Conductor Willem Mengelberg, 1871-1951 Conductor Willem Mengelberg, 1871-1951
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18.7 Instrumental 78S, Pp 173-195
78 rpm INSTRUMENTAL Sets do NOT have original albums unless indicated. If matrix numbers are needed for any of the items below in cases where they have been omitted, just let me know (preferably sooner rather than later). Albums require wider boxes than I use for records. If albums are available and are wanted, they will have to be shipped separately. U.S. postal charges for shipment within the U.S. are still reasonable (book rate) but out of country fees will probably be around $25.00 for an empty album. Capt. H. E. ADKINS dir. KNELLER HALL MUSICIANS 2107. 12” PW Plum HMV C.2445 [2B2922-IIA/2B2923-IIA]. FANFARES (Composed for the Musicians’ Benevolent Fund by Lord Berners, Sir. W. Davies, Dorothy Howell and Dame Edith Smyth). Two sides . Lt. rubs, cons . 2. $15.00. JOHN AMADIO [flutist] 2510. 12” Red Orth. Vla 9706 [Cc8936-II/Cc8937-II]. KONZERTSTÜCK, Op. 98: Finale (Heinrich Hofmann) / CONCERTINO, Op. 102 (Chaminade). Orch. dir. Lawrance Collingwood . Just about 1-2. $12.00. DANIELE AMFITHEATROF [composer, conductor] dir. PASDELOUP ORCH. 3311. 12” Green Italian Columbia GQX 10855, GQX 10866 [CPTX280-2/ CPTX281-2, CPTX282-3/ CPTX283- 1]. PANORAMA AMERICANO (Amfitheatrof). Four sides. Just about 1-2. $25.00. ENRIQUE FERDNANDEZ ARBOS [composer, conductor] dir. ORCH. 2222. 12” Blue Viva-Tonal Columbia 67607-D [WKX-62-2/WKX-63]. NOCHE DE ARABIA (Arbos). Two sides. Stkr. with Arbos’ autograph attached to lbl. side one. Just about 1-2. $20.00. LOUIS AUBERT [composer, con- ductor] dir. PARIS CONSERVA- TOIRE ORCH. 1570. 10” Purple Eng. -
Karl Schuricht Concerto En Ré Majeur - Op
Karl Schuricht Concerto En Ré Majeur - Op. 77 Pour Violon Et Orchestre mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Concerto En Ré Majeur - Op. 77 Pour Violon Et Orchestre Country: France Style: Romantic MP3 version RAR size: 1276 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1954 mb Rating: 4.2 Votes: 930 Other Formats: XM AA APE FLAC AIFF ASF WAV Tracklist Concerto En Ré Majeur - Op. 77 Pour Violon Et Orchestre A1 Allegro Non Troppo (Cadence De Kreisler) B1 Adagio Allegro Giocoso, Ma Non Troppo Vivace (Cadence De B2 Kreisler) Companies, etc. Printed By – Dehon & Cie Imp. Paris Credits Liner Notes – Claude Rostand Barcode and Other Identifiers Rights Society: DP Other versions Category Artist Title (Format) Label Category Country Year Johannes Brahms, Johannes Brahms, Christian Ferras, Christian Ferras, Wiener Philharmoniker, LXT 2949 Wiener Carl Schuricht - Decca LXT 2949 UK Unknown Philharmoniker, Carl Concerto In D Major For Schuricht Violin And Orchestra Opus 77 (LP, Album) Carl Schuricht - Carl Schuricht - Christian Ferras - Christian Ferras - 6.42142 Johannes Brahms - 6.42142 Johannes Brahms - Decca Germany Unknown AF Wiener Philharmoniker - AF Wiener Violinkonzert D-Dur (LP, Philharmoniker Album) Carl Schuricht - Christian Ferras - Carl Schuricht - Johannes Brahms - Christian Ferras - Wiener Philharmoniker - LXT 2949 Johannes Brahms - Decca LXT 2949 Spain 1958 Concierto En "Re" Wiener Mayor Para Violín y Philharmoniker Orquesta Opus 71 (LP, Album, Mono) Johannes Brahms, Christian Ferras, Vienna Johannes Brahms, Philharmonic Christian Ferras, Orchestra*, Carl B 19018 Vienna Philharmonic Richmond B 19018 Mexico Unknown Schuricht - Concerto In Orchestra*, Carl D Major For Violin And Schuricht Orchestra Opus 77 (LP, Album) Carl Schuricht - Carl Schuricht - Christian Ferras - Christian Ferras - LW 50095 Johannes Brahms - Johannes Brahms - Decca LW 50095 Germany Unknown Wiener Wiener Philharmoniker - Philharmoniker Violinkonzert D-Dur (LP) Related Music albums to Concerto En Ré Majeur - Op. -
Recent Publications in Music 2010
