DOCSLIB.ORG

Wolf Trap Award to Yehudi Menuhin” of the Sheila Weidenfeld Files at the Gerald R

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wolf Trap Award to Yehudi Menuhin” of the Sheila Weidenfeld Files at the Gerald R The original documents are located in Box 10, folder “7/2/76 - Wolf Trap Award to Yehudi Menuhin” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Some items in this folder were not digitized because it contains copyrighted materials. Please contact the Gerald R. Ford Presidential Library for access to these materials. THE WHITE HOUSC: MPS. FOFD EVENT: Presentation of the first Wolf Trap Award to Yehudi Menuhin GROUP: Wolf Trap Foundation DATE: Friday, 2, 1976 'I'IIY1E: 4:00 p.m. PLACE: East Garden or Diplomatic Reception Room (Depending upon weather) BACKGROUND: As Honorary Chairman of Wolf Trap you will present to Yehudi Menuhin the first annual Wolf Trap Jl.ward for his 'involvements and efforts in building deeper, life­ meanlng to countless through his musicianship and his great interest in providing music education to young people.' {A copy is attached.) Yehudi Menuhi~ is also in Washington to participate in the gala Wolf Trap Bicentennial evening Saturday night, July 3rd. GUESTS: Mr. and Mrs. Yehudi Menuhin Honoree Mrs. Catherine Shouse Trap Secretary J. William Middendorf Chairman of the Board of Wolf Miss Carol Harford Acting President of the Wolf Trap Foundation Miss Claire St. Jacques Director of Wolf Trap Pa:::-k Andre Kostelanetz Musician and Wolf Trap }1iss Carol Boots Mr. Kostelanetz' friend Digitized from Box 10 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library - 2 4:00 n.m. -\•Jhen your guests have assembled, Susan Porter will escort you to th~ Diplomatic Reception Room or East Garden to your 8 guests. 4:05 p.m. -Simple presentation of the Wolf Trap Award to Yehudi Menuhin. 4:08 p.m. -Photographs. -At your invitation, your guests will join you for refreshments. 4:25 p.m. -At the conclusion, return to family quarters. \ susan porter Ju:A'e 30, 1976 . Date Issued 6/J0/?6 Revised---- · FACT SHEET Mrs. Ford's Office . ~ hent Photo/Award Presentation Group Wolf Trap Foundation ! DATE/TD.1E Friday1. July 2, 1976 4:00 p.m. Contact Mrs. Shouse Phone 938-7711 Nmnber of guests: Total 8 Women x Men----- x Children----- Plai.;e East Garden or Diplomatic Reception Room Yehudi Menuhin. Mrs. Ford is Honorary Chairman of Wolf Trap and will REQlHRH1ENTS present the Award. Social: lnvitations Progr;ims Mer.us ---- --~~~~ Refreshments Iced tea and simple eakes Entertainment------------------------------- f) (' c Oration s/f1 owe rs Normal for Diplomatic Reception Room or f\lusic bouquet for refreshments table if held outdoors. Press: TV Crews Yes White House Phot0rrnphcrs____ Y_e_. s _____ _ Other -~-------------------------~~......:...~ Technical Support: l\licrophones___ N_o ____________ _ PA Other Rooms-------- Recording No litr!Hs_____________________________ .____ _ Transporta ti on_.....:B;;;..y..___c_a_r__________ _..::E=.=N:.:.JT~RA=N.::..:C~E:::.·-=-= _ _:::S::::O::..:UT:::..:::.H::.:......:W:..:iE:.:S::..T~··.:-.c,::::G~A:..::T:z13 ''"•- ..... ,.,,,_~ ... ~·""" Susan Porter Phone x2850 S:ite diagrams shottid be attached if technical support is heavy. • ~OLF TRAP AWARD J·~ly 2, 1976 IT'S A VERX SPECIAL HONOR FOR ME TO PRESENT THE FIRST WOLF TRAP AWARD TO MR . MENUHIN. HIS ARTISTRY DELIGHTS ALL WHO HAVE HEARD HIM PIAY---AND HIS SPECIAL CO~CERN FOR MUSIC EDUCATION ENDEARS HIM TO ALL MUSIC LOVERS. AS HONORARY CHAIRMAN OF WOLF TRAP , I'M PLEASED TO PRESENT THIS AWARD OF APPRECIATION TO YOU. (PRESENTATION} J .. ,•her:: ~ here the pr w .!\. ... rs '.!t me do. what lr •i,;:r cultural ex.changes ~wood-I've 1" 'h:i c:.se things: \\ o countne:., the better o • · Kisco, \' h) f.-,.fJ us. of ne l •n r>.? • f)fj 18th Street ~ ,..gton 1 HL\.