DOCSLIB.ORG

825646079032.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
825646079032.Pdf ARAM KHACHATURIAN 1903–1978 Violin Concerto in D minor 1 I Allegro con fermezza 13.58 2 II Andante sostenuto 12.15 3 III Allegro vivace 9.01 PYOTR ILYICH TCHAIKOVSKY 1840–1893 4 Souvenir d’un lieu cher, Op.42 : No.1 10.01 Méditation (orch. Glazunov) 45.29 ITZHAK PERLMAN violin Israel Philharmonic Orchestra/Zubin Mehta 2 Itzhak Perlman, Zubin Mehta and producer Suvi Raj Grubb Photo: © Gregory Rozanski 3 KHACHATURIAN: VIOLIN CONCERTO For a long time the sole preserve of Russian violinists, such as Mischa Elman, and, above all, Soviet musicians such as Leonid Kogan, Julian Sitkovetsky and Igor Oistrakh, Khachaturian’s Violin Concerto had only been recorded by a tiny number of Western artists (notably Ruggiero Ricci and Henryk Szeryng) before Perlman laid down this version. Dedicated to David Oistrakh, whose performances of it, both live and in the studio, remain legendary, the work was written during the summer of 1940, while the composer was staying in his home to the west of Moscow, a haven of peace amid the pine forests. “There, I worked with ease… the themes burst from me in such profusion that I struggled to organise them”, he was to write. The effortlessness, spontaneity, acerbity and flexibility of Khachaturian’s melodic inventiveness are particularly evident in the Andante sostenuto, written in a free, almost improvised style, which evokes the art of the ashoughs , Armenian folk musicians. Very much the heart of the concerto as a whole, this central episode is framed by a opening movement with a first theme full of energy and a second which is more languorous, and a finale whose palpable folk inspiration calls on a display of ebullient and obsessively repetitive virtuosity. Once again, Perlman demonstrated the depth and breadth of his musical curiosity by enriching his discography with a work whose popularity was still limited to its country of origin and, in the process, completing his wide-ranging explorations of the Russian repertoire. The album is rounded off with an apt coupling in the shape of Glazunov’s orchestration of Tchaikovsky’s Méditation , the opening movement of his triptych Souvenir d’un lieu cher , in one of Perlman’s many collaborations with Zubin Mehta at the helm of the Israel Philharmonic Orchestra . Jean-Michel Molkhou Translation: Susannah Howe 4 KHATCHATOURIAN: CONCERTO POUR VIOLON Resté longtemps au seul répertoire de violonistes russes tel Mischa Elman, ou surtout soviétiques comme Leonid Kogan, Julian Sitkovetsky ou Igor Oïstrakh, le concerto de Khatchatourian avait rarement connu, avant celui d’Itzhak Perlman, la faveur d’enregistrements occidentaux (Ricci, Szeryng). Dédié à David Oïstrakh, dont les interprétations de concert comme de studio sont restées légendaires, l’œuvre fut écrite durant l’été 1940, tandis que le compositeur séjournait dans sa maison à l’ouest de Moscou, havre de paix parmi les forêts de pins. « Là, je travaillais sans effort… les thèmes surgissaient en moi avec une telle profusion que j’avais du mal à les mettre en ordre », écrira-t-il. La facilité, la spontanéité, le mordant et la flexibilité de l’invention mélodique de