Fontes Artis Musicae, Vol. 57/4 (2010) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2010 Compiled and edited by Geraldine E. Ostrove On behalf of the Pour le compte de Im Auftrag der International l'Association Internationale Internationalen Vereinigung Association of Music des Bibliothèques, Archives der Musikbibliotheken, Libraries Archives and et Centres de Musikarchive und Documentation Centres Documentation Musicaux Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2009. It includes titles of new journals, but no journal articles or excerpts from compilations. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS Austria: Thomas Leibnitz New Zealand: Marilyn Portman Belgium: Johan Eeckeloo Nigeria: Santie De Jongh China, Hong Kong, Taiwan: Katie Lai Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Senegal: Santie De Jongh Finland: Tuomas Tyyri South Africa: Santie De Jongh Germany: Susanne Hein Spain: José Ignacio Cano, Maria José Greece: Alexandros Charkiolakis González Ribot Hungary: Szepesi Zsuzsanna Tanzania: Santie De Jongh Iceland: Bryndis Vilbergsdóttir Turkey: Paul Alister Whitehead, Senem Ireland: Roy Stanley Acar Italy: Federica Biancheri United Kingdom: Rupert Ridgewell Japan: Sekine Toshiko United States: Karen Little, Liza Vick. The Netherlands: Joost van Gemert With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Irina Kirchik, Everett Larsen and Thompson A. -
Multivalent Form in Gustav Mahlerʼs Lied Von Der Erde from the Perspective of Its Performance History
Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History Christian Utz All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 09/10/2017 Accepted: 19/11/2017 Published: 27/02/2018 Last updated: 27/02/2018 How to cite: Christian Utz, “Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History,” Musicologica Austriaca: Journal for Austrian Music Studies (February 27, 2018) Tags: 20th century; Analysis; Bernstein, Leonard; Das Lied von der Erde; Klemperer, Otto; Mahler, Gustav; Performance; Performance history; Rotational form; Sonata form; Strophic form; Walter, Bruno This essay is an expanded version of a paper presented at the symposiumGustav Mahler im Dialog, held at the Gustav Mahler Musikwochen in Toblach/Dobbiaco on July 18, 2017. The research was developed as part of the research project Performing, Experiencing and Theorizing Augmented Listening [PETAL]. Interpretation and Analysis of Macroform in Cyclic Musical Works (Austrian Science Fund (FWF): P 30058-G26; 2017–2020). I am grateful for advice received from Federico Celestini, Peter Revers, Thomas Glaser, and Laurence Willis. Files for download: Tables and Diagrams, Video examples 1-2, Video examples 3-4, Video examples 5-8, Video examples 9-10 Best Paper Award 2017 Abstract The challenge of reconstructing Gustav Mahlerʼs aesthetics and style of performance, which incorporated expressive and structuralist principles, as well as problematic implications of a post- Mahlerian structuralist performance style (most prominently developed by the Schoenberg School) are taken in this article as the background for a discussion of the performance history of Mahlerʼs Lied von der Erde with the aim of probing the model of “performance as analysis in real time” (Robert Hill). -
Mahler Song Cycles
TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS ABOUT MORE Mahler Song Cycles Kindertotenlieder Lieder eines fahrenden Gesellen Rückert-Lieder Alice Coote, mezzo-soprano Netherlands Philharmonic Orchestra Marc Albrecht TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS ABOUT MORE Gustav Mahler (1860 – 1911) Lieder eines fahrenden Gesellen 1 1. Wenn mein Schatz Hochzeit macht 4. 03 2 2. Ging heut’ morgen über’s Feld 4. 18 3 3. Ich hab’ ein glühend Messer 3. 17 4 4. Die zwei blauen Augen 5. 25 Rückert-Lieder 5 1. Ich atmet einen linden Duft 2. 40 6 2. Blicke mir nicht in die Lieder! 1. 28 7 3. Liebst du um Schönheit 2. 09 8 4. Um Mitternacht 6. 05 ← ← 9 5. Ich bin der Welt abhanden gekommen 6. 33 Kindertotenlieder 10 1. Nun will die Sonn’ so hell aufgehen 5. 38 11 2. Nun seh’ ich wohl. warum so dunkle Flammen 4. 47 12 3. Wenn dein Mütterlein 4. 46 13 4. Oft denk’ ich, sie sind nur ausgegangen 3. 06 14 5. In diesem Wetter! 6. 59 Alice Coote, mezzo-soprano Total playing time: 61. 35 Netherlands Philharmonic Orchestra Conducted by Marc Albrecht mezz Gustav Mahler (1860 – 1911) The mirror of the soul – into a symphonic context (for example, very closely connected to the Symphony will send the final lied, even though the Similar to Schubert’s Winterreise (= mood of the journeyman. None of the Messer” (= I have a gleaming knife), At the beginning of the new century, Even in the late 19th century, child by Mahler for his Kindertotenlieder are intense vocal expressiveness required Alice Coote regarded as one of the great artists of English Concert, Kammerphilharmonie in welcoming and developing new people. -
