Ludwig Van Beethoven in a Transcription of His Violin Concerto for String Orchestra
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STAR V41,11 November-12-1948.Pdf (6.573Mb)
Violinist Roman Totenberg To Present Third Artist Series Concert Violinist Roman Totenberg, Polish- · the Moscow Opera concert master - stem. L r.-, and now an American citizen , and was soon making tours of Russia, Returning to the United States in wil! perform for the next Artists' , as a child prodigy. When only fifteen, 1938, Mr. Totenberg came to stay. Series concert in the college chapel Mr. Totenberg made his debut in He received his American citizenship ar 8:00 p. m., Friday, November 19. Poland as soloist with the Warsaw five years later. 'Ih: s internationally-known artist was Philharmonic Symphony orchestra. He has appeared as soloist with the acclaimed by the New York PM as I Further studies were made unded New York Philliarinonic, the Cleve- follows: "One of the finest of the Carl Flesch in Berlin and Gorges land Symphony, the National Sym- younger group of violinists, he is a Enesco in Paris. Following this, he phony, and tile New York City Cen- profoundly sincere and sound musician toured all the major capitals of ter orchestras. His recitals have been ond in his performances never allows Europe, including London, Berlin. heard in the White House and at mere virtuosity to overshadow the i The Hague, and Rome. Carnegie Hall. .. us: c itself." After his first American tour in ' In his coming performance, Mr. Coming from an artistic family, 1935, he returned to Europe where Totenberg will play compositions Mr. Totenberg first showed interest , he played with Szymanowski, famous from French, Bruch, Bartok, Nin, in the violin at the age of six. -
Shostakovich (1906-1975)
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Symphony No. 1 in F minor, Op. 10 (1923-5) Yuri Ahronovich/Moscow Radio Symphony Orchestra ( + Overture on Russian and Kirghiz Folk Themes) MELODIYA SM 02581-2/MELODIYA ANGEL SR-40192 (1972) (LP) Karel Ancerl/Czech Philharmonic Orchestra ( + Symphony No. 5) SUPRAPHON ANCERL EDITION SU 36992 (2005) (original LP release: SUPRAPHON SUAST 50576) (1964) Vladimir Ashkenazy/Royal Philharmonic Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15, Festive Overture, October, The Song of the Forest, 5 Fragments, Funeral-Triumphal Prelude, Novorossiisk Chimes: Excerpts and Chamber Symphony, Op. 110a) DECCA 4758748-2 (12 CDs) (2007) (original CD release: DECCA 425609-2) (1990) Rudolf Barshai/Cologne West German Radio Symphony Orchestra (rec. 1994) ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15) BRILLIANT CLASSICS 6324 (11 CDs) (2003) Rudolf Barshai/Vancouver Symphony Orchestra ( + Symphony No. -
Dissertation Summary of Three Recitals, with Works Derived from Folk Influences, Living American Composers and Works Containing a Theme and Variations
Dissertation Summary of Three Recitals, with Works Derived from Folk Influences, Living American Composers and Works Containing a Theme and Variations. by Heewon Uhm A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance) in the University of Michigan 2019 Doctoral Committee: Professor David Halen, Chair Professor Anthony D. Elliott Professor Freda A. Herseth Professor Andrew W. Jennings Assisant Professor Youngju Ryu Heewon Uhm [email protected] ORCID iD: 0000-0001-8334-7912 © Heewon Uhm 2019 DEDICATION To God For His endless love To my dearest teacher, David Halen For inviting me to the beautiful music world with full of inspiration To my parents and sister, Chang-Sub Uhm, Sunghee Chun, and Jungwon Uhm For trusting my musical journey ii TABLE OF CONTENTS DEDICATION ii LIST OF EXAMPLES iv ABSTRACT v RECITAL 1 1 Recital 1 Program 1 Recital 1 Program Notes 2 RECITAL 2 9 Recital 2 Program 9 Recital 2 Program Notes 10 RECITAL 3 18 Recital 3 Program 18 Recital 3 Program Notes 19 BIBLIOGRAPHY 25 iii LIST OF EXAMPLES EXAMPLE Ex-1 Semachi Rhythm 15 Ex-2 Gutgeori Rhythm 15 Ex-3 Honzanori-1, the transformed version of Semachi and Gutgeori rhythm 15 iv ABSTRACT In lieu of a written dissertation, three violin recitals were presented. Recital 1: Theme and Variations Monday, November 5, 2018, 8:00 PM, Stamps Auditorium, Walgreen Drama Center, University of Michigan. Assisted by Joonghun Cho, piano; Hsiu-Jung Hou, piano; Narae Joo, piano. Program: Olivier Messiaen, Thème et Variations; Johann Sebastian Bach, Ciaconna from Partita No. -
