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New on Naxos | MAY 2012
25years NEW ON The World’s Leading ClassicalNA MusicXO LabelS MAY 2012 This Month’s Other Highlights © 2012 Naxos Rights International Limited • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com NEW ON NAXOS | MAY 2012 8.572823 Playing Time: 76:43 7 47313 28237 1 © Bruna Rausa Alessandro Marangoni Mario CASTELNUOVO-TEDESCO (1895-1968) Piano Concerto No 1 in G minor, Op 46 Piano Concerto No 2 in F major, Op 92 Four Dances from ‘Love’s Labour’s Lost’, Op 167* Alessandro Marangoni, piano Malmö Symphony Orchestra • Andrew Mogrelia * First Performance and Recording Mario Castelnuovo-Tedesco’s two Piano Concertos form a contrasting pair. Concerto No. 1, written in 1927, is a vivid and witty example of his romantic spirit, exquisite melodies and rich yet transparent orchestration. Concerto No. 2, composed a decade later, is a darker, more dramatic and virtuosic work. The deeply-felt and dreamlike slow movement and passionate finale are tinged with bleak moments of somber agitation, suggestive of unfolding tragic events with the imminent introduction of the Fascist Racial Laws that led Castelnuovo-Tedesco to seek exile in the USA in 1939. The Four Dances from ‘Love’s Labour’s Lost’, part of the composer’s recurring fascination for the art of Shakespeare, are atmospheric, richly characterised and hugely enjoyable. This is their first performance and recording. After winning national and international awards, Alessandro Marangoni has appeared throughout Europe and America, as a soloist and as a © Zu Zweit chamber musician, collaborating with some of Italy’s leading performers. -
The Rise in Sonatas and Suites for Unaccompanied Viola, 1915-1929 Introduction Ladislav Vycpálek’S Suite for Solo Viola, Op
UNIVERISTY OF CALIFORNIA Santa Barbara The Viola Stands Alone: The Rise in Sonatas and Suites for Unaccompanied Viola, 1915-1929 A document submitted in partial satisfaction of the Requirements for the degree Doctor of Musical Arts in Music by Jacob William Adams Committee in charge: Professor Helen Callus, Chair Professor Derek Katz Professor Paul Berkowitz December 2014 The document of Jacob William Adams is approved. Paul Berkowitz Derek Katz Helen Callus, Committee Chair ACKNOWLEDGEMENTS This research and writing would not have been possible without tremendous support and encouragement from several important people. Firstly, I must acknowledge the UCSB faculty members that comprise my committee: Helen Callus, Derek Katz, and Paul Berkowitz. All three have provided invaluable guidance, constructive feedback, and varied points of view to consider throughout the researching and writing process, and each of them has contributed significantly to my development as a musician-scholar. Beyond my committee members, I want to thank Carly Yartz, David Holmes, Tricia Taylor, and Patrick Chose. These various staff members of the UCSB Music Department have provided much needed assistance throughout my tenure as a graduate student in the department. Finally, I would like to dedicate this manuscript to my parents, David and Martha. They instilled a passion for music and an intellectual curiosity early and often in my life. They helped me see the connections in things all around me, encouraged me to work hard and probe deeper, and to examine how seemingly disparate things can relate to one another or share commonalities. It is thanks to them and their never-ending love and support that I have been able to accomplish what I have. -
Journal of the American Viola Society Volume 11 No. 2, 1995
