of the entire Eastern seaboard from New York City to Florida and back..

Copy Link

Recommended publications

Montana Kaimin, March 23, 1993 Associated Students of the University of Montana
University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 3-23-1993 Montana Kaimin, March 23, 1993 Associated Students of the University of Montana Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Associated Students of the University of Montana, "Montana Kaimin, March 23, 1993" (1993). Montana Kaimin, 1898-present. 8564. https://scholarworks.umt.edu/studentnewspaper/8564 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. MONTANA A KAIMIN Volume 95, Issue 83 University of Montana Tuesday, March 23,1993 Regents consider tuition hike for procrastinating students be implemented at the next board regents constitutional authority to By Daniel Short percent for all students. meeting in May, will decide how far determine tuition levels of the univer Legislative Reporter The board decided to postpone any back to “grandfather” credits already sity system. Under the legislative decision on how to spend $61,000 in The Board of Regents considered a taken, however the regents said no plan, contained within House Bill 2, student computer fees until the next proposal Monday in Helena that would action can be taken until the legisla any tuition exceeding the cap reverts meeting.
[Show full text]
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
[Show full text]
Press Release
FREDERICK DELIUS 150TH ANNIVERSARY EDITION ICPN 5099908417527 (18CD) “The last great apostle in our time of romance, emotion, and beauty in music" Sir Thomas Beecham “A record to treasure. Quintessential Delius in quintessential performances. The greatest recordings made in stereo by the greatest British conductor at the peak of his career." Gramophone on Delius: Brigg Fair and other orchestral works, Sir Thomas Beecham In celebration of Frederick Delius’s upcoming 150th birthday in January 2012, EMI Classics releases an 18-CD set performed by some of the greatest performers of the composer’s works, such as Thomas Beecham, John Barbirolli, Vernon Handley, Eric Fenby, Malcolm Sargent, among others. EMI’s long association with the music of Delius is represented here in recordings made between 1929 and 2003 by his most noted interpreters, from ever-popular miniatures such as On Hearing the First Cuckoo in Spring to the elusive flow and sensuous textures of his operas and choral works. This definitive collection, produced with the endorsement of the Delius Society, will be supported with a comprehensive online destination, www.frederickdelius.com offering exclusive interviews, never-before-seen material and an interactive timeline to help listeners journey through the life and music of Delius. Following boxes celebrating the music of Elgar, Vaughan Williams and Britten, this set provides music lovers with an opportunity to join the ever-growing band of Delius fans throughout the world. In addition to Delius’s orchestral music, the collection features three of his operas and examples of his chamber and solo works, as well as songs. Among many highlights is a 25-minute promotional presentation given in October 1948 by Thomas Beecham for the launch of his recording of A Village Romeo and Juliet.
[Show full text]
Igor Kipnis Clavicembalista
LA BIBLIOTECA LUIS· ANGEL ARANGO DEL BANCO DE LA REPUBLICA Presenta en su SALA DE CONCIERTOS A IGOR K' JP·NJS CLA VI CEMBALISTA Bogoti, D. E. Barrio de La Candelaria Miércoles 5 de Mayo de 1976 HORA 6:45P.M. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. IGOR KIPNIS - Clavicembalista - Desde su debut en 1959, Igor Kipnis, ha actuado en recita les y como solista con orquestas alrededor de los EE. UU ., Ca nadá, Europa, Sur América, Israel y Australia. Igor Kipnis ha gravado 22 L. P., como solista, y ha recibido c1 "Grammy Award" en 1964, 1971, 1972; el premio "Deutsche Schallplatten" en 1969; y los premios "Stero Review Records of the Year" en 1971 y 1972. El Sr. Kipnis animaba su programw radial, "Thc Age of Baroque" para la estación radial de la ciudad de Nueva York7 por tres temporadas del año; para el'"Oxford University Press" ha editado una antologb music:ll, A FIRST HARPSICHORD BOOK, y para "Alfred Music" ha preparado una edición crítica de los "Sufrimientos de la Reina de Francia", Op. 23, por Ja·.1 Ladislav Dussek. Actualmente es un editor y un crítico de discos para Stereo Review, el Sr. Kipnis, también ha sido crítico de The American Record Guide, del New York Herald Tribune, del New York Post, del Musical Courier, de Listen, y Notes. Kipnis es hijo de Alexander Kipnis, quien actuó en la Metropolitan Opera como un célebre bajo y ex-alumno de Harvard University. Igor Kipnis, es hoy en día Profesor de Música en la Uni versidad de Fairfield en Fairfield, Connecticut, y ha dictado cm: sos extensos sobre "Representaciones Prácticas Barrocas" en, cntr,; o'ü-as instituciones, el vVestminster Choir College Harps ichord Festival, en Early Music Institute of Indianapolis, y e~1 el Berkshire Music Center.
