DOCSLIB.ORG

Claudio Arrau You May As Well Order Our Printed Catalogue, Order No.: 955.410

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Claudio Arrau You May As Well Order Our Printed Catalogue, Order No.: 955.410 EDITION SCHWETZINGER FESTSPIELE Bereits erschienen | already available: FRITZ WUNDERLICH · HUbeRT GIESEN GIDON KREMER · OLEG MAISENbeRG Liederabend 1965 Duo Recital SCHUMANN · SCHUBERT · BeeTHOVEN PROKOFIEV · SCHUBERT · WeBERN · 1 CD No.: 93.701 BeeTHOVEN · KREISLER 1 CD No.: 93.702 Eine große Auswahl von über 800 Klassik-CDs und DVDs finden Sie bei hänsslerCLassIC unter www.haenssler-classic.de, auch mit Hörbeispielen, Download-Möglichkeiten und Künstlerinformationen. Gerne können Sie auch unseren Gesamtkatalog anfordern unter der BeeTHOVEN · BRahms Bestellnummer 955.410. E-Mail-Kontakt: [email protected] Enjoy a huge selection of more than 800 classical CDs and DVDs from hänsslerCLASSIC at www.haenssler-classic.com, including listening samples, download and artist related information. Claudio Arrau You may as well order our printed catalogue, order no.: 955.410. E-mail contact: [email protected] PIANO RecITAL 02 CD 1 CD 2 Die Musikwelt zu Gast bei den Schwetzinger Festspielen 03 LUdwIG vaN BeeTHOVEN (1770 – 1827) LUdwIG vaN BeeTHOVEN (1770 – 1827) Als 1952 die ersten Schwetzinger Festspiele statt- Der Gründung durch den Süddeutschen Rundfunk fanden, konnten sich selbst die Optimisten unter und der Fortführung durch den Südwestrundfunk Rondo Nr. 2 G-Dur op. 51 | Klaviersonate Nr. 3 D-Dur op. 10 | den Gründern nicht vorstellen, dass damit die verdanken die Festspiele ihre einzigartige Doku- eutsch eutsch D Rondo No. 2 G Major, Op. 51 Piano Sonata D Major, Op. 10 No. 3 [24:58] Erfolgsgeschichte eines der bedeutendsten deut- mentation: vom ersten Tag an wurde jede musika- D schen Festivals der Nachkriegszeit begann. lische Veranstaltung aufgezeichnet und gesendet. 1 Andante cantabile e grazioso – 1 I. Presto [06:57] Allegretto [10:57] 2 II. Largo e mesto [11:16] Die „Schwetzinger Dramaturgie“ der 50er Jahre: So wurden die Schwetzinger Festspiele im Laufe 3 III. Menuetto. Allegro [02:58] „Neues in Auftrag geben, Altes wiederentdecken, der Zeit zum größten Klassik-Rundfunkfestival der Klaviersonate Nr. 28 A-Dur op. 101 | 4 IV. Rondo. Allegro [03:44] dem Nachwuchs eine Chance“, behielt ihre Gültig- Welt mit jährlich rund 550 Ausstrahlungen auf Piano Sonata No. 28 A Major, Op. 101 [21:19] keit und ist heute so modern wie damals. allen Kontinenten. Die Liste der Interpreten und Klaviersonate f-Moll op. 57 | Ensembles liest sich wie ein Künstler-„Who is 2 I. Etwas lebhaft und mit der Piano Sonata f Minor, Op. 57 [26:14] Das Schloss mit seinem weltberühmten Park Who“ der letzten Jahrzehnte. innigsten Empfindung. erwies sich als der ideale Ort und wurde wieder, Allegretto ma non troppo [04:31] 5 I. Allegro assai [10:53] wie schon vor 250 Jahren unter Kurfürst Carl Für die „Edition Schwetzinger Festspiele“ öffnen 3 II. Lebhaft, marschmäßig. 6 II. Andante con moto – attacca [07:04] ­Theodor, zu einem „Arkadien der Musik“, in dem wir die Archive und lassen Sie teilhaben an Stern- Vivace alla marcia [05:39] 7 III. Allegro ma non troppo – Presto [08:14] sich Europas Künstler trafen und treffen. Inzwi- stunden der Musik. 