JOURNAL ofthe AMERICAN VIOLA SOCIETY Section of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion ofViola Performance and Research Vol. 11 No.2 1995 FEATURES 5 Hindemith and the Viola By Tully Potter 13 Congress Retrospective 29 Minutes ofthe XXIII Congress 39 New Acquisitions in PIVA /1t~1 I~~ The Journal ofthe American Viola Society is a peer-reviewed publication ofthat organization and is produced at Brigham Young University, © 1985, ISSN 0898-5987. JAVSwelcomes letters and articles from its readers. Editorial Office: Department ofMusic Harris Fine Arts Center Brigham Young University Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 Editor: David Dalton Associate Editor: David Day Assistant Editor for Viola Pedagogy: James Irvine Assistant Editor for Interviews: Thomas Tatton Production: Jane Clayson Advertising. Jeanette Anderson Advertising Office: Crandall House West Brigham Young University Provo, UT 84602 (801) 378-4455 JAVS appears three times yearly. Deadlines for copy and artwork are March 1, July 1, and November 1; submissions should be sent to the editorial office. Ad rates: $100 full page, $65 half page, $50 one-third page, $35 one-fourth page. Classifieds: $25 for 30 words including address; $40 for 31-60 words. Advertisers will be billed after the ad has appeared. Payment to '~ericanViola Society" should be remitted to the advertising office. OFFICERS Thomas Tatton President 2705 Rutledge Way Stockton, CA 95207 (209) 952-9367 Pamela Goldsmith Vice-Presiden t 11640 Amanda Drive Studio City, CA 91604 Donna -
Programmheft 2009
Kammermusikfestival Schloss Laudon Programm 2009 Ehrenschutz: Präsidentin des Nationalrates, Maga. Barbara Prammer Bürgermeister der Stadt Wien Dr. Michael Häupl Schloss Laudon Festival 2009 Die schwierigste Aufgabe bei der Beurteilung unbekannter Musik ist ihre Zuordnung: hört man tschechische, österreichische oder britische Musik? Wenn einmal die ›Zugehörigkeit‹ geklärt ist, kann man ein Werk besser einordnen. Eine tragische Auswirkung der Kulturpolitik Hitlers war nicht nur, dass sie viele europäische Komponisten ihrer Zuhörerschaft beraubte, sondern auch ihrer Zugehörigkeit. Sie verloren den natürlichen Dialog mit ›ihrem‹ Publikum, und das Publikum verlor das Recht auf ›seine‹ Komponisten. Komponisten, die nun fern der Heimat lebten, fanden sich plötzlich ›ohne Echo‹, wie Krenek in seinen Memoiren schrieb. Nach ihrer Heimkehr wurden sie nicht immer als zugehörig empfunden und nur in den seltensten Fällen akzeptierte sie das Publikum im Zufluchtsland als dort zugehörig. Bis heute wird die Musik von Emigranten nirgendwo reklamiert, sie ist aber gleichzeitig ein wichtiger Aspekt der Musikgeschichte des 20. Jahrhunderts. Musik österreichischer Komponisten in den Zufluchtsländern entwickelte sich anders als jene österreichischer Komponisten zu Hause, blieb jedoch unvermeidbar anders als die Musik in ihrem neuen Heimatland. Da die nationale Identität mit der Globalisierung an Bedeutung verliert, wird die Frage der Zugehörigkeit zugleich wichtiger und unwichtiger: unwichtiger, da wir alle sehen, dass wir gemeinsamen Werten anhängen, die nicht eindeutig deutsch, österreichisch, tschechisch, französisch oder britisch sind; aber doch wichtiger, da wir wissen wollen, welchen musikalischen Einflüssen der Komponist in seiner Kindheit ausgesetzt war – Musik, die eine unveränderliche kulturelle Identität schafft und vom Publikum als unveränderliches Eigentum empfunden wird. Wir werden einander zunehmend ähnlich, versuchen aber gleichzeitig Erfahrungen zu finden, die uns mehr voneinander unterscheiden. -
“Men and Music”
“Men And Music” by Dr. Erik Chisholm Lectures given at University of Cape Town Summer School, February 1964 Published by The Erik Chisholm Trust June 2014 www.erikchisholm.com Copyright Notice The material contained herein is attributed to The Erik Chisholm Trust and may not be cop- ied or reproduced without the prior permission of the Trust. All enquiries regarding copyright should be sent to the Trust at [email protected] © 2014 The Erik Chisholm Trust 2 Dr. Erik Chisholm (1904—1965) 3 Credits Fonts: Text - Calibri Headings - Segro Script Compiled in Microsoft Publisher 2013 4 Introduction by the Editor In 1964 Chisholm gave a series of