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Fall 2003-Spring 2004)
David Korevaar, Helen and Peter Weil Professor of Piano 1 Updated: July 2018 David Korevaar University of Colorado at Boulder, College of Music 301 UCB, Boulder, CO 80309-0301 303-492-6256, [email protected] www.davidkorevaar.com http://spot.colorado.edu/~korevaar Curriculum Vitae Educational Background: Doctor of Musical Arts, Piano, The Juilliard School, 2000. Doctoral Document: “Ravel’s Mirrors.” DMA Document. New York: The Juilliard School, 2000. xi + 196 pp. Awarded Richard French prize for best DMA Document, The Juilliard School, 2000. Committee: L. Michael Griffel, Robert Bailey, Jerome Lowenthal. Piano studies with Abbey Simon. Related area studies with Jonathan Dawe, Jane Gottlieb, L. Michael Griffel, David Hamilton, Joel Sachs, Maynard Solomon, Claudio Spies. Master of Music, Piano, The Juilliard School, 1983. Bachelor of Music, Piano, The Juilliard School, 1982. Piano studies with Earl Wild. Composition studies with David Diamond. Chamber music studies with Claus Adam, Paul Doktor, Felix Galimir, Leonard Rose, Harvey Shapiro. Independent piano studies: Paul Doguereau (1985-1998). Earl Wild (1976-1984). Sherman Storr (1969-1976). Andrew Watts (2013) Richard Goode (2013) Summer programs: Johannesen International School of the Arts, Victoria, B. C. (1980). Piano studies with John Ogdon, Robin McCabe, Joseph Bloch, Bela Siki. Bowdoin Summer Music Program (1981). Piano studies with Martin Canin. Aspen (1985). Piano studies with Claude Frank. David Korevaar, Helen and Peter Weil Professor of Piano 2 Teaching Affiliations: Academic year appointments: Current: Professor of Piano at the University of Colorado at Boulder (2011-); Associate Professor with tenure (2006-2011); appointed as Assistant Professor in 2000. Former: University of Bridgeport, Bridgeport, Connecticut (Adjunct position, “Head of Piano Studies”; 1995-2000). -
Robert Starer: a Remembrance 3
21ST CENTURY MUSIC AUGUST 2001 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 (print) and $42.00 (e-mail) per year; subscribers to the print version elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $8.00 (print) and $4.00 (e-mail) Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2001 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. -
JORGE BOLET Liszt | Chopin | Debussy | Moszkowski Vol
JORGE BOLET Liszt | Chopin | Debussy | Moszkowski Vol. I Saint-Saëns | Godowsky | Schumann Berlin, 1962-1973 FRANZ LISZT (1811-1886) Années de Pèlerinage. Première Année: Suisse, S. 160 (excerpts) I. La Chapelle de Guillaume Tell 6:44 II. Au lac de Wallenstadt 2:56 III. Pastorale 1:45 IV. Au bord d’une source 3:34 V. Orage 4:22 VI. Vallée d’Obermann 14:06 recording: March 15, 1963 • Siemensvilla, Berlin-Lankwitz Études d’exécution transcendante, S. 139 (excerpts) I. Preludio 1:00 II. Molto vivace 2:46 XI. Harmonies du soir 10:13 XII. Chasse neige 5:09 IX. Ricordanza 10:53 VIII. Wilde Jagd 5:44 recording: March 22, 1962 • RIAS Funkhaus, Berlin – Studio 7 Liebesträume. 3 Notturnos, S. 541 I. Hohe Liebe 6:44 II. Seliger Tod 4:40 III. O Lieb’, so lang du lieben kannst 5:03 recording: January 5, 1966 Siemensvilla, Berlin-Lankwitz Rhapsodie espagnole, S. 254 13:01 (Folies d’espagne et Jota aragonesa) recording: March, 9, 1964 • RIAS Funkhaus, Berlin – Studio 7 MORITZ MOSZKOWSKI (1854-1925) En automne, Op. 36/4 2:16 recording: March 22, 1962 • RIAS Funkhaus, Berlin – Studio 7 CAMILLE SAINT-SAËNS (1835-1921) Le cygne ‘The Swan’ / arr. Leopold Godowsky (1870-1938) 2:32 recording: March 22, 1962 • RIAS Funkhaus, Berlin – Studio 7 LEOPOLD GODOWSKY (1870-1938) Le Salon 2:49 recording: March 22, 1962 • RIAS Funkhaus, Berlin – Studio 7 ROBERT SCHUMANN (1810-1856) Liebeslied, S 266 (Widmung, Op. 25/1) arr. Franz Liszt 3:44 recording: March 22, 1962 • RIAS Funkhaus, Berlin – Studio 7 LEOPOLD GODOWSKY (1870-1938) Symphonic Metamorphosis on themes by Johann Strauss ‘Die Fledermaus’ (The Bat) 10:51 recording: March 9, 1964 • RIAS Funkhaus, Berlin – Studio 7 FRÉDÉRIC CHOPIN (1810-1849) Fantasia in F minor, Op. -