4 schen wurden rund 40 Werke für Musiktheater in III. Langsam und sehnsuchtsvoll. ITAL Adagio ma non troppo, TOTAL TIME [51:18] Schwetzingen uraufgeführt, hinzu kommen con affetto – attacca [03:37] einige 100 Vorstellungen mit alten Opern und EC 5 IV. Geschwinde, doch nicht zu sehr annähernd 2000 Konzerte. und mit Entschlossenheit. Allegro [07:29] JOHANNES BRahms (1833 – 1897) R PIANO – – Variationen und Fuge über ein Thema D von Händel für Klavier B-Dur op. 24 | Bernhard Hermann N Variations on a theme by Händel for Piano B flat Major, Op.24 [29:37] Hörfunkdirektor des SWR, abe R Leiter der Schwetzinger Festspiele E 6 Aria [01:19] I 7 31 – Variation I – XXV [22:37] av 32 Fuga [05:24] KL | TOTAL TIME [62:09] Peter Stieber Geschäftsführer und künstlerischer Leiter des Konzertbereich Claudio Arrau Claudio 02 CD 1 CD 2 Die Musikwelt zu Gast bei den Schwetzinger Festspielen 03 LUdwIG vaN BeeTHOVEN (1770 – 1827) LUdwIG vaN BeeTHOVEN (1770 – 1827) Als 1952 die ersten Schwetzinger Festspiele statt- Der Gründung durch den Süddeutschen Rundfunk fanden, konnten sich selbst die Optimisten unter und der Fortführung durch den Südwestrundfunk Rondo Nr. 2 G-Dur op. 51 | Klaviersonate Nr. 3 D-Dur op. 10 | den Gründern nicht vorstellen, dass damit die verdanken die Festspiele ihre einzigartige Doku- eutsch eutsch D Rondo No. 2 G Major, Op. 51 Piano Sonata D Major, Op. 10 No. 3 [24:58] Erfolgsgeschichte eines der bedeutendsten deut- mentation: vom ersten Tag an wurde jede musika- D schen Festivals der Nachkriegszeit begann. lische Veranstaltung aufgezeichnet und gesendet. 1 Andante cantabile e grazioso – 1 I. Presto [06:57] Allegretto [10:57] 2 II. Largo e mesto [11:16] Die „Schwetzinger Dramaturgie“ der 50er Jahre: So wurden die Schwetzinger Festspiele im Laufe 3 III. Menuetto. Allegro [02:58] „Neues in Auftrag geben, Altes wiederentdecken, der Zeit zum größten Klassik-Rundfunkfestival der Klaviersonate Nr. 28 A-Dur op. 101 | 4 IV. Rondo. Allegro [03:44] dem Nachwuchs eine Chance“, behielt ihre Gültig- Welt mit jährlich rund 550 Ausstrahlungen auf Piano Sonata No. 28 A Major, Op. 101 [21:19] keit und ist heute so modern wie damals. allen Kontinenten. Die Liste der Interpreten und Klaviersonate f-Moll op. 57 | Ensembles liest sich wie ein Künstler-„Who is 2 I. Etwas lebhaft und mit der Piano Sonata f Minor, Op. 57 [26:14] Das Schloss mit seinem weltberühmten Park Who“ der letzten Jahrzehnte. innigsten Empfindung. erwies sich als der ideale Ort und wurde wieder, Allegretto ma non troppo [04:31] 5 I. Allegro assai [10:53] wie schon vor 250 Jahren unter Kurfürst Carl Für die „Edition Schwetzinger Festspiele“ öffnen 3 II. Lebhaft, marschmäßig. 6 II. Andante con moto – attacca [07:04] ­Theodor, zu einem „Arkadien der Musik“, in dem wir die Archive und lassen Sie teilhaben an Stern- Vivace alla marcia [05:39] 7 III. Allegro ma non troppo – Presto [08:14] sich Europas Künstler trafen und treffen. Inzwi- stunden der Musik. 4 schen wurden rund 40 Werke für Musiktheater in III. Langsam und sehnsuchtsvoll. ITAL Adagio ma non troppo, TOTAL TIME [51:18] Schwetzingen uraufgeführt, hinzu kommen con affetto – attacca [03:37] einige 100 Vorstellungen mit alten Opern und EC 5 IV. Geschwinde, doch nicht zu sehr annähernd 2000 Konzerte. und mit Entschlossenheit. Allegro [07:29] JOHANNES BRahms (1833 – 1897) R PIANO – – Variationen und Fuge über ein Thema D von Händel für Klavier B-Dur op. 24 | Bernhard Hermann N Variations on a theme by Händel for Piano B flat Major, Op.24 [29:37] Hörfunkdirektor des SWR, abe R Leiter der Schwetzinger Festspiele E 6 Aria [01:19] I 7 31 – Variation I – XXV [22:37] av 32 Fuga [05:24] KL | TOTAL TIME [62:09] Peter Stieber Geschäftsführer und künstlerischer Leiter des Konzertbereich Claudio Arrau Claudio 04 Ein Philosoph in schöpferischer Aufgeregtheit 05 Claudio Arrau bei den Schwetzinger Festspielen Ein nicht ungefährliches Unterfangen, auch wenn Für Arraus Hinwendung zu „deutscher“ Kultur Hier und in unendlich vielen Brahms-, Schumann- 1963 und 1973 die Beziehungen zwischen Meisterschülern und zeugen auch seine