lectures on Men and Music, illustrated with music and slides, at the UCT Summer School. In his own words Men and Music wasn’t “going to be a serious business. It will con- sist mainly of light hearted reminiscences about some important figures in 20th Century music, from which it will be possible to gain insight into their characters and personalities.” Many distinguished composers came to Glasgow in the 1930’s to give concerts of their works for the Active Society for the Propagation of Contemporary Music (a bit of a mouthful, known colloquially as The Active Society). The 18 composers he talks about are William Walton, Cyril Scott, Percy Grainger, Eugene Goosens, Bela Bartok, Donald Tovey, Florent Schmitt, John Ireland, Yvonne Arnaud, Frederick Lamond, Adolph Busch, Alfredo Casella, Arnold Bax, Paul Hindemith, Dmitri Shostakovich (Chisholm cheated here- Shostakovich didn’t actually appear but they were friends and the Active Society “played quite a lot of his music”), Kai- koshru Sorabji, Bernard van Dieren and Medtner. -
37? M8/J S/0.3Sz
37? M8/J S/0.3SZ PAUL HINDEMITH AND NEUE SACHLICHKEIT: ZEITOPER IN THE WEIMAR REPUBLIC DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Kristine Helene Kresge, B.M., M.M. Denton, Texas May, 1992 37? M8/J S/0.3SZ PAUL HINDEMITH AND NEUE SACHLICHKEIT: ZEITOPER IN THE WEIMAR REPUBLIC DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Kristine Helene Kresge, B.M., M.M. Denton, Texas May, 1992 FOREWORD The vibrant cultural atmosphere of Berlin in the 1920s produced an unparalleled wealth of art, music and literature. As one of the leading young composers of his day, Paul Hindemith (1895-1963) was not immune to the trends and controversies surrounding him during his tenure as professor of composition at the Berlin Hochschule fur Musik. Opera as an art form was undergoing rapid changes. Aesthetic aims were being challenged and redefined. Along with Ernst Krenek and Kurt Weill, Hindemith was influenced by a new movement in the art world, Neue Sachlichkeit, which inexactly translated is "New Representationalism" or "New Objectivity." The term was first coined for an art exhibit in 1925 in Mannheim, and the results of the Neue Sachlichkeit philosophy are best seen in the works of the Bauhaus movement. This new aesthetic also exerted a direct influence upon the Zeitoper, which had its roots in the cabaret. Loosely defined as music theater which employs contemporary cultural references to music, politics, etc., Zeitoper as a genre was utilized by such diverse composers as Kurt Weill (Der Zar lasst sich photographieren [The Czar Gets His Picture TakenJ, 1928) and Ernst Krenek (Jonny spielt auf [Jonny strikes up], 1927). -
Hindemith Das Marienleben (1923) “Vom Tode Mariä I”
Sarah Wallin Paul Hindemith Das Marienleben (1923) “Vom Tode Mariä I” Hindemith – Background o Born November 16, 1895 in Hanau, Germany. o Began violin lessons with Eugen Reinhardt in 1902, and continued violin studies with Swiss violinist Anna Hegner in 1907. Then, in 1908, Anna Hegner left Frankfurt and arranged for Hindemith to study first privately with Adolf Rebner [her own teacher] and then from the winter semester onwards to continue with Rebner on a scholarship at the Hoch Konservatorium in Frankfurt,1 where he studied violin exclusively, at first. o “After numerous attempts to compose, Hindemith obtained grants and the support of wealthy Frankfurt families that enabled him to add composition study to his training at the Hoch Conservatory”.2 . Studied composition in 1912 with the compositionally conservative Arnold Mendelssohn (organist, and son of the cousin of Felix Mendelssohn), and with modernist Bernhard Sekles in 1913 after Mendelssohn had fallen ill. “Rather than following one particular compositional school, he adapted many varied influences, including the styles of Brahms, Dvořák, Tchaikovsky, Mahler and Reger.”3 o First violinist of Frankfurt Opera