Khatchatourian sont clairement mis en évidence dans l’ Andante sostenuto, écrit dans un style libre et quasi improvisé, qui évoque l’art des musiciens populaires arméniens, les ashugs . Véritable ossature à partir de laquelle a été conçu le concerto tout entier, cet épisode central est précédé d’un premier mouvement, énergique dans son motif initial puis plus langoureux dans un second thème, tandis qu’il est suivi d’un final dans lequel l’élément folklorique très présent offre à l’instrument soliste une virtuosité répétitive, sauvage et obsédante. Une fois encore Perlman démontrait l’étendue de sa curiosité, en enrichissant son répertoire d’une œuvre dont la popularité était à l’époque encore limitée à sa patrie d’origine, complétant ainsi sa vaste exploration du répertoire russe. En naturel complément de programme, le violoniste proposait ici, dans l’orchestration d’Alexandre Glazounov, la Méditation de Tchaïkovski, premier volet du triptyque Souvenir d’un lieu cher , signant l’une de ses nombreuses collaborations avec Zubin Mehta à la tête de l’Orchestre philharmonique d’Israël. Jean-Michel Molkhou 5 CHATSCHATURJAN: VIOLINKONZERT Dem Konzert von Chatschaturjan, das lange Zeit auf das Repertoire russischer Geiger wie Mischa Elman und vor allem sowjetischer Interpreten wie Leonid Kogan, Julian Sitkowetski oder Igor Oistrach beschränkt blieb, war — vor Itzhak Perlmans Aufnahme — selten die Gunst westlicher Einspielungen (Ricci, Szeryng) zuteil geworden. Das Werk, David Oistrach gewidmet, dessen Interpretationen im Konzert wie im Studio legendär geworden sind, entstand im Sommer 1940, als sich der Komponist in seinem Haus westlich von Moskau aufhielt, in einer Oase der Ruhe inmitten von Kiefernwäldern. “Dort ging mir die Arbeit mühelos von der Hand,… die Themen tauchten in einer solchen Fülle aus mir auf, dass ich Mühe hatte, sie in eine Reihenfolge zu bringen”, schrieb Chatschaturjan. Die Leichtigkeit, Spontaneität, die Lebendigkeit und Flexibilität seiner melodischen Erfindung kommen deutlich zum Ausdruck im Andante sostenuto, das in einem freien, fast improvisierten Stil geschrieben ist, der an die Kunst armenischer Volksmusiker, der Aschugs, denken lässt. Dieser mittleren Episode, die das Grundgerüst für das gesamte Konzert darstellt, geht ein erster Satz voraus, der in seinem Eingangsmotiv energisch, im zweitem Thema eher sehnsuchtsvoll ist, während das Finale mit seinem sehr ausgeprägten folkloristischen Element dem Solisten wiederholt Gelegenheit gibt zu wilder, drängender Virtuosität. Wieder einmal zeigt Perlman, wie weit seine Wissbegier reicht: Er hat sein Repertoire um ein Werk bereichert, dessen Popularität damals noch auf sein Ursprungsland beschränkt war und mit dem er die ausgedehnte Erkundung des russischen Repertoires abrundet. Als natürliche Ergänzung bietet der Geiger, in der Orchestrierung von Alexander Glasunow, Tschaikowskys Méditation , den ersten Teil eines dreisätzigen Werks, Souvenir d’un lieu cher — hier wieder, wie so oft, mit dem Israel Philharmonic Orchestra unter der Leitung von Zubin Mehta. Jean-Michel Molkhou Übersetzung: Gudrun Meier 6 RECORDING LOCATION Frederic R. Mann Auditorium, Tel Aviv, 6, 7 & 12 July 1983 PRODUCE R Suvi Raj Grubb BALANCE