The New Year Editorial
THE PRACTICAL RADIO JOURNAL 26 th Year of Publication No. 905. FRIDAY, JANUARY 1sT, 1937. VOL. XL. No. 1. Proprietors : ILIFFE & SONS LTD. Editor : HUGH S. POCOCK. The New Year Editorial, Advertising and Publishing Offices : Promise of Many Developments DORSET HOUSE, STAMFORD STREET, LONDON, S.E.s. 7 might have been supposed that, should pave the way for conditions of Telephone : Waterloo 3333 (So lines). wireless being no longer in its reception, especially in large towns, Telegrams: "Ethaworld, Sedist, London.' infancy, and broadcasting having better than anything which has hitherto COVENTRY : Hertford Street. now been with us for some fifteen been enjoyed. The probability exists, Telegrams: Telephone: "Autocar, Coventry." 52 ro Coventry. years, the year which we enter upon also, that changes in wavelength alloca- with this issue would show promise of tion in Europe may come about, BIRMINGHAM: no remarkable changes or develop- resulting in an improvement, at least Guildhall Buildings, Navigation Street, L ments of importance. Yet from all with the larger of : transmitters, Telegrams Telephone : "Autopress, Birmingham." . 2971 Midland (q lines). appearances the very reverse will apply, reception . conditions as far as ad- because no time in of MANCHESTER : 260, Deansgate, 3. at the history jacent- channel interference is con- Telegrams : Telephone : wireless have there been more positive cerned. "Muffe, Manchester." Blackfriars (4 4412 lines). indications of really important achieve- Promises have been made that, in GLASGOW : 26B, Renfield Street, C.2. ments in view. the broadcast programme field, 1937 Telegrams: " Inge, Glasgow." Telephone: Central 4857. Short -wave developments, both in will see an increase in the exchange of PUBLISHED WEEKLY. -
Current Trends in the Implementation of Educational Concerts of Symphony Orchestras: a Review of Literature LEONI HADJITHOMA European University, Cyprus
Min-Ad: Israel Studies in Musicology Online, Vol. 15, 2018 (2) Materials of the First International Conference on Music Education in the Community “Traditions, Challenges and Innovations,” Tel-Aviv – Jerusalem, May 14-17, 2017 Current Trends in the Implementation of Educational Concerts of Symphony Orchestras: A Review of Literature LEONI HADJITHOMA European University, Cyprus Abstract: This presentation focused on the current trends in the implementation of educational concerts of symphony orchestras. The aim was to collect, organize and present innovative approaches on how to design enjoyable educational concerts for students and provide them with memorable experiences. Data was collected from orchestra websites, reports, books and published thesis and doctoral dissertations. Results show that educational concerts are usually designed by a conductor often in collaboration with the director of the music education department of an orchestra. Teacher and student resources, and teacher training are provided to prepare the students for the experience. The choice of repertoire depends on the learning objectives of each concert, but the musical tastes and needs of the students should always be taken into consideration. The students are actively engaged in various ways during the concert. Assessment of educational concerts is carried out and the results are used internally for improvement of future concerts. Keywords: educational concerts, symphony orchestra, trends Introduction Many symphony orchestras include in their annual programs educational concerts for students in collaboration with schools to educate the audience of the future and enrich the services they offer to the public. At the same time, educational concerts are an important part of the music curriculum in education and give students the opportunity to gain additional experiences, while interacting with the community they belong to. -
Alphons Diepenbrock Maurice Ravel