[Show full text]
NEW YORK PHILHARMONIC 10,000Th CONCERT
' ■ w NEW YORK PHILHARMONIC 10,000th CONCERT NEW YORK PHILHARMONIC 10,000th CONCERT Sunday, March 7,1982, 5:00 pm Mahler Symphony No. 2 (Resurrection) Zubin Mehta, Music Director and Conductor Kathleen Battle, soprano Maureen Forrester, contralto Westminster Choir, Joseph Flummerfelt, director CONTENTS The First 9,999 Concerts.................................... 2 Bernstein, Boulez, Mehta By Herbert Kupferberg.................................................. 5 New York Philharmonic: The Tradition of Greatness Continues By Howard Shanet........................................................ 8 Gustav Mahler and the New York Philharmonic............................... 14 Contemporary Music and the New York Philharmonic............................... 15 AVERY FISHER HALL, LINCOLN CENTER THE FIRST 9,999 CONCERTS The population of New York City in NEW YORK PHILHARMONIC: 1982 is 20 times what it was in 1842; the each of them. To survey them is to Philharmonic’s listeners today are define the current richness of the 10,000 times as many as they were in that organization: THE TRADITION OF GREATNESS CONTINUES The Subscription Concerts au dience, though not the largest of the their diversity they reflect the varied en Battle, David Britton, Montserrat aballé, Jennifer Jones, Christa Lud- in Avery Fisher Hall. As for television, it ig, Jessye Norman, and Frederica von is estimated that six million people Stade. (Another whole category across the country saw and heard the like - the < iductors. those chosen Philharmonic in a single televised per formance when the celebrated come dian Danny Kaye conducted the Or chestra recently in a Pension Fund benefit concert; and in a season's quota who is Music Director, of "Live from Lincoln Center" and other telecasts by the Philharmonic 20 are presented elsewhere in this publi million watchers may enjoy the Or chestra's performances in their homes.
[Show full text]
The Harpsichord: a Research and Information Guide
THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. Among the many friends who provided support and encouragement are Clara, Carmen, Cibele and Marcelo, Hilda, Iker, James and Diana, Kydalla, Lynn, Maria-Carmen, Réjean, Vivian, and Yolo.
[Show full text]
BMC News Dec 2016 for Email
The Bellingham Music Club Dec. 7, 2016, 10:30 am Trinity Lutheran Church The Newsletter of the Bellingham Music Club Kay Carr presents Squalicum High School Storm Singers under the direction of Jason Parker Award-winning choir Storm Singers join us today to launch to the Holiday Season. This select group practices and performs music of all styles for with an emphasis on classical and pop- ular styles, including jazz and pop. One of five choirs at Squalicum High School, Storm Singers participate in numerous performances for community and school events throughout the year, and travel to competitions and festivals in the United States and Canada. Musical selections will be announced from the stage and will include some holiday favorites. Kindly turn off your mobile phones before the performance begins, and join us afterward for a reception in the Grace Center. Photo courtesy Jason Parker The Piano: An Encyclopedia BMC member Robert Palmieri has announced that his book , The Piano: An Encyclopedia (Routledge, New York/ London) is now out in paperback, after two hardcover editions (1996, 2003). "The Piano: An Encyclopedia was selected in its first edition as a Choice Outstanding Book and remains a fascinating and unparalleled reference work. The instrument has been at the center of music history with even composers of large symphonic work assert- ing that they do not write anything without sketching it out first on a piano. Its limitations and expressive capacity have done much to shape the contours of the western musical idiom. Within the scope of this user-friendly guide is everything from the acoustics and construction of the piano to the history of the companies that have built them." Robert writes, “A few years ago, my publishers asked if I would be interested in creating the production of a one-volume encyclopedia of keyboard instruments.