ENGINEER Michael Sheady PUBLISHER Hans Sikorski, Hamburg (Khachaturian) COVER PHOTO Original cover artwork; photo by Christian Steiner 7 Zubin Mehta, Itzhak Perlman and producer Suvi Raj Grubb Photo: © Gregory Rozanski 8 Paganini: Mendelssohn Saint-Saëns Vivaldi: Concerto No.1 Bruch: Chausson · Ravel The Four Seasons Sarasate: Carmen Violin Concertos (1975) (1976) Fantasy (1973) Volume 09 Volume 13 (1972) Volume 05 0825646073979 0825646073870 Volume 01 0825646074068 Itzhak Perlman Itzhak Perlman 0825646074181 Itzhak Perlman Orchestre de Paris London Philharmonic Itzhak Perlman London Symphony Jean Martinon Orchestra Royal Philharmonic Orchestra Orchestra André Previn Lawrence Foster J.S. Bach: Bartók: Violin Joplin: The Easy Bruch: Violin Concertos Concerto No.2 Winners & Other Scottish Fantasy Double Concertos (1974) Rags Violin Concerto (1972 & 1975) Volume 06 (1975) No.2 Volume 02 0825646074044 Volume 10 (1977) 0825646074143 Itzhak Perlman 0825646073955 Volume 14 Itzhak Perlman London Symphony Itzhak Perlman 0825646073856 Pinchas Zukerman Orchestra André Previn piano Itzhak Perlman violin André Previn New Philharmonia Neil Black oboe Orchestra English Chamber Jesús López-Cobos Orchestra Daniel Barenboim Paganini: Encores Stravinsky: Brahms: 24 Caprices (1974 & 1979) Divertimento Violin Concerto (1972) Volume 07 Suite Italienne (1977) Volume 03 0825646074013 Duo concertant Volume 15 0825646074136 Itzhak Perlman (1976) 0825646073832 Itzhak Perlman Samuel Sanders piano Volume 11 Itzhak Perlman 0825646073931 Chicago Symphony Itzhak Perlman Orchestra Bruno Canino piano Carlo Maria Giulini Wieniawski: Violin Dvo ˇrák: Itzhak Perlman Duets for two Concertos 1 & 2 Violin Concerto plays Fritz Kreisler violins (1973) Romance (1980) (1977) Volume 04 (1975) Volume 12 Volume 16 0825646074082 Volume 08 0825646073894 0825646073801 Itzhak Perlman 0825646073993 Itzhak Perlman Itzhak Perlman London Philharmonic Itzhak Perlman Samuel Sanders piano Pinchas Zukerman Orchestra London Philharmonic violin Seiji Ozawa Orchestra Daniel Barenboim 9 Goldmark: Violin Sibelius: Violin The Baroque Album Prokofiev: Violin Concerto No.1 Concerto Oboe Quartets Concertos Sarasate: Sinding: Suite Trio Sonatas (1982) Zigeunerweisen (1980) (1982) Volume 29 (1977) Volume 21 Volume 25 0825646079049 Volume 17 0825646073719 0825646079117 Itzhak Perlman 0825646072743 Itzhak Perlman Itzhak Perlman BBC Symphony Itzhak Perlman Pittsburgh Symphony Pinchas Zukerman Orchestra Pittsburgh Symphony Orchestra viola/violin Gennady Orchestra André Previn Ray Still oboe Rozhdestvensky André Previn Lynn Harrell cello Timothy Eddy cello Samuel Sanders harpsichord Vieuxtemps: Violin Brahms: Double Tchaikovsky: Khachaturian: Concertos 4 & 5 Concerto Piano Trio Violin Concerto (1978) (1980) (1981) Tchaikovsky: Volume 18 Volume 22 Volume 26 Méditation 0825646073788 0825646073696 0825646073603 (1984) Itzhak Perlman Itzhak Perlman Itzhak Perlman Volume 30 Orchestre de Paris Mstislav Rostropovich Vladimir Ashkenazy 0825646079032 Daniel Barenboim cello piano Itzhak Perlman Royal Concertgebouw Lynn Harrell cello Israel Philharmonic Orchestra Orchestra Bernard Haitink Zubin Mehta Tchaikovsky: Violin The Spanish Album Korngold · Conus: J.S.