103 December 201 2 tijd zijn en Mengelberg Willem WM Alphons Diepenbrock W Maurice Ravel M Uitvoeringspraktijken Inhoud Van de redactie 1 Van het bestuur 1 F. Heemskerk, J. Maa rsingh De droom van Joan Berkhemer 5 Herinneringen aan Diepenb rock 7 Concertrecensies Diepenbrock 11 Johan Maarsingh Mengelberg en Ravel’s Daphnis et Chloé -suite 29 Constant van Wessem Maurice Ravel in Nederland 30 Op bezoek bij Maurice Ravel 32 Concertrecensies Ravel 33 Mengelberg in de prov incie: ’s-Herto genbosch 40 Frederik Heemskerk De Matthäus onder Van Beinum 44 Personalia 46 Ronald de Vet Boek - en CD -besprekingen 47 Ronald de Vet Filmmuziek onder Mengelberg 51 Prijsvraag Colofon Redactie Johan Maarsingh , Ronald de Vet Website www.willemmengelberg.nl Bestuur Voorzitter dr Eveline A. Nikkels Vice -voorzitter mr Frederik Heemskerk Secretaris drs Margaret Krill Penningmeester mr Jan C. Reinoud Li d dr Frits W. Zwart Contributie € 30 binnen Europa, € 35 daarbuiten . Gezinslid: € 10 . Voor 1 april o ver te maken op rekening 155 802 t.n.v. Willem Mengelberg Vereniging, Amsterdam. IBAN: NL97INGB0000155802. BIC: INGBNL2A. Het lidmaatschap loopt gelijk met het kalenderjaar. Opzeggingen dienen voor 1 december te zijn ontvangen. Erelid Riccardo Chailly Van de redactie In dit laatste nummer van het jubileumjaar gaan we voor onze rubriek ‘Mengelberg in van onze vereniging vindt u allereerst een de provincie’ naar Den Bosch toe. verslag van de ledenvergadering en de Ook schenken wij aandacht aan de pas daarop aansluitende bijeenkomst in Am- uitgebrachte Matthäus-Passion onder sterdam, waarbij het verschil tussen de Eduard van Beinum uit 1958 en aan enke- traditionele en de hedendaagse (‘authen- le recente boek- en CD-uitgaven. -
Pdf 139.3 Kb
Dresdner Philharmonie The Dresden Philharmonic can look back on 150 years of history as the orchestra of Saxony’s capital Dresden. When the so-called “Gewerbehaussaal” opened on 29 November 1870, the citizens of the city were given the opportunity to organise major orchestra concerts. Philharmonic concerts were held regularly starting in 1885; the orchestra adopted its present name in 1923. In its first decades, composers such as Brahms, Tchaikovsky, Dvořák and Strauss conducted the Dresdner Philharmonie with their own works. The first desks were presided over by outstanding concertmasters such as Stefan Frenkel, Simon Goldberg and the cellists Stefan Auber and Enrico Mainardi. From 1934, Carl Schuricht and Paul van Kempen led the orchestra; van Kempen in particular guided the Dresden Philharmonic to top achievements. All of Bruckner’s symphonies were first performed in their original versions, which earned the orchestra the reputation of a “Bruckner orchestra” and brought renowned guest conductors such as Hermann Abendroth, Eduard van Beinum, Fritz Busch, Eugen Jochum, Joseph Keilbert, Erich Kleiber, Hans Knappertsbusch and Franz Konwitschny to the rostrum. After 1945 and into the 1990s, Heinz Bongartz, Horst Förster, Kurt Masur (from 1994 also honorary conductor), Günther Herbig, Herbert Kegel, Jörg-Peter Weigle and Michel Plasson were the principal conductors. In recent years, conductors such as Marek Janowski, Rafael Frühbeck de Burgos and Michael Sanderling have shaped the orchestra. As of season 2019/2020, Marek Janowski has returned to the Dresden Philharmonic as principal conductor and artistic director. Its home is the highly modern concert hall inaugurated in April 2017 in the Kulturpalast building in the heart of the historic old town. -
100 Years of Extraordinary Historical Highlights from the Baltimore Symphony Orchestra Archives
100 Years of Extraordinary Historical Highlights from the Baltimore Symphony Orchestra Archives 1910s 1915 – Through a $6,000 grant from the city of Baltimore, the Baltimore Symphony Orchestra is founded as a branch of the city’s Department of Municipal Music, making it the only major American orchestra to be fully funded as a municipal agency. 1916 – On February 11, the Baltimore Symphony Orchestra performs its inaugural concerts to a standing- room-only crowd at The Lyric, under the direction of Music Director Gustav Strube. All three concerts comprising the first season at the Lyric are sold out. 1920s 1924 – On February 16, the BSO hosts its first children’s concert. The Baltimore Symphony youth concert series is the first to be established by an American orchestra. 