(i .l.KH.AIL © A R lJSSI. ~ ' > '>inlles, a Suv1 <:: t "YEHUDI," , - ·.iol 'liH·..:0m­ _.::. Arilba..sa-.!.;r ., > is a Jiplomoit, .l pos:.::r George: Ene~co one~ .;aiJ Commun.i3l '"ith a keen .sc:nse >f to his great pupil, •'you will 50<., a oe public reL.i:ions-this was the im­ 17. Tornorrow or the dav after jOU pression that lhe '·affable :md out­ will be a man; wh,H are your pLms going" Mik..'lail Alekseyevich for the future?" And the young Mensbikov made on American violinist is said to h::w<! r<!plied. "I new;omen and officials soon after should like to ri:main a boy all my -his arrival early in 1958. Pro­ life ..."To some critics the great nounci:d a "charmer" by Wash­ charm of Menuhin's playing is a ington observers, he presented a kind of everlasting boyishness. an striking contrast to his predec;es­ ingenuousness toward his music sors (Zaroubin. Pa.:iyushkin, Gro- that makes even a Mendelssohn or . ~· r- myko, etc.) who were characteri- -.;I,,._ Ts<:haikowsky concerto sound as i::ed by .>uch adjectives as "dour," "silent" and "hostile." fresh as the first time it was played-or as fresh as, when he Th moment he a.ud his fashionably dressed wife stepped was five or six, Yehudi Menuhin met it for the first time. oif the Soviet TU-104 jet transport on 6 February 1958, he "1:~e regal bearing of a Hei.fet~.gives a foretaste of victory," made it cl~ that he personified a revival of Moscow's to­ cnhc Bernard Gavoty wrote, Enesco's presence is an as­ !!c:themess theme, declaring that he "came as an ambassa­ surance of genius, and at one time a smile from Thibaud dor of pe:i~ friendship and cooperation." Skeptics were was enough to bewitch the whole assembly. And now, here soon f!lentifu.l but the new.envoy pro~~sted that the smiles comes Menuhin with charming shyness ... he immediately were sincere, that the Russians. today · are full of cheer and captivates the audience by his modesty." oprimism and our fairh in people. We believe chat these Born in New York 22 April 19/6 Rnd brought up in San feelings are .folly shared by others and of course the great Francisco, Menuhin is the son o a ussian-bom Hebrew majority of Americans." · teach~. His paren~ were; !lot parti~ularly musical, but th~y Meashikov was born in the village of Posevkino (roughly recognized almost immediately thetr son's phenomenal gilt transl.tted as "Cropvillej on 21November1902... Yes,l'm -not too surprising, possibly, since he took his first lesson frorn :he peasantry," he admits. (Interviewers find him a at the age of four and appeared as soloist with the San ready talker.) "That is, my father was a peasant. I myi;elf Francisco Orchestra three years later-and nurtured it aevu worked as a oeasanL My father went to work on the carefully. At 12 he began to study with Enesco (qe later railway~ when I was still small. And I became a manual also stucli~d wi~h Adolph Bus~h) and thus begatl.a:n inti­ laborer in the city of Borisoglebsk when 1 was 15." Skep­ mate relationship between pupil and master that was to in­ tical pundits have suggested that given his bearing and Cc:>S­ lluence Menuhin's career as long as Enesco lived (he died m.:>poii<:in tastes, he must re.ally have emerged from the lit 195_5). _Like his two pianist sisters, Hepzibah and Yaltah, minvr tsd.rist nobility. In 1922 he went to Moscow where he was kept out of school and taught largely by his mother he studied at the Plekhanov Institute, a school specializ­ and occasional tutors. Enesco was deeply romantic, and ing in economics; worked part-time in a cold-storage plant. Menuhin saying, "The artist alone ... gives reality to the In 1930, he entered the Ministry of Foreign Trade. Until dreams of mankind," mirrors his teacher's: "he alone forges 1936, Menshikov was in London as one of the directors of a genuine link between man and the universe." Arlcos, Ltd.. a Soviet forei~ trade organization. ("I had In ~935 ~e.nubin made his ?rst world tour, gave 110 con­ studied German at the Institute-so they sent me to Eng­ certs 10 63 Cl hes, a.ud then retrred for two years "to become l.ind."} During World War II, he helped direct unloading a man." In 1938 he married Nola Nicholas, and had two of allied con,voys at Murmansk and Archangel. In 1943, he ~hildren. His second marriage, to ~iii.na Gould. took place was 3ent"to Atlantic City as. the deputy chief of the Soviet m 1947, and also produced two children. In the years since delegation at the foundiilg ofU.N.R.R.A., was named by his debut he has made it a point to f>lay unfamiliar modem its seq-etary general, Herbert Lehman to serve in Washing­ works as much as possible, and has .l.lltroduced "lost'' works ton. in 1944 as one of the three deputy ~or generals. He of Sch1llilal1, Mozart, Paganini. In 1937 he caused some­ stayed on until 1946, wor}cins( in the a;sency's higher eche­ thing of a stir when lie insisted on playing an encore when lons.