Load more

Recommended publications
  • The Little Orchestra Society THOMAS SCHERMAN, Music Director
    l (b~{ ozoog BROOKLYN ACADEMY OF MUSIC The Little Orchestra Society THOMAS SCHERMAN, Music Director ANNUAL SUBSCRIPTION SERIES-SEASON 1968-69 Second Concert Sunday Afternoon, December 15, 1968 at 2:30P.M. HERBERT BARRETT, Manager ALVARO CASSUTO, Guest Conductor RUGGIERO RICCI, Violinist WOLFGANG AMADEUS MOZART Symphony No. 34 inC major, K. 338 I Allegro vivace II Andante di molto III Allegro vivace PAUL HINDEMITH Kammermusik No. 4 for Violin and Chamber Orchestra, Op. 36, No.3 I Signal. Breite majestatische Halbe- 11 Sehr lebhaft III Nachtstiick. Massig schnelle Achtel IV Lebhafte Viertel- V So Schnell, wie moglich RUGGIERO RICCI, Soloist INTERMISSION JOSEF ALEXANDER Duo Concertante for Trombone, String Orchestra, and Percussion (World premiere) JOHN GRAMM, Trombone WALLACE DEYERLE, Percussion JOLY BRAGA SANTOS Sinfonietta for String Orchestra (American premiere) I Adagi~Allegro II Adagio III Allegro ben marcato, rna non tropp~ Larg~Tempo I ROBERT SCHUMANN Overture, Scherzo, and Finale Op. 52 I Overture: Andante con mot~Allegro II Scherzo: Vivo Ill Finale: Allegro molto vivace NOTES ON THE PROGRAM by BERNARD JACOBSON Wolfgang Amadeus Mozart Symphony No. 34 in C maJor, K. 338 (17 5 6-1791 ) I Allegro Vlvace II Andante di molto III A /legro vivace Mozart's 34th Symphony was the last one he wrote m Salzburg. It was composed in August, 1780, and like its predecessor by a year-No. 33 m B flat major, K. 319-was ongmally performed v.1th only three movements. In the case of No 34, however, the composer's autograph core contams, between the first two movements, the beginning of a mmuet Th1s was subsequently deleted.
    [Show full text]
  • From the Violin Studio of Sergiu Schwartz
    CoNSERVATORY oF Music presents The Violin Studio of Sergiu Schwartz SPOTLIGHT ON YOUNG VIOLIN VIRTUOSI with Tao Lin, piano Saturday, April 3, 2004 7:30p.m. Amamick-Goldstein Concert Hall de Hoernle International Center Program Polonaise No. 1 in D Major ..................................................... Henryk Wieniawski Gabrielle Fink, junior (United States) (1835 - 1880) Tambourin Chino is ...................................................................... Fritz Kreisler Anne Chicheportiche, professional studies (France) (1875- 1962) La Campanella ............................................................................ Niccolo Paganini Andrei Bacu, senior (Romania) (1782-1840) (edited Fritz Kreisler) Romanza Andaluza ....... .. ............... .. ......................................... Pablo de Sarasate Marcoantonio Real-d' Arbelles, sophomore (United States) (1844-1908) 1 Dance of the Goblins .................................................................... Antonio Bazzini Marta Murvai, senior (Romania) (1818- 1897) Caprice Viennois ... .... ........................................................................ Fritz Kreisler Danut Muresan, senior (Romania) (1875- 1962) Finale from Violin Concerto No. 1 in g minor, Op. 26 ......................... Max Bruch Gareth Johnson, sophomore (United States) (1838- 1920) INTERMISSION 1Ko<F11m'1-za from Violin Concerto No. 2 in d minor .................... Henryk Wieniawski ten a Ilieva, freshman (Bulgaria) (1835- 1880) llegro a Ia Zingara from Violin Concerto No. 2 in d minor
    [Show full text]
  • (1; . -;-."':::With, Say, Itzhak ~ ...•