GRIEG, Edvard Hagerup (1843-1907)
BIS-CD-637STEREO DDD".l Total playing timer 69'22 GRIEG,Edvard Hagerup(1843-1907) SeksDigte,Op,4 rwn l1'08 tr I. Die Waise(Text: Adelbert uon Chatnisso) 2',28 E II. Morgenthat (Text:Adelbert uon Chamisso) l'21 tr IIL Abschied.(Text: Heinrich Heine) ,.,r.4 E IV. Jiigerlied.(Text: J. Ludwig Uhland) 0'41 tr V. Das alte Lied (Text:Heinrich Heine) 2',17 tr VI. Wo sind sie hin? (Text:Heinrich Heine) r'32 Hjertets Melodie4 Op,EOexts: Hans Christian And.ersen) Nn) 5'53 tr I. Tobrune Ojne 1'05 E II. Du fatter ej Bglgernesevige Gang 7',41 tr III. Jegelsker dig r'34 @ IV. Min Tankeer et mregtigFjeld r'17 Sex Digte af Ibsen, Op.25 (Texts:Henrik lbsen) (wH) l1'40 E I. Spillemend 2'07 @ II. En Svane 2'00 tr III. Stambogsrim r'32 tr IV. Meden Vandlilje 1'52 tr V.Borte! I'28 @ VI. En Fuglevise 2',14 2 Barnlige Sange. Fra Nordahl Rolfsens"Lrcsebog", Op.6l 13'15 tr I. Havet (Text:J. NordahlRolfsen) eet",') l'02 @ IL Sangtil Juletreet (Text:J. Krohn) NorehMusikforlag) 2',26 E iIL Lok (Text:Bjgrnstjerne Bjgrnson) eetersl 0'46 @ IV. Fiskevise(Text: P. Dass) rchristiania.Brddrere Hals's Musihforlag) 1'07 E V. Kveld-Sangfor Blakken 2',34 (Text:J. Nordahl Rolfsen) Ghristiania,Brdilrene Hals's Musihforlng) @ VL De norskeFjelde }',29 (Text:J. NordahlRoLfsen) rchristiania. Brdilrene Hak's MusihforW) tr VII. Faedrelands-Salme r'26 (Text:J. NordahlRolfsen, after Johan Luduig Runeberg) Norsh Musihfortns) Haugtussa, Op.67 (Text:Arne Garborg) rwn) 25',47 tr I. -
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 the Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 The Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr. Richard Benjamin THE GRAMMY® FOUNDATION eonard Bernstein is cele brated as an artist, a CENTER FOP LEAR ll I IJ G teacher, and a scholar. His Lbook Findings expresses the joy he found in lifelong learning, and expounds his belief that the use of the arts in all aspects of education would instill that same joy in others. The Young People's Concerts were but one example of his teaching and scholarship. One of those concerts was devoted to celebrating teachers and the teaching profession. He said: "Teaching is probably the noblest profession in the world - the most unselfish, difficult, and hon orable profession. But it is also the most unappreciated, underrat Los Angeles. Devoted to improv There was an entrepreneurial ed, underpaid, and under-praised ing schools through the use of dimension from the start, with profession in the world." the arts, and driven by teacher each school using a few core leadership, the Center seeks to principles and local teachers Just before his death, Bernstein build the capacity in teachers and designing and customizing their established the Leonard Bernstein students to be a combination of local applications. That spirit Center for Learning Through the artist, teacher, and scholar. remains today. School teams went Arts, then in Nashville Tennessee. The early days in Nashville, their own way, collaborating That Center, and its incarnations were, from an educator's point of internally as well as with their along the way, has led to what is view, a splendid blend of rigorous own communities, to create better now a major educational reform research and talented expertise, schools using the "best practices" model, located within the with a solid reliance on teacher from within and from elsewhere. -
Julia Fischer Yakov Kreizberg