Orchestra in 1914, promoted to deputy leader the same year, then to leader in 1917. o Became second violinist with Rebner’s string quartet in 1915. o Called for military service in 1917, and joins his regiment in 1918. Plays bass drum with his assigned regimental band. Formed a string quartet and continued composing while in the army. o “At the end of the war Hindemith returned to the Frankfurt Opera as leader, and to the Rebner Quartet, but, at his own request, as a viola player rather than a violinist.”4 o June 1919, Hindemith organized a “composition evening” in Frankfurt, a concert consisting solely of Hindemith’s works. -
New on Naxos | NOVEMBER 2012
25years NEW ON The World’s Leading ClassicalNAX MusicO LabelS NOVEMBER 2012 This Month’s Other Highlights © 2012 Naxos Rights International Limited • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com NEW ON NAXOS | NOVEMBER 2012 Leonard Slatkin Maurice RAVEL (1875–1937) Orchestral Works, Vol. 1 Jennifer Gilbert, violin* Orchestre National de Lyon • Leonard Slatkin Alborada del gracioso • Pavane pour une infante défunte Rapsodie espagnole • Pièce en forme de habanera* Shéhérazade – Ouverture de féerie • Menuet antique • Boléro Ravel orchestrated his piano pieces Alborada del gracioso and Pavane pour une infante défunte to great effect; the former gains in suggestive colour, and the latter evokes nostalgic pathos. Another orchestrated work is the Menuet antique, which is redolent of old French dance forms. Rapsodie espagnole, Ravel’s first major orchestral work, shimmers with expectancy and bursts into Spanish dance rhythms, themes he pursued in Pièce en forme de habanera. His earliest orchestral work, the ‘fairy overture’ Shéhérazade, is all that remains of a planned opera based on The Thousand and One Nights. The famous Boléro, an ‘orchestrated crescendo’ of undimmed power, has proved one of the most popular works in all classical music. Sales Points • This particular selection of Ravel’s orchestral music has no direct competitor. Boulez on Sony includes the Rapsodie and Menuet antique, whereas Maazel on CBS coupled the Rapsodie with Boléro. The classic Martinon EMI Ravel survey consists of 2 CD sets, and is rather old. Another point to note: this disc inaugurates Leonard Slatkin’s new relationship with the Orchestre National de Lyon, and they are on ‘home ground’ with this repertory. -
Deutsche Nationalbibliografie
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2015 T 08 Stand: 19. August 2015 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2015 ISSN 1613-8945 urn:nbn:de:101-ReiheT08_2015-1 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde. -
Hindemiths Streichquartette Hindemith’S String Quartets · Les Quatuors À Cordes De Hindemith INHALT · CONTENTS · SOMMAIRE
12 2005 Hindemiths Streichquartette Hindemith’s String Quartets · Les quatuors à cordes de Hindemith INHALT · CONTENTS · SOMMAIRE HINDEMITHS STREICHQUARTETTE · HINDEMITH’S STRING QUARTETS · LES QUATUORS À CORDES DE HINDEMITH VITALITÄT UND FORMSINN Ein Gespräch mit Samuel Rhodes 3 M VITALITY AND A SENSE OF FORM A Conversation with Samuel Rhodes 5 M VITALITÉ ET SENS DE LA FORME Entretien avec Samuel Rhodes 6 TRADITION VERPFLICHTET Entwicklungstendenzen Impressum · Imprint · Impressum in Hindemiths Quartetten 8 M OBLIGATIONS OF Hindemith-Forum Mitteilungen der Hindemith-Stiftung/Bulletin of the Hindemith Foundation/Publication de TRADITION Developmental tendencies in Hinde- la Fondation Hindemith M Heft 12/Number 12/Cahier no 12 mith’s Quartets 9 TRADITION OBLIGE Tendances © Hindemith-Institut, Frankfurt am Main 2005 et évolutions des quatuors de Hindemith 11 Redaktion/Editor/Rédaction: Heinz-Jürgen Winkler Beiträge/Contributors/Articles de: HINDEMITH IM VISIER Ein Gespräch mit dem Christoph Gotthardt (CG), Michael Kube (MK), Amar-Quartett 13 M HINDEMITH IN VIEW Susanne Schaal-Gotthardt (SSG), Heinz-Jürgen Winkler (HJW) A conversation with the Amar Quartet 16 M Redaktionsschluß/Copy deadline/ Etat des informations: 15. November 2005 HINDEMITH EN LIGNE DE MIRE Entretien avec le Hindemith-Institut Eschersheimer Landstr. 29-39 Quatuor à cordes Amar 18 60322 Frankfurt am Main Tel.: ++49-69-5 97 03 62 M M Fax: ++49-69-5 96 31 04 Diskographie 14 Discography 14 Discographie 14 e-mail: [email protected] internet: www.hindemith.org Veranstaltungen -