    PROKOFIEVViolin concertos nO.1 in D major op.19 & no.2 . in G minor op.63. Sonata in C major for two violins op.56* [ Pavel Berman, Anna find the effect here, especially Tifu* (violin) Orchestra in the Second Concerto, I della Svizzera ltaliana/ initially disorientating. Yet Andrey Boreyko to hear Prokofiev's super- DYNAMIC CD5 676 virtuoso writing emerging Indianapo!is prizewinner wìth such blernishless poìse Pavel Berman brings and unforced eloquence comes freshness and eloquence as a welcome relìef compared to Prokofiev to the claustrophobic intensity of most recorded accounts. When cornpared The Double Violin Sonata is .(1; . -;-."':::with, say, Itzhak also beautìfully played and . ~~~i,-""-.=...• Perlman's EMI record ed, with Prokofiev's - ' recording wìth lyrìcal genius well to the fore, ~ Gennadi JULlAN HAYLOCK Rozhdestvensky or Isaac Stern's Sony classìc with Eugene Orrnandy, the natural perspectives of this new version, where Pavel Berrnan's sweer-toned playing emerges seductively frorn the orchestrai ranks, are such that one couId almost be listening to different pieces. Subtle internai orchestrai detaìl is revealed (particularly in the First Concerto) that usuali)' lies concealed behind the solo image. The passages where Bcrrnan duets engagingl), with solo woodwind instrumenrs or harp feel more 'sinfonia concertante' than concerto proper. The effect, especially rowards the end of the finale, is often magical, as Berman's silvery purity becomes enveloped in a pulsating web of orchestrai sound. Those raised on classi c accounts from David Oistrakh (EMI),Kyung-Wha Chung (Dccca) or Shlorno Mintz (Deutsche Grammophon), in which one can hear and feel the contract ofbow on string or fingers on fingerboard, ma)' AUGUST 2011 THE STRAD 93 Rue St-Pierre 2 - 1003 Lausanne (eH) Te1.
    [Show full text]
  • The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
    ! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176
    [Show full text]
  • Download Booklet
    557757 bk Bloch US 20/8/07 8:50 pm Page 5 Royal Scottish National Orchestra the Sydney Opera, has been shown over fifty times on U.S. television, and has been released on DVD. Serebrier regularly champions contemporary music, having commissioned the String Quartet No. 4 by Elliot Carter (for his Formed in 1891 as the Scottish Orchestra, and subsequently known as the Scottish National Orchestra before being Festival Miami), and conducted world première performances of music by Rorem, Schuman, Ives, Knudsen, Biser, granted the title Royal at its centenary celebrations in 1991, the Royal Scottish National Orchestra is one of Europe’s and many others. As a composer, Serebrier has won most important awards in the United States, including two leading ensembles. Distinguished conductors who have contributed to the success of the orchestra include Sir John Guggenheims (as the youngest in that Foundation’s history, at the age of nineteen), Rockefeller Foundation grants, Barbirolli, Karl Rankl, Hans Swarowsky, Walter Susskind, Sir Alexander Gibson, Bryden Thomson, Neeme Järvi, commissions from the National Endowment for the Arts, the Harvard Musical Association, the B.M.I. Award, now Conductor Laureate, and Walter Weller who is now Conductor Emeritus. Alexander Lazarev, who served as Koussevitzky Foundation Award, among others. Born in Uruguay of Russian and Polish parents, Serebrier has Ernest Principal Conductor from 1997 to 2005, was recently appointed Conductor Emeritus. Stéphane Denève was composed more than a hundred works. His First Symphony had its première under Leopold Stokowski (who gave appointed Music Director in 2005 and his first recording with the RSNO of Albert Roussel’s Symphony No.