1926 – The Baltimore Symphony makes its initial broadcast performance on WBAL Radio. 1930s 1930 - George Siemonn becomes the second music director of the orchestra. He conducts his opening concert, with the musicians now numbering 83, on November 23. 1935 - In late February, George Siemonn reluctantly resigns as music director and is replaced by Ernest Schelling. Forty-four musicians apply for the position. Schelling is well-known for his children’s concert series at Carnegie Hall. 1937 - Sara Feldman and Vivienne Cohn become the first women to join the Baltimore Symphony. The older members of the orchestra are supportive, but union members picket the hall with signs saying, “Unfair to Men,” which is reported in the New York Times. 1937 - Ernest Schelling becomes ill and is replaced by Werner Janssen. The dynamic young conductor and his wife, the celebrated film star Ann Harding, receive an enthusiastic response when they arrive in Baltimore. -
In the Past Decades the Opening Ceremony of the Olympic Games Has Developed Into a Cultural Spec
n the past decades the opening ceremony of the a while a watery sun even shone through "an angry IOlympic Games has developed into a cultural spec- Ruysdael sky". tacle lasting for many hours. When Amsterdam was According to calculations the brand-new elected to host the Games almost eighty years ago, Olympic Stadium could hold 40.000 spectators, but matters were quite different. The opening ceremony as it turned out, the counter stopped at 31,000; a on 28 July 1928 was for the most part restrained. considerable disappointment. Not a mouse could There was a 'dedication speech' of over twenty min- be fitted in at the opening. Ticket prices ranged utes. A choir of 1200 'chanteurs' sang the hymn Wilt from f. 7,50 guilders (€ 3.50) for the grandstand to heden nu treden and ten verses of Hollands Vlag, je 1,25 guilders (€ 0.60) for standing room. Since the bent mijn glorie. Angry with the Olympic mandarins, photo rights had been leased, spectators were not Queen WILHELMINA would not open the Games, so allowed to take their own pictures. Even the small- Prince HENDRIK opened them in her name. est camera had to be handed in. A police inspector The month of July had been advertising summer searched the stands with binoculars for offenders brilliantly in 1928. For weeks nobody had needed to who were then set on by policemen. bother about an umbrella. "It had been too good, ac- Hans Meerum TERWOGT, the leading Dutch tually nothing like Holland, such weather, so steady and sportswriter of his time, was watching the many dependable. -
“Tragic” Mistake
UNDOING A “TRAGIC” MISTAKE DETERMINING THE INNER-MOVEMENT ORDER OF MAHLER’S SIXTH SYMPHONY A critical examination of the evidence by Jerry Bruck New York City October 19th, 2002 A publication of THE KAPLAN FOUNDATION 450 Park Avenue New York City © Jerry Bruck, 2002 I. OVERVIEW Nearly a century has passed since Gustav Mahler composed his Sixth Symphony, yet confusion still persists among conductors, scholars and biographers regarding the order of its inner movements. Mahler began work on the symphony in 1903, first composing a Scherzo and an Andante as the central pair of its eventual four-movement structure, framing them with the remaining movements the following year. He then reversed this “S-A” order of inner movements before the symphony’s premiere in 1906, and thereafter never reverted to their previous arrangement. It was not until 1919, almost a decade after Mahler’s death, that the conductor Willem Mengelberg queried Mahler’s widow about the order of these inner movements. Her response: “First Scherzo, then Andante” prompted him to alter the “A-S” order of his conductor’s score, igniting a controversy that has spanned the decades since. With the publication in 1963 of the first Critical Edition of the Sixth by the Internationale Gustav Mahler Gesellschaft (IGMG), the matter seemed settled at last. In his introduction, IGMG founder-editor Erwin Ratz stated that the thematic similarities between the symphony’s opening movement and its Scherzo, commented upon during rehearsals for its premiere, had prompted Mahler to succumb to the advice of “outside influences” to transpose the Sixth’s inner movements.