Repertoire-Vorlieben. In Kon- oder Mozart-Momenten musste man den Eindruck namhaften Pädagogen nur selten harmonisch zerten (und umfangreichen Konzert-Serien) in gewinnen, als spiele Arrau nicht nur überlegen und eutsch eutsch D Welch ein Lebensweg, welch eine Spanne künstle- ablaufen. Inwiefern Arraus menschliche und den 30er Jahren standen die Werke Johann Seba- überlegt Klavier. Vielmehr schien es, als ob er als D rischen Wirkens vom 6. Februar 1903 bis zum künstlerische Krise in den Jahren 1923 und 1924 stian Bachs, Ludwig van Beet hovens, Wolfgang Testamentsvollstrecker der ihm jeweils ans Herz 9. Juni 1991, als der chilenische Pianist Claudio mit dieser Entbindung aus einem pädagogisch- Amadeus Mozarts und Franz Schuberts im Mittel- gelegten Komponisten die nicht ganz leichte, ja Arrau im Alter von 88 Jahren im österreichischen väterlichen Verhältnis zusammenhängt, ist aus punkt – umfangreiche Unternehmungen, die sei- schwere Geburt eines Werkes nachvollziehen Mürzzuschlag verstarb! Kaum ein anderer Künst- den vorliegenden biographischen Dokumenten nerzeit unter dem Titel „Gesamtwerk“ gefeiert würde. Nichts bereitete seinen Händen, seinen ein ler des 20. Jahrhunderts konnte wie Claudio Arrau nicht endgültig zu erklären. Verbürgt ist es jedoch, wurden, soweit damals die Kenntnisse von der Leben lang gewitzten Fingern Probleme, aber die auf eine Laufbahn zurückblicken, die Konzerte, dass sich Arrau mit der Unterstützung des in Ber- entsprechenden Literatur gediehen waren. Diese Gewichtigkeit der Musik ließ ihn zu einem Prophe- Tourneen, mithin: fast ununterbrochenes Wirken lin wirkenden Psychoanalytikers Abrahmson aus Akzentsetzung spiegelt sich auch in Arraus Disko- ten der Zögerlichkeit, der atmenden Gehemmtheit wie eine güldene Kette des akustischen Schen- den Tiefen seiner Bedrängnisse befreite und in der graphie wider, die ab 1926 bis in die späten 80er werden. Und dies selbst in Phasen operntheatra- kens aneinanderreihte. Im Alter von fünf Jahren Lage war, in den Jahren von 1925 bis 1940 eine Jahre eine geradezu unendliche Geschichte des lischer Klavierkunst, wenn in einer seiner bereits war der im chilenischen Chillán geborene Professur an eben jenem Stern’schen Konservato- Forschens, des Suchens, des Verweilens, des Ent- geglücktesten Schallplatten-Einspielungen die Ver- Claudio in der Lage, ein interessiertes, staunendes rium zu übernehmen, an dem er als Jugendlicher deckens und der Rückbesinnung
Load more

Recommended publications
  • L'importanza Dell'etica Nella Grande Interpretazione Musicale: Testimonianze E Incontri Con Celebri Pianisti
    L’importanza dell’etica nella grande interpretazione musicale: testimonianze e incontri con celebri pianisti Kazimierz Morski Pianista. Direttore d’orchestra. Catedratico di Scienze Musicali Università Slesiana di Katowice Università Autonoma di Madrid1 Università di Roma 2 “Tor Vergata”2 Sintesi. Il saggio è frutto di personali esperienze e di considerazioni sorte nell’accostarsi a grandi personaggi della musica, in questo caso pianistica, il cui impegno etico-estetico sta alla base della profonda grandezza di esecuzioni divenute ormai patrimonio storico. Modelli in tal senso sono stati Neuhaus, Benedetti Michelangeli o Arrau per chi, come me, ha potuto incontrarli o sentirli in concerto e si trova oggi a porli nella prospettiva storica assieme ad altri artisti del mondo compositivo ed interpretativo. Nonostante le differenze e le soggettive concezioni di approccio alla musica, dal concertismo puro, all’impegno didattico, alla riflessione teorica, quanto appare nelle loro realizzazioni è un atteggiamento umano e culturale spesso celato da un nobile riserbo, segno