    [Show full text]
  • Henryk Szeryng – Weltbürger Und Weltklasse-Geiger (3)
    SWR2 Musikstunde Henryk Szeryng – Weltbürger und Weltklasse-Geiger (3) Von Jörg Lengersdorf Sendung vom: 18. August 2021 (Erstsendung 19. September 2018) Redaktion: Dr. Ulla Zierau Produktion: SWR 2018 SWR2 können Sie auch im SWR2 Webradio unter www.SWR2.de und auf Mobilgeräten in der SWR2 App hören – oder als Podcast nachhören: Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Die SWR2 App für Android und iOS Hören Sie das SWR2 Programm, wann und wo Sie wollen. Jederzeit live oder zeitversetzt, online oder offline. Alle Sendung stehen mindestens sieben Tage lang zum Nachhören bereit. Nutzen Sie die neuen Funktionen der SWR2 App: abonnieren, offline hören, stöbern, meistgehört, Themenbereiche, Empfehlungen, Entdeckungen … Kostenlos herunterladen: www.swr2.de/app Die Jugend des Geigers Henryk Szeryng ist vorbei, das Studium fast beendet. Eine Weltkarriere scheint auf ihn zu warten. Doch dann sucht der Krieg Europa heim, alles kommt anders… Im Juli 1937 hat der 18jährige Henryk Szeryng gerade einmal 8 Monate in Paris studiert, als er sein Studium am Konservatorium beim Abschlusskonzert mit dem Prestigeträchtigen und begehrten ersten Preis der Kohorte abschließt. Neben Szeryng erhält der ebenfalls bald zur Weltelite gehörende Geiger Yfrah Neaman diese Auszeichnung. Der später legendäre Solist und langjährige Star-Konzertmeister der Berliner Philharmoniker, Michel Schwalbé, bekommt dagegen nur den zweiten Preis. Ein Detail am Rande, das immerhin illustriert, was für ein Niveau die Pariser Professoren in dieser Prüfungsphase 1937 serviert bekommen. In einigen biografischen Abrissen (ausführliche Biografien gibt es noch nicht) liest man nun, Szeryngs Eltern hätten ihm zum Pariser Abschluss eine wertvolle Geige das Cremoneser Meisters Andrea Guarneri geschenkt.
    [Show full text]
  • Flyer Sean Lee Masterclass
    Presents VIOLIN GROUP MASTERCLASS WITH CONCERT ARTIST SEAN LEE Saturday, March 23, 2019 2:00-4:00 pm The Lyceum 201 S. Washington St. Alexandria, Virginia Registration for participants and teacher observers via www.sagwa.org Two group classes open to Suzuki violin students (class sizes very limited): 2-3 pm: Book 2/3 Level Students 3-4 pm: Advanced Students (Book 4 and above) PARTICIPANT FEES (parent attendance is included in this fee) SAGWA members: $40/student Non-SAGWA members: $60/student OBSERVER FEES SAGWA teachers: FREE Non-SAGWA teachers: $30 Register at www.sagwa.org Mr. Lee will present two hour long masterclasses focusing on scales and arpeggios and technique building. Sean will begin with a short presentation, continue with a student involved masterclass, and he will end the class with a short performance. http://www.seanleeviolin.com/ Violinist Sean Lee has captured the attention of audiences around the world with his lively performances of the classics. A recipient of the 2016 Avery Fisher Career Grant, Lee is one of few violinists who dare to perform Niccolò Paganini’s 24 Caprices in concert, and his YouTube series, Paganini POV, continues to draw praise for the use of technology in sharing unique perspectives and insight into violin playing. As an artist at the Chamber Music Society of Lincoln Center, Lee continues to perform regularly at Lincoln Center, as well as on tour. Originally from Los Angeles, Lee studied with Robert Lipsett of the Colburn Conservatory and legendary violinist Ruggiero Ricci before moving at the age of seventeen to study at the Juilliard School with his longtime mentor, violinist Itzhak Perlman.
    [Show full text]
  • San Diego Symphony Orchestra a Jacobs Masterworks Concert
    SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT December 4, 5 and 6, 2015 LUDWIG VAN BEETHOVEN Leonore Overture No. 3, Op. 72b JEAN SIBELIUS Violin Concerto in D minor, Op. 47 Allegro moderato Adagio di molto Allegro; ma non tanto Karen Gomyo, violin INTERMISSION IGOR STRAVINSKY Le sacre du printemps (The Rite of Spring) PART I: Adoration of the Earth Introduction The Augurs of Spring – Dances of the Young Girls Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage The Sage Dance of the Earth PART II: The Sacrifice Introduction Mystic Circle of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance (The Chosen One) Leonore Overture No. 3, Op. 72b LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna (Approx. 14 minutes) No other work gave Beethoven more trouble than his only opera, Leonore, which he retitled Fidelio during its final revision. This tale of political idealism, resistance to tyranny and marital fidelity comes to a climax when the heroine Leonore prepares to sacrifice her life to protect her imprisoned husband Florestan from the evil Pizarro. The couple is saved at the last minute by the arrival of the good minister Don Fernando, who has Pizarro arrested. Beethoven’s problems with the opera, which occupied him over a span of 11 years and took him through three different versions, are reflected in his problems devising a suitable overture: Fidelio is doubtless the only opera in existence to have four different overtures.