[Show full text]
Organ Festivals in Australia 1968—1973
‘A strange madness’: Organ festivals in Australia 1968–1973 Ann Orriss Blore Submitted in total fulfillment of the requirements of the degree of Master of Music July 2011 Melbourne Conservatorium of Music The University of Melbourne ii Abstract In the six years 1968–1973 seventeen pipe organ festivals were held across four Australian cities, a phenomenon that had not occurred elsewhere. This thesis considers the activities of the small number of people who drove the festivals’ establishment, the newly-built ‘neoclassical’ organs and harpsichords that were integral to the festivals’ success, and the circumstances that brought these agents for change together. The period studied here was one of considerable movement— political, social, technological and musical. This thesis shows that the festivals were part of a wider generational push to embrace ‘the new’ in diverse areas. They resulted from a development of new interests among a disparate group of specialists, which fortuitously converged with those of an isolated but developing audience for ‘new’ musical experiences. Until the 1960s the organ in Australia was relatively isolated from mainstream music, its role mainly confined to liturgical functions. However in Europe the organ was undergoing considerable change as part of the organ reform movement that stimulated a reconsideration of organ building, taking into account the principles on which the historic instruments of the eighteenth century were constructed. Importantly, the organ reform movement also linked with and formed part of the concurrent early music movement. By the 1960s, sound recordings had made newly discovered historic instruments and their repertoire accessible to most Australian musicians and music lovers for the first time.
[Show full text]
NWCR712 Autumn Rhythms
NWCR712 Autumn Rhythms Ezra Laderman: Epigrams and Canons for two baroque flutes (1989) 11. Canon on Do: Lively ................................ (0:34) 12. Pointed, spirited ........................................ (0:25) 13. Canon on Mi: Moderato ........................... (0:43) 14. With brilliance .......................................... (0:30) 15. Canon on Sol: Measured .......................... (0:57) 16. Presto ........................................................ (0:25) 17. Canon on Ti: Andantino ........................... (0:59) 18. Allegro vivace .......................................... (0:48) John Solum, Richard Wyton, baroque flutes Lionel Nowak: Suite for baroque flute and harpsichord (1989) 19. Reflection I: Gently .................................. (4:16) 20. Romp I: With fire ..................................... (2:01) 21. Reflection II: Chaste ................................. (2:58) 22. Romp II: With bite ................................... (2:24) John Solum, baroque flute; Igor Kipnis, harpsichord Jack Beeson: Fantasy, Ditty and Fughettas for two baroque flutes (1992) Meyer Kupferman: Four Abstractions for solo flute (1992) 23. Fantasy: varying, freely ............................ (2:36) 1. Water of the Flowry Mille 24. Ditty: simply, with wit .............................. (1:36) (Arshile Gorky) ......................................... (3:46) 25. Fughettas: moving right along, 2. Attic (Willem de Kooning) ....................... (3:46) with good humor ...................................... (2:48) 3. Untitled
[Show full text]
Gathering Peascods for the Old Gray Mare Some Unusual Harpsichord Music Before Aliénor
Harpsichord Gathering Peascods for the Old Gray Mare Some Unusual Harpsichord Music Before Aliénor By Larry Palmer Violet Gordon Woodhouse Pearl CD cover The 2012 inaugural meeting of the equally charming, though perhaps less the University of California, Berkeley new Historical Keyboard Society of historically informed, when performed in 196110 and Igor Kipnis recorded it North America (HKSNA), formed by without the ambient sound track. in 1976.11 I have occasionally enjoyed the merger of the Southeastern Histori- playing Delius’s purple-plush harmonies cal Keyboard Society (SEHKS, founded Thomé in a shortened version arranged by Bal- 1980) and its slightly younger sibling, New harpsichord music composed timore harpsichordist Joseph Stephens. the Midwestern Historical Keyboard for the earliest Revival harpsichords4 Each time I play the work I find fewer Society (MHKS, organized 1984), actually predates any recording of the notes to be necessary, and decide to was an historic event in itself. The instrument: Francis Thomé’s Rigodon, omit more and more of them, often an late March gathering in Cincinnati opus 97, a pièce de claveçin, was writ- approach that best serves these piano- included both the seventh iteration of ten for the fleet-fingered French pianist centric harpsichord refugees from the the Jurow Harpsichord Playing Com- Louis Diémer, and published in Paris by early Revival years. Since Delius surely petition and the eighth occurrence of Henry Lemoine and Company in 1892.5 ranks among the better-known compos- the International Aliénor Composition ers who attempted to write anything at Competition, plus scores of scholarly The first 20th-century all for the harpsichord, it seems worth presentations and short recitals, loosely harpsichord piece? the effort to forge an individual version organized into ten sessions, each with a There are currently two contenders for that serves to bring this quite lovely general connecting theme.