irripetibile dell’arte nella sua essenza. Di qui l’affermazione della necessaria componente etica nell’ambito estetico delle grandi interpretazioni, sia in relazione all’originaria idea creativa che al suo mutare a seconda del gusto e delle epoche. Le testimonianze addotte conducono a profonde considerazioni sul rapporto tra l’elemento ontologico relativo soprattutto alla creatività e quello fenomenologico soggetto alle continue variazioni del modo di sentire. Parole chiave. idea creativa - interpretazione ideale - esecuzione - concertismo - pianisti - personalità artistica - virtuosismo - espressione- tradizione - didattica - etica - estetica - esperienze – testimonianze. Abstract. This essay is the result of personal experiences and considerations while addressing the fate of great musicians – in this case of piano players - whose ethic-aesthetic commitment is behind the greatness of certain interpretations that have become part our cultural heritage.
    [Show full text]
  • Leonard Bernstein's Piano Music: a Comparative Study of Selected Works
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Leonard Bernstein's Piano Music: A Comparative Study of Selected Works Leann Osterkamp The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2572 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LEONARD BERNSTEIN’S PIANO MUSIC: A COMPARATIVE STUDY OF SELECTED WORKS by LEANN OSTERKAMP A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 ©2018 LEANN OSTERKAMP All Rights Reserved ii Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Ursula Oppens Chair of Examining Committee Date Norman Carey Executive Director Supervisory Committee Dr. Jeffrey Taylor, Advisor Dr. Philip Lambert, First Reader Michael Barrett, Second Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp Advisor: Dr. Jeffrey Taylor Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions.
    [Show full text]
  • THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW in 1949, to Mark the Centennial of the Death of Fryderyk
    THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW In 1949, to mark the centennial of the death of Fryderyk Chopin, the Kosciuszko Foundation’s Board of Trustees authorized a National Committee to encourage observance of the anniversary through concerts and programs throughout the United States. Howard Hansen, then Director of the Eastman School of Music, headed this Committee, which included, among others, Claudio Arrau, Vladimir Horowitz, Serge Koussevitzky, Claire Booth Luce, Eugene Ormandy, Artur Rodzinski, George Szell, and Bruno Walter. The Chopin Centennial was inaugurated by Witold Malcuzynski at Carnegie Hall on February 14, 1949. A repeat performance was presented by Malcuzynski eight days later, on Chopin’s birthday, in the Kosciuszko Foundation Gallery. Abram Chasins, composer, pianist, and music director of the New York Times radio stations WQXR and WQWQ, presided at the evening and opened it with the following remarks: In seeking to do justice to the memory of a musical genius, nothing is so eloquent as a presentation of the works through which he enriched our musical heritage. … In his greatest work, Chopin stands alone … Throughout the chaos, the dissonance of the world, Chopin’s music has been for many of us a sanctuary … It is entirely fitting that this event should take place at the Kosciuszko Foundation House. This Foundation is the only institution which we have in America which promotes cultural relations between Poland and America on a non-political basis. It has helped to understand the debt which mankind owes to Poland’s men of genius. At the Chopin evening at the Foundation, two contributions were made.