    [Show full text]
  • EDGAR MOREAU, Cellist
    EDGAR MOREAU, cellist “Mr. Moreau immediately began to display his musical flair and his distinctive persona. His incredibly beautiful tone spoke directly to the heart and soul. Mr. Moreau established his credentials as a player of remarkable caliber. His intriguing presence, marvelously messy hair, and expressive face were all reflections of the inner poet.” —OBERON’S GROVE (NY) “This cello prodigy belongs in the family of the greatest artists of all time. The audience gave him an enthusiastic ovation in recognition of a divinely magical evening.” —LA PROVENCE ”He is just 20 years old, but for the past five years, this young musketeer of the bow has been captivating all of his audiences. He is the rising star of the French cello.” —LE FIGARO “Edgar Moreau captivates all those who hear him. Behind his boyish looks lies a performer of rare maturity. He is equally at ease in a chamber ensemble, as a soloist with orchestra or in recital, and his facility and pose are simply astounding.” —DIAPASON (Debut CD: “Play” ) European Concert Hall Organization’s 2016-2017 Rising Star 2015 Arthur Waser Foundation Award, in association with the Lucerne Symphony (Switzerland) 2015 Solo Instrumentalist of the Year, Victoires de la Musique Tchaikovsky Competition, 2011, Second Prize and Prize for Best Performance of the Commissioned Work First Prize, 2014 Young Concert Artists International Auditions Florence Gould Foundation Fellowship The Embassy Series Prize (Washington, DC) • The Friends of Music Concerts Prize (NY) The Harriman-Jewell Series Prize (MO) • The Saint Vincent College Concert Series Prize (PA) Chamber Orchestra of the Triangle Prize (NC) • University of Florida Performing Arts Prize The Candlelight Concert Society Prize (MD) YOUNG CONCERT ARTISTS, INC.
    [Show full text]
  • Aspects of Jazz and Classical Music in David N. Baker's Ethnic Variations
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2002 Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini Heather Koren Pinson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Music Commons Recommended Citation Pinson, Heather Koren, "Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini" (2002). LSU Master's Theses. 2589. https://digitalcommons.lsu.edu/gradschool_theses/2589 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. ASPECTS OF JAZZ AND CLASSICAL MUSIC IN DAVID N. BAKER’S ETHNIC VARIATIONS ON A THEME OF PAGANINI A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by Heather Koren Pinson B.A., Samford University, 1998 August 2002 Table of Contents ABSTRACT . .. iii INTRODUCTION . 1 CHAPTER 1. THE CONFLUENCE OF JAZZ AND CLASSICAL MUSIC 2 CHAPTER 2. ASPECTS OF MODELING . 15 CHAPTER 3. JAZZ INFLUENCES . 25 BIBLIOGRAPHY . 48 APPENDIX 1. CHORD SYMBOLS USED IN JAZZ ANALYSIS . 53 APPENDIX 2 . PERMISSION TO USE COPYRIGHTED MATERIAL . 54 VITA . 55 ii Abstract David Baker’s Ethnic Variations on a Theme of Paganini (1976) for violin and piano bring together stylistic elements of jazz and classical music, a synthesis for which Gunther Schuller in 1957 coined the term “third stream.” In regard to classical aspects, Baker’s work is modeled on Nicolò Paganini’s Twenty-fourth Caprice for Solo Violin, itself a theme and variations.