Load more

Recommended publications
  • Spring/Summer 2016
    News for Friends of Leonard Bernstein Spring/Summer 2016 High-brow, Low-brow, All-brow Bernstein, Gershwin, Ellington, and the Richness of American Music © VICTOR © VICTOR KRAFT by Michael Barrett uch of my professional life has been spent on convincing music lovers Mthat categorizing music as “classical” or “popular” is a fool’s errand. I’m not surprised that people s t i l l c l i n g t o t h e s e d i v i s i o n s . S o m e w h o love classical masterpieces may need to feel reassured by their sophistication, looking down on popular culture as dis- posable and inferior. Meanwhile, pop music fans can dismiss classical music lovers as elitist snobs, out of touch with reality and hopelessly “square.” Fortunately, music isn’t so black and white, and such classifications, especially of new music, are becoming ever more anachronistic. With the benefit of time, much of our country’s greatest music, once thought to be merely “popular,” is now taking its rightful place in the category of “American Classics.” I was educated in an environment that was dismissive of much of our great American music. Wanting to be regarded as a “serious” musician, I found myself going along with the thinking of the times, propagated by our most rigid conservatory student in the 1970’s, I grew work that studiously avoided melody or key academic composers and scholars of up convinced that Aaron Copland was a signature. the 1950’s -1970’s. These wise men (and “Pops” composer, useful for light story This was the environment in American yes, they were all men) had constructed ballets, but not much else.
    [Show full text]
  • Bath Festival Orchestra Programme 2021
    Bath Festival Orchestra photo credit: Nick Spratling Peter Manning Conductor Rowan Pierce Soprano Monday 17 May 7:30pm Bath Abbey Programme Carl Maria von Weber Overture: Der Freischütz Weber Der Freischütz (Op.77, The Marksman) is a German Overture to Der Freischütz opera in three acts which premiered in 1821 at the Schauspielhaus, Berlin. Many have suggested that it was the first important German Romantic opera, Strauss with the plot based around August Apel’s tale of the same name. Upon its premiere, the opera quickly 5 Orchestral Songs became an international success, with the work translated and rearranged by Hector Berlioz for a French audience. In creating Der Freischütz Weber Brentano Lieder Op.68 embodied the ideal of the Romantic artist, inspired Ich wollt ein Sträuẞlein binden by poetry, history, folklore and myths to create a national opera that would reflect the uniqueness of Säusle, liebe Myrthe German culture. Amor Weber is considered, alongside Beethoven, one of the true founders of the Romantic Movement in Morgen! Op.27 music. He lived a creative life and worked as both a pianist and music critic before making significant contributions to the operatic genre from his appointment at the Dresden Staatskapelle in 1817, Das Rosenband Op.36 where he realised that the opera-goers were hearing almost nothing other than Italian works. His three German operas acted as a remedy to this situation, Brahms with Weber hoping to embody the youthful Serenade No.1 in D, Op.11 Romantic movement of Germany on the operatic stage. These works not only established Weber as a long-lasting Romantic composer, but served to define German Romanticism and make its name as an important musical force in Europe throughout the 19th century.