Boston Symphony Orchestra Concert Programs, Season 97, 1977-1978
97th SEASON . TRUST BANKING. A symphony in financial planning. Conducted by Boston Safe Deposit and Trust Company Decisions which affect personal financial goals are often best made in concert with a professional advisor However, some situations require consultation with a number of professionals skilled in different areas of financial management. Real estate advisors. Tax consultants. Estate planners. Investment managers. To assist people with these needs, our venerable Boston banking institution has developed a new banking concept which integrates all of these professional services into a single program. The program is called trust banking. Orchestrated by Roger Dane, Vice President, 722-7022, for a modest fee. DIRECTORS Hans H. Estin George W. Phillips C. Vincent Vappi Vernon R. Alden Vice Chairman, North Executive Vice President, Vappi & Chairman, Executive American Management President Company, Inc. Committee Corporation George Putnam JepthaH. Wade Nathan H. Garrick, Jr. Putnam Partner, Choate, Hall Dwight L. Allison, Jr. Chairman, Vice Chairman of the Chairman of the Board Management & Stewart Board David C. Crockett Company, Inc. William W.Wolbach Donald Hurley Deputy to the Chairman J. John E. Rogerson Vice Chairman Partner, Goodwin, of the Board of Trustees Partner, Hutchins & of the Board Procter & Hoar and to the General Wheeler Honorary Director Director, Massachusetts Robert Mainer Henry E. Russell Sidney R. Rabb General Hospital Senior Vice President, President Chairman, The Stop & The Boston Company, Inc. F. Stanton Deland, jr. Mrs. George L. Sargent Shop Companies, Partner, Sherburne, Inc. Director of Various Powers & Needham William F. Morton Corporations Director of Various Charles W. Schmidt Corporations President, S.D. Warren LovettC. -
NEW YORK PHILHARMONIC 10,000Th CONCERT
' ■ w NEW YORK PHILHARMONIC 10,000th CONCERT NEW YORK PHILHARMONIC 10,000th CONCERT Sunday, March 7,1982, 5:00 pm Mahler Symphony No. 2 (Resurrection) Zubin Mehta, Music Director and Conductor Kathleen Battle, soprano Maureen Forrester, contralto Westminster Choir, Joseph Flummerfelt, director CONTENTS The First 9,999 Concerts.................................... 2 Bernstein, Boulez, Mehta By Herbert Kupferberg.................................................. 5 New York Philharmonic: The Tradition of Greatness Continues By Howard Shanet........................................................ 8 Gustav Mahler and the New York Philharmonic............................... 14 Contemporary Music and the New York Philharmonic............................... 15 AVERY FISHER HALL, LINCOLN CENTER THE FIRST 9,999 CONCERTS The population of New York City in NEW YORK PHILHARMONIC: 1982 is 20 times what it was in 1842; the each of them. To survey them is to Philharmonic’s listeners today are define the current richness of the 10,000 times as many as they were in that organization: THE TRADITION OF GREATNESS CONTINUES The Subscription Concerts au dience, though not the largest of the their diversity they reflect the varied en Battle, David Britton, Montserrat aballé, Jennifer Jones, Christa Lud- in Avery Fisher Hall. As for television, it ig, Jessye Norman, and Frederica von is estimated that six million people Stade. (Another whole category across the country saw and heard the like - the < iductors. those chosen Philharmonic in a single televised per formance when the celebrated come dian Danny Kaye conducted the Or chestra recently in a Pension Fund benefit concert; and in a season's quota who is Music Director, of "Live from Lincoln Center" and other telecasts by the Philharmonic 20 are presented elsewhere in this publi million watchers may enjoy the Or chestra's performances in their homes. -
FRÉDÉRIC CHOPIN the 1981 Baldwin Recordings