    [Show full text]
  • Claudio Arrau: Número 20 Entre Los 20 Más Grandes Pianistas En El Disco
    18/5/2020 [CEDOC] Muestra XML Publicación Fecha de publicación Cuerpo Sección Autor El Mercurio 13-08-2010 Cuerpo A Cultura Juan Antonio Muñoz H. Página Materia Supervisor 12 Cultura y espectáculos LPBL Claudio Arrau: número 20 entre los 20 más grandes pianistas en el disco Encuesta de la revista Music de la BBC a 100 famosos pianistas de nuestros días, ubica al artista chileno entre los mejores de la historia de las grabaciones. La lista es liderada por Sergei Rachmaninov. Juan Antonio Muñoz H. Por el atractivo especial que entre otros instrumentistas despiertan los ejecutantes de piano, la revista "Music" de la BBC publicó este mes una encuesta a 100 grandes pianistas de nuestros días, destinada a escoger a los 20 más grandes de la historia del disco. En el lugar número 20 se ubicó el chileno Claudio Arrau (1903-1991). La publicación destaca el talento precoz de Arrau, que hizo que "el gobierno chileno financiara su viaje a Berlín para buscar allí al mejor profesor. Durante unos pocos años, Martin Krause, alumno de Liszt, fue como un padre para él, introduciéndolo en un vasto rango de cultura y ayudándolo a desarrollar su trascendental técnica. Cuando Krause murió, en 1918, Arrau quedó desolado y entró en el psicoanálisis. Gradualmente, construyó una inmensa reputación internacional, en especial después de la Segunda Guerra Mundial. A pesar de que podía demostrar un deslumbrante virtuosismo, su verdadera preocupación fue la búsqueda, la exploración de las grandes obras, sobre todo de Beethoven y Schubert. Arrau fue un fáustico entre los pianistas, siempre descontento y alterado, que además cultivaba calidez y profundidad de tono únicas", se lee en "Music".
    [Show full text]
  • Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2762 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community.
    [Show full text]
  • Bach, Mozart, and Beethoven: Sorting Piano Excerpts Based on Perceived Similarity Using Distatis
    New Ideas in Psychology 57 (2020) 100757 Contents lists available at ScienceDirect New Ideas in Psychology journal homepage: http://www.elsevier.com/locate/newideapsych Bach, Mozart, and Beethoven: Sorting piano excerpts based on perceived similarity using DiSTATIS Rachna Raman a,*, Michael A. Kriegsman a, Herv�e Abdi a, Barbara Tillmann b, W. Jay Dowling a a The University of Texas at Dallas, USA b Lyon Neuroscience Research Center, Lyon, France ARTICLE INFO ABSTRACT Keywords: Our initial aim in this study was to show that Western listeners can sort the music of 3 Western composers Constrained sorting consistently on the basis of their compositional style. We found that they could, and proceeded to investigate Free sorting what cues they might be using to accomplish that task, as well as whether their use of those cues was related to Musical style their level of musical training. In Experiment 1, we presented 21 excerpts from the keyboard music of Bach, Musical training Mozart, and Beethoven, each excerpt linked to an icon on the computer screen. Participants were to place the Style perception icons in different groups following the rule that the icons in one group could have been written by the same composer. First, they did a free sort in which they could form as many groups as they liked, and then we told them that there were just 3 composers, and they should make 3 groups in a constrained sort. In Experiment 1, the excerpts were produced with MIDI transcriptions of the scores, such that the composer’s pitch and time infor­ mation of the notes was preserved, but there was no variation in tempo, dynamics (loudness), or articulation (connectedness or separateness of notes in time).
    [Show full text]
  • Beethoven Piano Concerto No. 4 Mendelssohn Double Concerto
    BEETHOVEN INTRODUCTION sometimes very different approaches, but both allowing the dialogue between the soloists and PIANO CONCERTO NO. 4 Why the fourth Beethoven Piano Concerto? There orchestra to come through. We learnt so much MENDELSSOHN are so many recordings of this concerto that together and had a lot of fun. DOUBLE CONCERTO I admire, from Emil Gilels, Claudio Arrau and Wilhelm Kempf from one generation to Lars Vogt Recording this disc is a realisation of the and Leif Ove Andsnes to another. The simple many people who have supported me throughout answer is that I wanted to record something my musical years. I am so grateful that this that I enjoyed playing, and this concerto – has been achieved. Piano Concerto No. 4 in G Major, Op. 58 Ludwig van Beethoven one of my favourites – has always intrigued Min-Jung Kym 1 I. Allegro Moderato [19.38] me. The moment the piano opens with this 2 II. Andante con moto [4.51] passage almost from nowhere, the association 3 III. Rondo: Vivace [10.28] in the second movement of the tale of Orpheus taming the Furies at the gates to Hades to Concerto for Violin, Piano and String Orchestra in D Minor Felix Mendelssohn the jubilant Rondo third movement, I took to 4 I. Allegro [19.06] the concerto immediately when I first began 5 II. Adagio [9.48] studying it and I have travelled with the 6 III. Allegro molto [9.33] work having performed it several times over the years, and recently with the culmination of Total timings: [73.28] this recording.