    [Show full text]
  • Season 2017-2018
    23 Season 2017-2018 Wednesday, November 1, at 7:30 China’s National Centre for the Performing Arts Orchestra Lü Jia Conductor Ning Feng Violin Gautier Capuçon Cello Zhao Jiping Violin Concerto No. 1 (in one movement) Chen Qigang Reflection of a Vanished Time, for cello and orchestra United States premiere Intermission Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso—Poco meno presto—Tempo I IV. Allegro energico e passionato—Più allegro This program runs approximately 1 hour, 50 minutes. China’s National Centre for the Performing Arts Orchestra’s 2017 US Tour is proudly supported by China National Arts Fund. International Flight Sponsor: Hainan Airlines Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 24 Conductor Lü Jia is artistic director of music of the National Centre for the Performing Arts (NCPA) in Beijing, China, as well as music director and chief conductor of the NCPA Orchestra. He is also music director and chief conductor of the Macao Orchestra. He has served as music director of Verona Opera in Italy and artistic director of the Tenerife Symphony in Spain. Born into a musical family in Shanghai, he began studying piano and cello at a very young age. He later studied conducting at the Central Conservatory of Music in Beijing, under the tutelage of Zheng Xiaoying. At the age of 24 Mr. Lü entered the University of Arts in Berlin, where he continued his studies under Hans- Martin Rabenstein and Robert Wolf.
    [Show full text]
  • May Festival
    1960 Eighty-second Season 1961 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Fourth Concert Complete Series 3322 Sixty-eighth Annual MAY FESTIVAL THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY, Conductor SOLOISTS ROBERT NOEHREN, Organist JOHN BROWNING, Pianist SATURDAY EVENING, MAY 6, 1961, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Compositions of American composers "Toccata Festiva" for Organ and Orchestra BARBER ROBERT NOEHREN Symphony No.7. PISTON Con moto Adagio Allegro festevole INTERMISSION Concerto No.2 in D minor for Piano and Orchestra MACDoWELL Larghetto calmato Presto giocoso Largo; molto allegro J OHN BROWNING "Rhapsody in Blue" GERSHWIN MR. BROWNING The Steinway is the official piano of the University Mu.sical Society. The Baldwilt Piano is the officia l piano of the Philadelphia Orchestra. A R S LON G A V I T A BREVIS 1961 - UNIVERSITY MUSICAL SOCIETY CONCERTS - 1962 Choral Union Series GEORGE LoNDON, Bass Wednesday, October 4 THE ROGER WAGNER CHORALE Thursday, October 19 BOSTON SYMPHONY ORCHESTRA 2:30, Sunday, October 22 CHARLES MUNCH, Conductor BERLIN PHILHARMONIC ORCHESTRA Friday, November 3 HERBERT VON KARAJAN, Conductor *BAYANIHAN (Philippine Songs and Dances) Monday, November 6 YEHUDI MENUHIN, Violinist 2:30, Sunday, November 12 GALINA VISHNEVSKAYA, Sopmno . Tuesday, November 21 EMIL GILELS, Pianist . Tuesday, February 13 MINNEAPOLIS SYMPHONY ORCHESTRA 2 :30, Sunday, March 4 STANISLAW SKROWACZEWSKI, Conductor *AMERICAN BALLET THEATRE Saturday, March 24 Season Tickets: $20.00--$17.00--$15.00--$12.00-$10.00 Extra Series *MAZOWSZE (Polish Songs and Dances) Tuesday, October 24 THE CLEVELAND ORCHESTRA Thursday, November 16 GEORGE SZELL, Conductor RUDOLF SERKIN, Pianist .