Abbey Simon, Jorge Bolet and Earl Wild c.1979 FRÉDÉRIC CHOPIN The 1981= Baldwin Recordings With the exception of three pieces–the Fantasie, the Ballade, and the Andante Spianato and Grand Polonaise Brillante–this recording features rel- atively brief works, some of them remarkably so, demonstrating to a refined degree the extent to which Frédéric Chopin was a master of the small form. This may be a function of the fact that, though he performed in public con- cert halls, Chopin most often performed for friends in intimate salons. Fantasie in F minor, Op. 49 (1841) The heroic Fantasie in F minor is one of Chopin’s largest and most epic works for solo piano. If its scale and scope are unusual for him, so is its form, being loose, extended, and improvisatory, and having numerous melodies. Unlike many romantics, Chopin’s music is generally not narrative or programmatic, and while it is personal, it remains pure art. Nevertheless, a story has been associated with the Fantasie. The composer and pianist Franz Liszt relates: The year is 1841 and Chopin is seated at the Pleyel grand piano in Madame George Sand’s salon in Nohant, France, where they spent – 2 – their summers. A knock is heard at the door and Madame Sand enters. With her are Liszt, Camille Pleyel, the wife of the piano manufacturer, and one or two other friends, perhaps the cellist Franchomme and the singer Pauline Viardot-Garcia. Some quarreling ensues, and then reconciliation. If Liszt’s tale is correct, this scene led to Chopin’s composition of the Fantasie. -
Chicago Little Symphony THOR JOHNSON, Conductor
1965 Eighty-Seventh Season 1966 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Seventh Program Third Annual Chamber Arts Series Complete Series 3512 Chicago Little Symphony THOR JOHNSON, Conductor Soloists HAROLD CRUTHIRDS, Violoncello GARY SIGURDSON, Flute CHARLES GEYER, Trumpet DON JAEGER, Oboe MITCHELL Ross, Trombone RAYMOND GARIGLIO, Clarinet THURSDAY EVENING, MARCH 31, 1966, AT 8:30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Serenade in C major R YBA Adagio maestoso Scherzo: allegretto Menuetto: allegro non molto Polonaise : andante Adagio Finale: allegro Poem for Flute and Orchestra CHARLES T. GRIFFES GARY SIGURDSON Sonata for Chamber Orchestra, Op. 18 RICHARD ARNELL Triple Concerto for Clarinet, Trombone, Trumpet, and Orchestra (1965) ROBERT STARER Allegro Andante Molto allegro e giocoso RAYMOND GARIGLIO, CHARLES GEYER, AND MITCHELL Ross INTERMISSION Concertino for Violoncello and Orchestra, Op. 57 ALBERT ROUSSEL Allegro Marcia funebra Allegro vivace HAROLD CRUTHIRDS Concerto in E-fiat major for Oboe and Strings VINCENZO BELLINI Maestoso e deciso, larghetto cantabile Allegro DON JAEGER Serenade for Small Orchestra (1962) ANTHONY DONATO Allegro Moderato andante Allegro PRO G RAM Serenade in C major RYBA (1765-1815) A Bohemian contemporary of Mozart, Ryba has only recently been rescued from obscurity through modern additions to his works. This typical orchestral serenade of the eighteenth century is a transitional work which retains many characteristics of the concerto grosso and also suggests the newer style of the sinfonia concertante, so popular with J. C. Bach, Haydn, and Mozart. The original score called for clarinets, horns, trumpets, timpani, and strings. -
LGBTQ+ Artists Represented Int the Performing Arts Special Collections
LGBTQ+ Artists Represented in the Performing Arts Special Collections in the Library of Congress Music Division Aaron Copland with Samuel Barber and Gian Carlo Menotti, 1945 (Aaron Copland Collection, Box 479 Folder 3) Compiled by Emily Baumgart Archives Processing Technician January 2021 Introduction The artistic community has always had many LGBTQ+ members, including musicians, dancers, choreographers, writers, directors, designers, and other creators. The Music Division holds a wealth of information about these LGBTQ+ artists in its performing arts special collections, which contain musical scores, correspondence, scripts, photographs and other documents of their lives and careers. This survey