[Show full text]
Louisa F. France Collection
LOUISA F. FRANCE COLLECTION Collection Number: MSS 152 Size: 10 boxes Special Collections and University Archives Jean and Alexander Heard Library Vanderbilt University Nashville, Tennessee © Vanderbilt University Special Collections Louisa F. France Collection MSS 152 Processed January 27, 2003 The Louisa F. France Collection documents over six decades of musical performances staged in the United States and Europe. Measuring 4.2 linear feet, the collection is organized chronologically and represents a wide spectrum of classical performers and musical styles. The earliest programs date back to 1920s performances by Sergey Rachmanioff (1873-1943) and Jascha Heifetz (1901-87) at the Lyric Theatre in Baltimore, Maryland. Other key performance venues in the United States represented in the collection include the Metropolitan Opera House, Lincoln Center and Carnegie Hall in New York City as well as the Kennedy Center for the Performing Arts in Washington, D.C. Of special interest to researchers are the pre-World War II programs from Vienna and Salzburg, Austria; Munich, Dresden and Bayreuth, Germany; and Paris, France in the months leading up to the Nazi occupation. There are also several post-war items from London, England; Cremona, Italy; Brussels, Belgium; Innsbrook, Austria; Gottingen and Nurnberg, Germany. In the late 1940s, Ms. France moved to Nashville with her husband, Dr. Richard France (Vanderbilt University Medical School Faculty 1948-85), where she and Dr. France patronized the local performance art scene. Items representing music programs staged at various churches in Nashville as well as those presented by George Peabody College for Teachers, Fisk University, Blair School of Music and the Nashville Symphony all are included in this collection.
[Show full text]
A Dynamic Voice in Twentieth Century Music and Beyond
MANHATTAN SCHOOL OF MUSIC New York, New York THESIS ERIC SALZMAN (1933-2017) A Dynamic Voice in Twentieth Century Music and Beyond Scott Joiner 29 Middagh St. Brooklyn, NY 11201 (917) 297-9975 Spring 2020 DMA, Voice Dr. J Mark Stambaugh, advisor Dr. Peter Andreacchi, second reader Dr. Jeffrey Langford, Associate Dean of Doctoral Studies CONTENTS ACKNOWLEDGEMENTS 2 INTRODUCTION – 4 CHAPTER ONE – EARLY LIFE 7 CHAPTER TWO – THE 1950S – EDUCATION AND EUROPEAN TRAINING 20 CHAPTER THREE – A FULL RANGE OF ACTIVITY (THE EARLY 60S) 42 CHAPTER FOUR – COUNTER CULTURE, EUROPE AND THE AVANT GARDE 52 CHAPTER FIVE – THE NUDE PAPER SERMON, FEEDBACK & THE LATE 60S 88 CHAPTER SIX – NEW MUSIC THEATER 113 CHAPTER SEVEN –PRODUCER, EDUCATOR AND LATE PERIOD COMPOSER 131 Appendix 1 – ESSAY: SPEAKING IN TONGUES, OR WHY SHOULD ECLECTIC BE A BAD WORD (By Eric Salzman) 165 Appendix 2 – WORKS PRODUCED BY SALZMAN AT AMTF (with commentary) 170 Appendix 3 – AMTF ALUMNI 180 Appendix 4 – SALZMAN: SELECTED WORKS 187 Bibliography ACKOWLEDGEMENTS It is an extraordinary thing to be able to write a research paper with so many living sources to illuminate the subject. I would like to thank all of my interviewees: William Bolcom, Peter Westergaard, Marjorie Samoff, William Schimmel, Judy Collins, Richard Marshall, Jim Schaeffer, Theo Bleckmann, Kristin Norderval, Victoria Bond and not least of all, Eric Salzman himself, who sat for six hours of interview in the years before he died. I am likewise indebted to my email correspondents who not only responded to direct questions,
[Show full text]