    [Show full text]
  • Current Review
    Current Review Ludwig van Beethoven: Piano Concertos No. 4 & No. 5 aud 95.459 EAN: 4009410954596 4009410954596 Gramophone (Geoffrey Norris - 1970.01.01) Emerging triumphant from the flames It was shunned at its premiere but Beethoven's Fourth Piano Concerto – wildly radical for its time – is now championed by countless performers. Geoffrey Norris discusses his selection of the best available recordings It's a chilly December evening in Vienna. A good-sized audience has braved the cold and gathered in the unheated Theater an der Wien for a marathon benefit concert featuring the radical composer whom everyone is talking about. He's a bit of an odd ball – often irascible, not a great socialiser, inclined to put people's backs up – but a lot of the music he writes is worth hearing, and he can be relied upon to come up with a surprise or two. Tonight the man himself is going to appear as soloist in his latest piano concerto and, it's rumoured, will do some improvisation in a new piece called Choral Fantasy, which he has knocked together in a hurry because he suddenly realised that a chorus was already on hand to sing parts of his Mass in C. There are to be premieres of two symphonies – his Fifth and Sixth – and a young soprano is standing in at the last moment to sing the scena and aria Ah! Perfido, the composer apparently having had a row with the diva originally booked. The year was 1808. Beethoven sat down at the keyboard for his Fourth Piano Concerto, which he had already played the previous year at the palace of his well-disposed patron Prince Franz Joseph Maximilian von Lobkowitz.
    [Show full text]
  • MUSIC: Romero: I Plan on Attempting a Live Class Or Recording Lessons
    MUSIC: Romero: I plan on attempting a live class or recording lessons and posting to Moodle and then having discussions on moodle as well. Crummie: · MUL 102 – CLASS PIANO: STUDENTS IN THIS CLASS WILL BE GIVEN ASSIGNMENTS ON MOODLE TO COMPLETE DURING THEIR REQUIRED WEEKLY PRIVATE PRACTICE TIME. EACH STUDENT HAS A CLASS METHOD BOOK AND ACCESS TO A PIANO AT HOME. · MUS 212 – MUSIC THEORY IV: THIS STUDENT WILL CONTINUE EXPANDING HIS KNOWLEDGE OF FORM AND ANALYSIS BY PROVIDING A COMPLETE 2 TIER ANALYSIS OF MOZART’S SYMPHONY NO. 40 – IST MOVEMENT UTILIZING “SONATA-ALLEGRO FORM”. MATERIALS ARE CONTAINED WITHIN AN ANALYSIS TEXT BOOK. · MUS 101 – MUSIC THEORY (LECTURE CLASS) I WILL UPLOAD CLASS NOTES AND VIDEOS TO THE STUDENTS AND MAKE THEM AVAILABLE ON MOODLE. I PLAN TO HAVE A LIVE VIDEO STREAM DURING THEIR REGULAR CLASS TIME. · MUL 197/297 – JAZZ BAND: ALL BAND STUDENTS HAVE A COPIED COMPLETE SET OF SONGS (CHARTS) TO WORK ON WHILE AT HOME. THEY WILL BE REQUIRED TO PRACTICE AT LEAST 1 HOUR EACH DAY. · MUP 102, 133, 145, 146, 162, 182, 262 (APPLIED PRIVATE LESSONS) THESE STUDENTS EACH HAVE PEDAGOGICAL MATERIALS FROM WHICH TO USE IN THEIR PRIVATE PRACTIVE TIME. I WILL MAKE ASSIGNMENTS FROM THESE MATERIALS ON MOODLE. THEY WILL BE EXPECTED TO PRACTICE A MINIMUM OF 30 MINUTES EACH DAY. Wiseman: We were just finishing music of the classical period, face to face. My school uses Google Classroom as a delivery system. All of my are student comfortable with using this format. Online I intend to cover what we have yet to cover and can be covered via Google Classroom including the Romantic period, Impressionism, Expressionism, the Avant Garde, Serialism, 12 tone rows, Nationalism, Minimalism, Neo Romanticism, Opera, Broadway Musicals, Film Music, Social and Political Music.