brings together some of the highlights from these holdings, providing an opportunity to learn more about LGBTQ+ creators and to recognize and celebrate their artistic achievements. The sexual and gender identity of many historical figures has been obscured over time; moreover, it can be difficult to determine how such individuals would identify by today’s terminology, especially when little of their personal life is known. Other figures, however, have disclosed their identity through their private correspondence or other writings. We do not wish to ascribe to any person an identity that they may have disagreed with, but at the same time we recognize that many of the queer community’s accomplishments have been hidden through oppression, prejudice, and forced closeting. By increasing awareness of LGBTQ+ identity in the Music Division’s special collections, we can make relevant primary source materials more readily accessible for students, educators, and scholars to study these creators and their contributions. This survey does not claim to be comprehensive, neither in terms of identifying every LGBTQ+ artist within the Music Division’s special collections nor in terms of identifying every collection in which those artists are represented. -
Boston Symphony Chamber Players 50Th Anniversary Season 2013-2014
Boston Symphony Chamber Players 50th anniversary season 2013-2014 jordan hall at the new england conservatory october 13 january 12 february 9 april 6 BOSTON SYMPHONY CHAMBER PLAYERS Sunday, February 9, 2014, at Jordan Hall at New England Conservatory TABLE OF CONTENTS 3 Welcome 4 From the Players 8 Today’s Program Notes on the Program 10 Charles Martin Loeffler 12 Kati Agócs 13 Gunther Schuller 14 Hannah Lash 15 Yehudi Wyner 17 Amy Beach Artists 18 Boston Symphony Chamber Players 19 Randall Hodgkinson 19 Andris Poga 20 The Boston Symphony Chamber Players: Concert Repertoire, 1964 to Date COVER PHOTO (top) Founding members of the Boston Symphony Chamber Players, 1964: (seated, left to right) Joseph Silverstein, violin; Burton Fine, viola; Jules Eskin, cello; Doriot Anthony Dwyer, flute; Ralph Gomberg, oboe; Gino Cioffi, clarinet; Sherman Walt, bassoon; (standing, left to right) Georges Moleux, double bass; Everett Firth, timpani; Roger Voisin, trumpet; William Gibson, tombone; James Stagliano, horn (BSO Archives) COVER PHOTO (bottom) The Boston Symphony Chamber Players in 2012 at Jordan Hall: (seated in front, from left): Malcolm Lowe, violin; Haldan Martinson, violin; Jules Eskin, cello; Steven Ansell, viola; (rear, from left) Elizabeth Rowe, flute; John Ferrillo, oboe; William R. Hudgins, clarinet; Richard Svoboda, bassoon; James Sommerville, horn; Edwin Barker, bass (photo by Stu Rosner) ADDITIONAL PHOTO CREDITS Individual Chamber Players portraits pages 4, 5, 6, and 7 by Tom Kates, except Elizabeth Rowe (page 6) and Richard Svoboda (page 7) by Michael J. Lutch. Boston Symphony Chamber Players photos on page 8 by Stu Rosner and on page 18 by Michael J. -
President's Piano Series Abbey Simon
Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 4-2-2015 President's Piano Series Abbey Simon Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Simon, Abbey, "President's Piano Series" (2015). Printed Performance Programs (PDF Format). Paper 919. http://digitalcommons.chapman.edu/music_programs/919 This Guest Recital is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. PRESIDENT'S PIANO SERIES Abbey Simon, soloist April 2, 2015 calendar highlights SPRING 2015 CHAPMAN UNIVERSITY february April 9-11 Concert lntime College of Peiforming Arts February 5 presented by Chapman student choreographers The President's Piano Series Eduardo Delgado, soloist April 9-11, April 16-18 Rosencrantz and Guildenstern Are Dead presents the February 6 by Tom Stoppard William Hall Visiting Professor in Recital Directed by Gavin Cameron-Webb Jeralyn Glass, soprano soloist April 10 February 19-21, 26-28 University Choir & University Singers in The Tragedy of Hamlet, Prince of Denmark Concert by William Shakespeare Stephen Coker, Conductor President's Piano Series Directed by Thomas F. Bradac April 24-26 Grace Fong, artistic director February 27 Opera Chapman presents: The Elixir -