Chamber Music: String Quartet in B Minor Sonata for Cello and Piano String Quartet No
Kurt Weill Edition, Ser. II, Vol. 1 Chamber Music: String Quartet in B Minor Sonata for Cello and Piano String Quartet no. 1, op. 8 INTRODUCTION Two Movements for String Quartet Frauentanz op. 10 "Ick sitze da--un esse Klops" by Wolfgang Rathert I. Introduction Indeed, a whole generation of young composers in Germany followed a similar route. After 1918, the foremost artistic aim shifted from “sub- Chamber music comprises only a small portion of Weill’s œuvre, yet its jective” expressiveness to an “objective” mode of musical discourse, root- significance in his formative years (1919–24) is considerable. The String ed in formal clarity, harmonic simplification, and polyphonic transparen- Quartet in B Minor, completed in the revolutionary year 1918, is Weill’s cy. A prominent figure in this development was Paul Hindemith, with first piece of chamber music. His second large-scale chamber work, the whom Weill had a relationship that was at once distant and admiring. At Sonata for Violoncello and Piano, composed mainly during his brief the same time, Paul Bekker spearheaded a movement toward historio- tenure as Kapellmeister in Lüdenscheid, followed in 1920. Two works graphical self-reflection and the investigation of music history as a set of from 1923 round out Weill’s contribution to chamber music: the String problems.3 No longer was the listener to be subjected to sound orgies that, Quartet op. 8 and the song cycle Frauentanz, op. 10, for voice and instru- in numerous works written after 1900, either reflected a continuing alle- mental ensemble. Weill wrote these pieces after returning to Berlin as a giance to late-romantic ideals or camouflaged an underlying lack of sub- student in Ferruccio Busoni’s masterclass. -
Eugene Drucker in Recital
Eugene Drucker in Recital J.S. Bach: Sonatas and Partitas for Solo Violin Saturday | April 27, 2019 | 5 pm First Congregational Church 251 Main Street | Great Barrington, MA www.berkshirebach.org | 413.528.9555 | [email protected] Eugene Drucker, Violin Eugene Drucker, founding member of the Emerson String Quartet and active international soloist, has appeared as a violinist with orchestras in Montreal, Brussels, Antwerp, Liege, Hartford, Richmond, Omaha, Jerusalem, and the Rhineland-Palatinate, as well as with the American Symphony Orchestra and Aspen Chamber Symphony. A graduate of Columbia University and the Juilliard School, where he studied with Oscar Shumsky, he was concertmaster of the Juilliard Orchestra and appeared as soloist several times. He made his New York debut as a Concert Artists Guild winner in the fall of 1976, after having won prizes at the Montreal Competition and the Queen Elisabeth Competition in Brussels. He has recorded the complete unaccompanied works of Bach (Parnassus Records), the complete sonatas and duos of Bartók (Biddulph Recordings), and (with the Emerson Quartet) works ranging from Bach and Haydn to contemporary repertoire on Deutsche Grammophon. A nine-time Grammy and three-time Gramophone Magazine Award winner, he is visiting professor of chamber music at Stony Brook University. In 2017 he was appointed Music Director of Berkshire Bach’s Bach at New Year’s concerts. In 2008 his original setting of four sonnets by Shakespeare was premiered by baritone Andrew Nolen and the Escher String Quartet at Stony Brook. The songs have since appeared as part of the two-CD release “Stony Brook Soundings” by Bridge Recordings.