    [Show full text]
  • Facts & Figures Het Concertgebouw
    Factsheet of The Royal Concertgebouw The Concertgebouw Built in 1886. First concert April 11, 1888; One of the most famous concert halls in the world with unparalleled acoustics; Two famous concert halls within the Concertgebouw: the Main Hall (1974 seats) and the Recital Hall (437), as well as the recently opened Choir Hall (150 seats); Mission: The Royal Concertgebouw connects and enriches people by offering them a sublime musical experience Vision: The Royal Concertgebouw uses its unique concert hall building and high level of artistic programming to connect people of all ages and to enrich them with a sublime musical experience. All staff members are fully engaged with this mission. It is our daily ambition to write music history and to continue to be in the world’s top league of concert halls. We cherish the private nature of our business – we are responsible for 95% of our own income and our building. We aim to preserve the Concertgebouw in its highest possible state for the following generations. The Concertgebouw has a great tradition of legendary concerts with illustrious names in classical, jazz and world music, such as Gustav Mahler, Richard Strauss, Bernard Haitink, Yehudi Menuhin, Jessye Norman, Vladimir Horowitz, Cecilia Bartoli, Louis Armstrong, Sting, and many more. Together with its house orchestra, the Royal Concertgebouw Orchestra, which has been voted the best orchestra in the world, it has reached the absolute top during its years of existence; With over 900 events (80% concerts) and over 700.000 visitors a year the Concertgebouw is one of the best visited concert halls of the world; The Concertgebouw Café attracts over 100.000 guests a year.
    [Show full text]
  • Read Full Fanfare Review…
    CD Review by R​ obert McColley NIELSEN ​V​ iolin Concerto. Flute Concerto ​•​ ​D​ orrit Matson, cond; New York Scandia SO; Adele Anthony (vn); Lisa Hansen (fl) •​ ​C​ ENTAUR CRC 2442 (53:03) Carl Nielsen's Violin Concerto (1911) begins with an outburst from the orchestra, followed by a florid cadenza for the solo violin. It then settles into four highly original and effective movements, slow­fast, slow­fast, in the style of Baroque sonatas. By turns lyrical and virtuosic, the concerto is charged with the earthy vitality also represented in the great Dane's Third Symphony, "Sinfonia Espansiva," also of 1911. Yehudi Menuhin was the first artist of international stature to record this wonderful concerto, some 45 years ago (on HMV, with Mogens Wøldike and the Danish State RSO). More recently it ​h​ as been presented in fine recordings by Cho­Liang Lin, with Esa­Pekka Salonen and the Swedish RSO (Sony), and an excellent one by Maxim Vengerov with the Chicago SO under Daniel Barenboim (Teldec). Over the years other fine recordings have come out of Scandinavia, two of them featuring Arve Tellefsen (EMI with Herbert Blomstedt, and Virgin Classics, with Yehudi Menuhin, here as a highly competent conductor). "Does this leave the new release from Centaur superfluous?" I wondered as I unpacked the disc and entrusted it to my Harmon­Kardon deck. Not in the least: The performance immediately captivated me, and held on firmly for its entire 34­plus minutes; so too the brilliant performance of the late (1926) Flute Concerto. That ending, I played the entire disc again, fascination and pleasure undiminished.