Paul Hindemith Sonata for Two Pianos (1942)
NWCR606 Rosi & Toni Grunschlag Piano Duo Darius Milhaud 4. Les Songes (1943) ................................................ (6:08) Esther Williamson Ballou (1915-1973) Sonata for Two Pianos (1949) .................................... (10:11) 5. I. ................................................. (3:50) 6. II. Andante ............................................. (6:17) III. Allegro Vivace Norman Dello Joio Aria and Toccata for Two Pianos (1949) ................... (11:18) 7. I. Aria ........................................................ (5:27) 8. II. Toccata ................................................. (3:51) Robert Starer Sonata for Two Pianos (1981) .................................... (11:18) Bohuslav Martinů 9. La Fantasie (1929)............................................... (7:45) Ernst Bacon / Otto Luening 10. Coal-Scuttle Blues (1922-33) ............................... (6:03) Rosi & Toni Grunschlag, pianos Paul Hindemith Sonata for Two Pianos (1942).................................... (16:48) 1. I. Glockenspiel ...................................... (6:43) Total playing time: 67:48 II. Allegro 2. III. Canon................................................. (3:14) Ê 1982, 1991 & © 1991 Composers Recordings, Inc. 3. IV. Recitative ........................................... (6:50) © 2007 Anthology of Recorded Music, Inc. V. Fugue Notes Paul Hindemith (b 1895, Hanau, Germany; d 1963, Far more complex is the third movement, entitled Canon. Frankfurt/Main) began his musical career as a very young Four hands weave four strands of music together to form man, playing popular music in German nightclubs. When a fantastic tapestry of sound. A muted world is created he was discovered by a rich patron and put through the here; there is a plethora of pianissimos, and only one conservatory in Frankfurt in 1921–22, he shocked the passage marked forte. German musical establishment by using jazz elements in The fourth movement owes its inspiration to an his compositions. In 1940, denounced by the Nazis, he anonymous Old English poem, written around 1300. -
Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
T" ^ffmm^i •"! FIRST WEEK July 2, 3, 4, 1966 BERKSHIRE FESTIVAL The Boston Symphony under Leinsdorf This recording of Prokof/'eff's Sixth Symphon y is a perfect example of the insight and drama with which the Boston Symphony Orchestra, under Leinsdorf, has invested the many Prokofieff masterpieces already recorded by them. Another striking example of their contemporary understanding is their powerful performance of Mahler's Sixth Symphon y, recorded for the first time in stereo, which takes its place among their cherished recordings of this master's First and Fifth Sympho- t£*"*i nies. Equally treasurable are their shimmering Firebird Mahler: S>mphon> So. 6 and glittering Le Cog d'Or. In D ynagroove sound. Boston Svmpbom Orchestra Erich Leinsdorf Bit Tjfhimy Orchestra/ Erich Lemdnrf Rimaky-Koraakoff/"LE GOQ D OR SUITE Stravinsky /"FIREBIRD" SUITE rca Victor® ^SJThe most trusted name m sound ~t BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF, Music Director RICHARD Burgin, Associate Conductor Berkshire Festival, Season 1966 TWENTY-NINTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS FIRST WEEK Historical and descriptive notes by John N. Burk Assisted by DONALD T. GAMMONS Copyright, 1966 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks John L. Thorndike Philip K. Allen Francis W. Hatch Henry A. Laughlin Abram Berkowitz Andrew Heiskell Edward G. Murray Theodore P. Ferris Harold D. Hodgkinson John T. Noonan Robert H. Gardiner E. Morton Jennings, Jr. Mrs. James H. Perkins Sidney R. Rabb Raymond S. Wilkins Trustees Emeritus Palfrey Perkins Lewis Perry Edward A.