    [Show full text]
  • LEONARD BERNSTEIN Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
    LEONARD BERNSTEIN Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT CONCERTS 3 CYCLES 10 DOCUMENTARIES 12 OPERAS 18 TRIBUTES 18 CONCERTS BEETHOVEN: CHORAL FANTASY, OP. 80 UNITEL Leonard Bernstein/Homero Francesch (piano)/ © Jeunesse-Chor/Wiener Philharmoniker A05500477 | Length: 22 Min. Recording date: 1985 Format: 4:3 | Available file size: 1920x1080 BEETHOVEN: MUSIC FROM “DIE GESCHÖPFE DES PROMETHEUS” Leonard Bernstein/Wiener Philharmoniker BEETHOVEN: CORIOLAN OVERTURE, OP. 62 Leonard Bernstein/Wiener Philharmoniker A05500656 | Length: 25 Min. A05500666 | Length: 12 Min. Recording date: 1978 Recording date: 1981 Format: 4:3 | Available file size: 1920x1080 Format: 4:3 | Available file size: Upon request BEETHOVEN: OVERTURE LEONORE III BEETHOVEN: EGMONT OVERTURE, OP.
    [Show full text]
  • T H E P Ro G
    Saturday, April 13, 2019 Saturday, April 27, 2019 m a r Great Pianists on Film g o r Page 21 P Great Pianists Play Beethoven e Saturday, April 13, at 1:00 pm h Page 23 T Great Pianists Play Chopin Saturday, April 13, at 3:00 pm Page 25 Gould Plays Bach Saturday, April 27, at 1:00 pm Presented in association with the Film Society of Lincoln Center and Christian Labrande Please make certain all your electronic devices are switched off. These screenings are made possible in part by the Josie Robertson Fund for Lincoln Center. Walter Reade Theater Great Performers Support is provided by Rita E. and Gustave M. Hauser, The Shubert Foundation, The Katzenberger Foundation, Inc., Audrey Love Charitable Foundation, Great Performers Circle, Lincoln Center Spotlight, Chairman’s Council, and Friends of Lincoln Center Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature Endowment support for Symphonic Masters is provided by the Leon Levy Fund Endowment support is also provided by UBS Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center UPCOMING GREAT PERFORMERS EVENTS: Sunday, April 14 at 3:00 pm in David Geffen Hall London Philharmonic Orchestra Edward Gardner, conductor Jean-Efflam Bavouzet, piano DEBUSSY: La mer; Ibéria, from Images RAVEL: Piano Concerto; Mother Goose Suite Pre-concert lecture by James Parakilas at 1:45 pm in the Stanley H. Kaplan Penthouse Sunday, May 19 at 11:00 am in the Walter Reade Theater Francesco Piemontesi, piano BACH: Italian Concerto DEBUSSY: Images, Book II RACHMANINOFF: Piano Sonata No.
    [Show full text]
  • Problems Facing Today's Pianists
    1205Clavier_nxtbk.qxd 4/18/12 11:24 AM Page 24 : e g n e l l a h c Photo courtesy of Daniel Wnukowski. Photo courtesy of Daniel r Problems facing e today’s pianists e r An interview with Jacques Leiser by Pete Jutras a he twenty-first century is blessed to be an era with no shortage of talented young pianists, many of whom are armed with impressive technique and a commanding c repertoire. For the pianists themselves, this poses a particular challenge. With a seem- ingly endless supply of competition winners and recording artists facing dwindling audiences and shrinking commercial support for the arts, how can young pianists get noticed and parlay their talents into a sustainable living and a meaningful career? e TFor answers to this question, and ideas on the state of affairs facing pianists today, I interviewed Jacques Leiser, a manager, recording producer, and impresario with decades of experience in all facets of the music business. Mr. Leiser has had a long-term interest in launching careers, and he’s been involved h with some of the biggest in the last sixty years, including Sviatoslav Richter, Maurizio Pollini, Arturo Benedetti Michelangeli, Lazar Berman, Georges Cziffra, Julius Katchen, Annie Fischer, Dame Moura Lympany, Grigory Sokolov, and Krystian Zimerman, among others. T 24 CLAVIER COMPANION MAY/JUNE 2012 1205Clavier_nxtbk.qxd 4/18/12 11:24 AM Page 25 In your view, what are the obstacles facing pianists today? had to negotiate an advertisement in an established American Young pianists today face serious challenges in launching viable record magazine and arrange for an interview to appear in conjunc- careers.
    [Show full text]