PETER ILYICH TCHAIKOVSKY Violin Concerto in D, Op.35 Sérénade mélancolique Op.26 Valse-Scherzo Op.34 Souvenir d’un lieu cher Julia Fischer Russian National Orchestra Yakov Kreizberg Peter Ilyich Tchaikovsky (1840 – 1893) Violin Concerto in D, Op. 35 1 Allegro moderato 18. 05 2 Canzonetta (Andante) 6. 44 3 Finale (Allegro vivacissimo) 10. 04 Sérénade mélancolique, Op. 26 for violin and orchestra 4 Andante 9. 27 Valse – Scherzo, Op. 34 for violin and orchestra 5 Allegro (Tempo di Valse) 7. 46 Souvenir d’un lieu cher, Op. 42 for violin and piano 6 Méditation 9. 17 7 Scherzo 3. 15 8 Mélodie 3. 22 Julia Fischer, violin Yakov Kreizberg, piano (6-8) Russian National Orchestra conducted by: Yakov Kreizberg (1-5) Recording venues: DZZ Studio 5, Moscow (1-5), 4/2006 MCO Studio 5, Hilversum (6-8), 4/2006 Executive Producer: Job Maarse Recording Producers: Job Maarse (1-5), Sebastian Stein (6-8) Balance Engineers: Erdo Groot (1-5), Jean-Marie Geijsen(6-8) Recording Engineer & Editor: Sebastian Stein Total playing time: 68. 25 Composing for pleasure us.” However, Tchaikovsky did he solo violin did not occupy a not seem to change Tcentral position within the oeuvre as far as the rest of of Peter Tchaikovsky (1840 – 1893). the world was concerned, He was himself a pianist, and com- as endorsed by his colleague posed three piano concertos, as well Nikolai Rimsky-Korsakov, who as chamber music, operas and bal- mentions the following in his auto- lets. That probably explains why he biography My musical life: “After ap- composed no more than one violin proximately 1876, Tchaikovsky – who concerto. -
Edvard Grieg: Between Two Worlds Edvard Grieg: Between Two Worlds
EDVARD GRIEG: BETWEEN TWO WORLDS EDVARD GRIEG: BETWEEN TWO WORLDS By REBEKAH JORDAN A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Rebekah Jordan, April, 2003 MASTER OF ARTS (2003) 1vIc1vlaster University (1vIllSic <=riticisIll) HaIllilton, Ontario Title: Edvard Grieg: Between Two Worlds Author: Rebekah Jordan, B. 1vIus (EastIllan School of 1vIllSic) Sllpervisor: Dr. Hllgh Hartwell NUIllber of pages: v, 129 11 ABSTRACT Although Edvard Grieg is recognized primarily as a nationalist composer among a plethora of other nationalist composers, he is much more than that. While the inspiration for much of his music rests in the hills and fjords, the folk tales and legends, and the pastoral settings of his native Norway and his melodic lines and unique harmonies bring to the mind of the listener pictures of that land, to restrict Grieg's music to the realm of nationalism requires one to ignore its international character. In tracing the various transitions in the development of Grieg's compositional style, one can discern the influences of his early training in Bergen, his four years at the Leipzig Conservatory, and his friendship with Norwegian nationalists - all intricately blended with his own harmonic inventiveness -- to produce music which is uniquely Griegian. Though his music and his performances were received with acclaim in the major concert venues of Europe, Grieg continued to pursue international recognition to repudiate the criticism that he was only a composer of Norwegian music. In conclusion, this thesis demonstrates that the international influence of this so-called Norwegian maestro had a profound influence on many other composers and was instrumental in the development of Impressionist harmonies. -
The Darius Milhaud Society Centennial Celebration Performance Calendar, 1993 - 1994
Cleveland State University EngagedScholarship@CSU Darius Milhaud Society Newsletters Michael Schwartz Library 1993 The Darius Milhaud Society Centennial Celebration Performance Calendar, 1993 - 1994 Darius Milhaud Society Follow this and additional works at: https://engagedscholarship.csuohio.edu/milhaud_newsletters Part of the History Commons, and the Music Commons How does access to this work benefit ou?y Let us know! Recommended Citation Darius Milhaud Society, "The Darius Milhaud Society Centennial Celebration Performance Calendar, 1993 - 1994" (1993). Darius Milhaud Society Newsletters. 