    [Show full text]
  • Musicweb International August 2020 RETROSPECTIVE SUMMER 2020
    RETROSPECTIVE SUMMER 2020 By Brian Wilson The decision to axe the ‘Second Thoughts and Short Reviews’ feature left me with a vast array of part- written reviews, left unfinished after a colleague had got their thoughts online first, with not enough hours in the day to recast a full review in each case. This is an attempt to catch up. Even if in almost every case I find myself largely in agreement with the original review, a brief reminder of something you may have missed, with a slightly different slant, may be useful – and, occasionally, I may be raising a dissenting voice. Index [with page numbers] Malcolm ARNOLD Concerto for Organ and Orchestra – see Arthur BUTTERWORTH Johann Sebastian BACH Concertos for Harpsichord and Strings – Volume 1_BIS [2] Johann Sebastian BACH, Georg Philipp TELEMANN, Carl Philipp Emanuel BACH The Father, the Son and the Godfather_BIS [2] Sir Arnold BAX Morning Song ‘Maytime in Sussex’ – see RUBBRA Amy BEACH Piano Quintet (with ELGAR Piano Quintet)_Hyperion [9] Sir Arthur BLISS Piano Concerto in B-flat – see RUBBRA Benjamin BRITTEN Serenade for Tenor, Horn and Strings, etc._Alto_Regis [15, 16] Arthur BUTTERWORTH Symphony No.1 (with Ruth GIPPS Symphony No.2, Malcolm ARNOLD Concerto for Organ and Orchestra)_Musical Concepts [16] Paul CORFIELD GODFREY Beren and Lúthien: Epic Scenes from the Silmarillion - Part Two_Prima Facie [17] Sir Edward ELGAR Symphony No.2_Decca [7] - Sea Pictures; Falstaff_Decca [6] - Falstaff; Cockaigne_Sony [7] - Sea Pictures; Alassio_Sony [7] - Violin Sonata (with Ralph VAUGHAN WILLIAMS Violin Sonata; The Lark Ascending)_Chandos [9] - Piano Quintet – see Amy BEACH Gerald FINZI Concerto for Clarinet and Strings – see VAUGHAN WILLIAMS [10] Ruth GIPPS Symphony No.2 – see Arthur BUTTERWORTH Alan GRAY Magnificat and Nunc dimittis in f minor – see STANFORD Modest MUSSORGSKY Pictures from an Exhibition (orch.
    [Show full text]
  • Sean Lee Biography (Updated May 2019)
    5/31/2019 SeanLeeBiography - Google Docs Sean Lee Biography (Updated May 2019) Full-length Bio (362 words) With performances described by the New York Times as “breathtakingly beautiful”, violinist Sean Lee has captured the attention of audiences worldwide with his lively performances of the classics. A recipient of Lincoln Center’s Avery Fisher Career Grant, his debut album, released by EMI Classics, reached the iTunes top 20 classical bestsellers list. In 2018, Lee released his second album, SONGBOOK, and continues to draw attention to his educational YouTube series, Paganini POV, which utilizes modern technology to share a unique perspective on violin playing. Lee has appeared as a soloist with orchestras including the San Francisco Symphony, Jerusalem Symphony, Utah Symphony, Orchestra Del Teatro Carlo Felice, and Israel Camerata Jerusalem. His recital appearances have taken him to Carnegie Hall’s Weill Hall, Tel Aviv Museum of Art, Festival di Carro Paganiniano of Italy, and Vienna’s Konzerthaus. A top prizewinner at the “Premio Paganini” International Violin Competition, Lee embraces the legacy of his late mentor, violinist Ruggiero Ricci, as one of few violinists who dare to perform the complete 24 Caprices of Niccolò Paganini in recital. Lee has collaborated in performances with Itzhak Perlman, James Galway, Deborah Voigt, and members of the Emerson and Guarneri String Quartets. As an artist with the Chamber Music Society of Lincoln Center, Lee performs regularly at Lincoln Center, as well as on tour internationally. Recent international performances with the Chamber Music Society of Lincoln Center include Lobkowicz Palace in Prague, Czech Republic; LG Arts Center in Seoul, Korea; National Theater in Taipei, Taiwan; and the White Nights Festival in St.
    [Show full text]