    [Show full text]
  • 2001-2002 Celebrating the Spirit of America
    I LYNN UNIVERSITY Conservatory of Music 4:00 p.m. November 4, 2001 Amarnick-Goldstein Concert Hall Celebrating the Spirit of America featuring SERGIU SCHWARTZ, violin PAUL GREEN, clarinet PAUL POSNAK, guest pianist Proceeds from this afternoon's concert benefit the Conservatory scholarship fund. Simply Grand Those who know ... choose Kretzer • Ballet Florida • Crest Theatre • Old School Square • • Colony Hotel • Florida Stage • Four Seasons Resort • • Governors Club • Kravis Center· Lynn University • • Palm Beach County Cultural Center • • Palm Beach County School of the Arts • • Palm Beach Opera • Renato's • • Tommy Smith • The Backstreet Boys • kretzer P A N 0 860 North Military Trail* West Palm Beach, FL* 33415 * (561)478-5320 www.kretzerpiano.com SERGIU SCHWARTZ violin Sergiu Schwartz's active international career has taken him to major music centers on 3 continents, including 20 European countries, Israel and over 40 U.S. states, as soloist with over 200 leading orchestras, in recitals and chamber music conce~ts. "Following in the footsteps ofhis fellow countrymen ltzhak Perlman and Pinchas Zukerman, he is a product of the best ofEuropean romantic interpretative style and 20th-Century American technical ~cuity," states New York's Newsday. Recent solo orchestral engagements include the Dresden Staatskapelle, Jerusalem Symphony, London Symphony, Sarajevo Philharmonic, Dresden Philharmonic, Slovak Philharmonic, European Community Chamber Orchestra, Florida Philharmonic, Chicago's Grant Park Festival Orchestra, among numerous other distinguished ensembles in the U.S. and worldwide. Mr. Schwartz has collaborated in performances with preeminent conductors, including Sergiu ComissionaJamesJudd, Peter Maag, Giuseppe Sinopoli, and Bruno Weil. He has performed in major concert halls, including Lincoln Center, Carnegie Recital Hall, and 92nd Street Y (New York); Kennedy Center (Washington, DC); Barbican Hall, Queen Elizabeth Hall and Wigmore Hall (London); Kravis, Broward and Gusman Centers for the Performing Arts in South Florida.
    [Show full text]
  • San Francisco Symphony Youth Orchestra Christian Reif, Wattis Foundation Music Director
    SAN FRANCISCO SYMPHONY YOUTH ORCHESTRA CHRISTIAN REIF, WATTIS FOUNDATION MUSIC DIRECTOR The San Francisco Symphony Youth Orchestra (SFSYO), recognized internationally as one of the finest youth orchestras in the world, celebrates its 35th anniversary this season. Founded by the San Francisco Symphony in 1981, the SFSYO’s musicians are chosen from more than 300 applicants in annual auditions. The SFSYO’s purpose is to provide an orchestral experience of pre-professional caliber, tuition-free, to talented young musicians from the greater Bay Area. The more than 100 diverse musicians, ranging in age from 12 to 21, represent communities from throughout the Bay Area. The SFSYO rehearses and performs in Davies Symphony Hall under the direction of Wattis Foundation Music Director Christian Reif, whose first season with the Orchestra was 2016–2017. Jahja Ling served as the SFSYO’s first Music Director, followed by David Milnes, Leif Bjaland, Alasdair Neale, Edwin Outwater, Benjamin Shwartz, and Donato Cabrera, who stepped down at the conclusion of the 2015–16 season after a seven-year tenure. During the 2017–2018 season, SFSYO performs three concerts November 19, March 4, and May 13, as well as presenting its annual holiday performance of Prokofiev’s Peter and the Wolf on December 10, and hosting the Bay Area Youth Orchestra Festival on January 14. The SFSYO’s yearly series of concerts reflects the artistic identity of the SFS, with a focus on the great masterworks of the orchestral repertoire plus performances of modern and contemporary works by composers such as John Adams, Mason Bates, Gabriela Lena Frank, Richard Danielpour, David Carlson, Christopher Rouse, Charles Wuorinen, Deborah Fischer Teason, Tobias Picker, and SFSYO alumnus Nathaniel Stookey.