9. https://engagedscholarship.csuohio.edu/milhaud_newsletters/9 This Book is brought to you for free and open access by the Michael Schwartz Library at EngagedScholarship@CSU. It has been accepted for inclusion in Darius Milhaud Society Newsletters by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. DARIUS MILHAUD CENTENNIAL CELEBRATION PERFORMANCE CALENDAR, Second Issue and DARIUS MILHAUD PERFORMANCE CALENDAR fo r the 1993 -1994 SEASON and SUMMER 1994 The information in this Darius Milhaud Centen11i al Ce /ebratio11 Perfo rm a 11 ce Ca l enda r is new and therefore different from the performances listed in the first Centennial 1ssue. Included here are performances for wllich information was received after press time for that first issue (May 1992). If this new infonnation was included in the 1992 or 1993 Newsletters, page refere11ces are given rather than repeating the information. A few listings here include information that was incomplete or previously unavailable in previous listings or where changes later occurred. DMCCP C refers to the first issue of the D a riu s Milhaud Centennial Cel e bration P erfo rmance Calendar. -
Nuveen Investments Emerging Artist Violinist Julia Fischer Joins the Cso and Riccardo Muti for June Subscription Concerts at Symphony Center
For Immediate Release: Press Contacts: June 13, 2016 Eileen Chambers, 312-294-3092 Photos Available By Request [email protected] NUVEEN INVESTMENTS EMERGING ARTIST VIOLINIST JULIA FISCHER JOINS THE CSO AND RICCARDO MUTI FOR JUNE SUBSCRIPTION CONCERTS AT SYMPHONY CENTER June 16 – 21, 2016 CHICAGO—Internationally acclaimed violinist Julia Fischer returns to Symphony Center for subscription concerts with the Chicago Symphony Orchestra (CSO) led by Music Director Riccardo Muti on Thursday, June 16, at 8 p.m., Friday, June 17, at 1:30 p.m., Saturday, June 18, at 8 p.m., and Tuesday, June 21, at 7:30 p.m. The program features Brahms’ Serenade No. 1 and Beethoven’s Violin Concerto in D Major with Fischer as soloist. Fischer’s CSO appearances in June are endowed in part by the Nuveen Investments Emerging Artist Fund, which is committed to nurturing the next generation of great classical music artists. Julia Fischer joins Muti and the CSO for Beethoven’s Violin Concerto. Widely recognized as the first “Romantic” concerto, Beethoven’s lush and virtuosic writing in the work opened the traditional form to new possibilities for the composers who would follow him. The second half of the program features Brahms’ Serenade No. 1. Originally composed as chamber music, Brahms later adapted the work for full orchestra, offering a preview of the rich compositional style that would emerge in his four symphonies. The six-movement serenade is filled with lyrical wind and string passages, as well as exuberant writing in the allegro and scherzo movements. German violinist Julia Fischer won the Yehudi Menuhin International Violin Competition at just 11, launching her career as a solo and orchestral violinist. -
Vadim Repin, Violin, with Andrei Korobeinikov, Piano Program Notes
Vadim Repin, violin, with Andrei Korobeinikov, piano Program Notes Part: Fratres Born in Paide, September 11, 1935 In 1960, while still a student at the Talinn Conservatory, Arvo Pärt won national attention for his Nekrolog, dedicated to the victims of the Holocaust. It was the first work by an Estonian composer to use Schoenberg’s twelve-tone system so it created something of a scandal. The notoriety had its rewards, however, as it brought Pärt commissions from state sources and from cellist Rostropovich. Soon tired of his serial phase, Pärt began a series of alternations between creative output and withdrawal to search for a new style. One of his explorations came up with the collage technique, resulting in such compositions as his Collage on the Theme B-A-C-H (1964) and Second Symphony (1966). During the 1970s Pärt supported himself by writing some 50 film scores. His third symphony (1971) followed one of his “withdrawal” periods, in which he studied 14th – 15th century polyphony, from Machaut to Josquin. He followed another of his “creative silences” with For Alina (1976), a small piano piece of high and low extremes. Pärt said he reached a “new plateau” with this piece: “It was here that I discovered the triad series, which I made my simple, little guiding rule.” He has written in this triadic style, which he calls “tintinnabuli” (after the bell-like resemblance of notes in the triad), ever since, with only slight modifications. From 1982, when he moved to Berlin, he has composed primarily religious works for chorus or small vocal ensembles. -
Tessa Lark, Violin Andrew Armstrong, Piano
Streaming Premiere – Thursday, October 1, 2020, 7pm Tessa Lark, violin Andrew Armstrong, piano Filmed exclusively for Cal Performances on location at Merkin Hall, Kaufman Music Center, New York City, on August 17, 2020. Major support for this program provided by The Bernard Osher Foundation. Patron Sponsors: Nadine Tang and Bruce Smith 1 PROGRAM Béla Bartók (arr. Székely) Romanian Folk Dances, Sz. 56, BB 68 Jocul cu bâtă (Dance with Sticks) Brâul (Sash Dance) Pe loc (Stamping Dance) Buciumeana (Hornpipe Dance) Poarca Românească (Romanian Polka) Mănuntelul (Fast Dance) Eugène Ysaÿe Sonata No. 5 for Solo Violin in G major, Op. 27, Mathieu Crickboom L’Aurore Danse rustique Franz Schubert Fantasy in C major, D. 934 Andante molto Allegretto Andantino (Theme and Variations on “Sei mir gegrüßt”) Allegro vivace INTERMISSION Edvard Grieg Violin Sonata No. 3 in C minor, Op. 45 Allegro molto ed appassionato Allegretto espressivo alla Romanza Allegro animato Maurice Ravel Tzigane – rapsodie de concert Tessa Lark plays a ca.1600 G.P. Maggini violin on loan from an anonymous donor through the Stradivari Society of Chicago. Tessa Lark is represented worldwide by Manhattan-based Sciolino Artist Management (www.samnyc.us). Note: following its premiere, the video recording of this concert will be available on demand through December 30, 2020. 3 PROGRAM NOTES Musical Passports Béla Bartók (1881–1945) “The only true voyage of discovery,” Marcel Romanian Folk Dances, Sz. 56, BB 68 Proust famously wrote, “would be not to visit Béla Bartók’s efforts to bring a scientific rigor to foreign lands but… to behold the universe the study of folk music helped pave the way for through the eyes of another”—through the a new way of thinking about the relationship perceptions, that is, provided by artists. -
Roman Totenberg Dies At
FACULTY OBITUARIES CFA Professor Roman Totenberg Emeritus Roman Totenberg (left) Dies at 101 and violin stu- dent Daniel Han Violinist, beloved CFA (CFA’98,’00,’02). professor, classical music legend By Susan Seligson !"#$ %&'# ()*+,) his death on May 8, 101-year-old Roman Totenberg lay in bed at his Newton, Mass., home, listening to a student play the Brahms violin concerto. “Slow down,” he told her, according to a blog entry by S. I. FRED SWAY Rosenbaum on the Boston Phoenix website. Suffering kidney failure, his “You learn a lot more than the stu- birthday with a concert by the Boston voice just a whisper, the famed violinist dents do.” University Symphony Orchestra. spent his final hours doing what he He received BU’s Metcalf Cup and Totenberg attended the concert loved most: teaching. Prize, the University’s top teaching with family, friends, and former Born in Warsaw, Poland, in 1911, honor, in 1996, and was named Artist students, many of whom are among Totenberg, a College of Fine Arts Teacher of the Year in 1981 by the today’s leading concert artists, School of Music professor emeritus, American String Teachers Association. including Wang, Na Sun, a violinist had been a constant and inspiring “A survivor of two world wars, with the New York Philharmonic, presence in classical music over the Roman Totenberg offered the world and Ikuko Mizuno (CFA’69), a Bos- past century, having worked closely hope and love through his extraordi- ton Symphony Orchestra violinist. with many well-known composers, nary music-making,” says Benjamín Proceeds from the concert benefited including Samuel Barber, Igor Juárez, dean of the College of Fine the Roman and Melanie Totenberg Stravinsky, Aaron Copland, Paul Arts.