    [Show full text]
  • Capitol Ensemble Phillip Levy Violin Lucia Micarelli Violin Ben Ullery Viola Eric Byers Cello
    CAPITOL ENSEMBLE PHILLIP LEVY VIOLIN LUCIA MICARELLI VIOLIN BEN ULLERY VIOLA ERIC BYERS CELLO St. James in-the-City October 6, 2019 6:00 PM FROM THE ARTISTIC DIRECTOR Welcome to this inaugural broadcast of LACMA Sundays Live from St. James in-the-City. Thank you for joining us as we celebrate both the history and the future of Sundays Live – and begin an off-site adventure in our new home, building a partnership with Great Music at Saint James during LACMA’s transformation. Sundays Live could not have endured and prospered without the help and devotion of so many benefactors, foundations, individuals, and audiences who have supported us through the years; we extend to you our heartfelt thanks and look forward to seeing you here often – just a little further east on Wilshire Boulevard. We wish to express our special thanks to the Colburn Foundation for underwriting these programs at St. James in-the-City and to our most gracious hosts – the Rev. Dr. Kate Cress and Organist and Director of Music, Canon James Buonemani – who have so warmly welcomed us. -Bill Vestal Phillip Levy violin Ben Ullery viola Lucia Micarelli violin Eric Byers cello PROGRAM This concert is streamed live. Please silence mobile devices. Robert Schumann (1810-1856) String Quartet No. 1 in A minor, Opus 41 Andante espressivo — Allegro Scherzo: Presto Adagio Allegro Maurice Ravel (1875-1937) String Quartet in F major Allegro moderato – très doux Assez vif – très rythmé Très lent Vif et agité Sundays Live is made possible by the Colburn Foundation in memory of Ed Edelman and by the Sidney Stern Memorial Trust.
    [Show full text]
  • Music-Making Versus the Commodification of Music
    MUSIC-MAKING VERSUS Devil in disguise, there is one word in THE COMMODIFICATION Faust’s condition that is of utmost significance, namely the word Augenblick. If OF MUSIC: A CALL TO the Devil can help him to reach that supreme ENLIGHTENED AMATEURS moment, he can have his soul: ∗ If I say to that moment: Chetana Nagavajara Do remain! You are so beautiful! (ll. 1,699–700) Preamble: A foretaste of the supreme moment (Augenblick) Faust never quite reaches that moment (or else he would have lost his soul to the Devil), but almost. Nearing his death, having Abstract seen so much, done so much (of good and bad), the dying Faust experiences a foretaste Music-making, fundamentally a communal of the blissful moment which is the ultimate practice, is the source of aesthetic, goal of his pact with Mephistopheles: emotional, and spiritual experience of a kind comparable to the Faustian To that moment I could say: “moment” (Augenblick). The most ideal Do remain, you are so beautiful. musical culture is one in which no clear The trace of my earthly days dividing line exists between practitioners Cannot dissolve into thin air. and listeners, professionals and amateurs, As foretaste of such great happiness, 1 the remnants of which are still discernible I am now enjoying the supreme moment. in present-day Thai classical music. The (ll. 11,581–586) growing professionalism has been exploited by commercial manipulations And having uttered these words, Faust driven by money and technology, resulting passes away. in a smug, push-button consumerism that treats music as a mere commodity.
    [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]
  • Justin Solomon 1 Deconstructing the Definitive Recording: Elgar's Cello Concerto and the Influence of Jacqueline Du Pré Accou
    Justin Solomon 1 Deconstructing the Definitive Recording: Elgar’s Cello Concerto and the Influence of Jacqueline du Pré Accounts of Jacqueline du Pré’s 1965 recording session for the Elgar Cello Concerto with Sir John Barbirolli border on mythical. Only twenty years old at the time, du Pré impressed the audio engineers and symphony members so much that word of a historic performance quickly spread to an audience of local music enthusiasts, who arrived after a break to witness the remainder of the session.1 Reviewers of the recording uniformly praised the passion and depth of du Pré’s interpretation; one reviewer went so far as to dub the disc “the standard version of the concerto, with or without critical acclaim.”2 Even du Pré seemed to sense that the recording session would become legendary. Despite the fact that the final recording was produced from thirty-seven takes spanning the entirety of the Concerto, du Pré hinted to her friends that “she had played the concerto straight through,” as if the recording were the result of a single inspired performance rather than a less glamorous day of false starts and retakes.3 Without doubt, du Pré’s recording is one of the most respected interpretations of the Concerto. Presumably because of the effectiveness of the recording and the attention it received, the famous cellist Mstislav Rostropovich “erased the concerto from his repertory” after the recording was released.4 For this reason, it comes as no surprise that in the wake of such a respected and widely distributed rendition, amateur and professional cellists alike would be conscious of du Pré’s stylistic choices and perhaps imitate their most attractive features.
    [Show full text]