DOCSLIB.ORG

Lotte Lehmann (1888-1976) Singers and Conductors, and a Growing Number of Over New Listeners

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lotte Lehmann (1888-1976) Singers and Conductors, and a Growing Number of Over New Listeners 111094 bk Lehmann2 EU 4/3/06 1:29 PM Page 5 SCHUMANN: WOLF: SCHUMANN : ¶ No. 15 Die Krähe 2:59 8.111094 1 Alte Laute, Op. 35, No. 12 2:29 ! In der Frühe 2:14 ) Familien-Gemälde, Op. 34, No. 4 3:31 26th February 1940; BS 047271-2 GREAT SINGERS • LEHMANN 16th March 1937; BS 06662-1 (Victor 1859 B) 6th January 1939; BS 031407-1 (Victor 2029 B) with Lauritz Melchior, tenor (Victor 2109 A) ADD 30th January 1939; BS 031862-1 (Victor 1907 A) BRAHMS: WOLF: • No. 21 Das Wirtshaus 4:32 2 Botschaft, Op. 47, No. 1 2:08 @ Auch kleine Dinge 2:18 SCHUMANN : 26th February 1940; CS 047272-1 16th October 1937; BS 0957-2 (Victor 1857 B) 6th January 1939; BS 031408-1 (Victor 2031 A) ¡ Ich denke dein, Op. 78, No. 3 2:39 (Victor 17191 B) with Lauritz Melchior, tenor Lotte BRAHMS: WOLF: 30th January 1939; BS 031863-1 (Victor 1906 B) ª No. 19 Taüschung 1:17 3 Das Mädchen spricht, Op. 107, No. 3 1:17 # Und willst du deinen Liebsten sterben sehen 2:24 6th January 1939; BS 031409-1 SCHUBERT: Winterreise, D. 911: º No. 22 Mut! 1:27 LEHMANN BRAHMS: 49 Volkslieder: (unpublished on 78rpm) ™ No. 23 Die Nebensonnen 2:26 26th February 1940; BS 047273-1 (Victor 2109 B) 4 No. 25 Mein Mädel hat einen Rosenmund 1:40 26th Febuary 1940; BS 047267-1 (Victor 2108 B) 16th March 1937; BS 06666-2 (Victor 1857 A) WOLF: ⁄ No. 17 Im Dorfe 2:46 $ Peregrina I 1:52 £ No. 13 Die Post 2:07 Lieder Recordings, Vol. 2 SJØBERG: 6th January 1939; BS 031410-1 (Victor 2031 B) ¤ No. 8 Rückblick 2:32 5 Visions (Tonerna) 2:25 ¢ No. 18 Der stürmische Morgen 0:45 26th February 1940; CS 047274-1 16th March 1937; BS 06667-1 (Victor 1972 A) WOLF: 26th February 1940; BS 047268-1 (Victor 2108 A) (Victor 17190 B) 1937-1940 % Der Knabe und das Immlein 2:47 CALCOTT: 6th January 1939; BS 031411-1 ∞ No. 5 Der Lindenbaum 4:08 Tracks 1-6: Ernö Balogh, Piano 6 Drink to me only 3:06 (unpublished on 78rpm) 26th February 1940; CS 047269-1 Tracks 7-16, 22-32: Paul Ulanowsky, Piano 16th March 1937; BS 06668-1 (Victor 1893 B) (Victor 17190 A) Tracks 17-21: orchestra conducted by WOLF: Bruno Reibold SCHUBERT WOLF: ^ Heimweh 2:51 § No. 20 Der Wegweiser 4:14 7 Gebet 2:47 6th January 1939; BS 031412-1 (Victor 2030 B) 26th February 1940; CS 047270-1 Tracks 1-4, 7-32 sung in German 6th January 1939; BS 031403 (Victor 17191 A) Tracks 5-6 sung in English (unpublished on 78rpm) SCHUMANN: SCHUMANN & Er und sie, Op. 78, No. 2 3:48 WOLF: with Lauritz Melchior, tenor 8 Nun lass uns Frieden schliessen 1:55 30th January 1939; BS 031860-1 (Victor 1906 A) BRAHMS 6th January 1939; BS 031404-1 (unpublished on 78rpm) SCHUMANN : * So wahr die Sonne scheinet, Op. 37, No. 12 1:51 WOLF: WOLF 9 Frühling übers Jahr 1:45 SCHUMANN : 6th January 1939; BS 031405-2 (Victor 2029 A) ( Unterm Fenster, Op. 34, No. 3 1:26 with Lauritz Melchior, tenor WOLF: 30th January 1939; BS 031861-1 (Victor 1907 B) 0 Auf ein altes Bild 2:24 6th January 1939; BS 031406-1 (Victor 2030 A) New transfers by Mark Obert-Thorn 8.111094 5 6 8.111094 111094 bk Lehmann2 EU 4/3/06 1:29 PM Page 2 Lotte Lehmann (1888-1976) singers and conductors, and a growing number of over new listeners. The second session in March the hardly necessary for them to make more than two complete cycle. It affected her so deeply that she was 1937-40 Recordings Lieder recitals. She enjoyed a substantial career following year included five lighter songs, the first of ‘takes’ of any song. One can be forgiven for not compelled to spread the feeling of loneliness and between the years 1916 and 1938, and because her which is by Ernö Balogh. The Hungarian pianist Balogh regarding Lehmann as a mainstream Hugo Wolf tragedy that it engendered by painting a picture of each Lotte Lehmann has gone down in history as the most be very important for her, because Hans Gregor, the personality and voice were warm, with something of a had studied composition with Bartók and Kodály in interpreter since so few examples of her singing this of the 24 songs - all in blue. celebrated Marschallin of her time in Richard Strauss’s new director of the Vienna Court Opera, had come to mezzo-soprano’s mellowness, it was inevitable that she Budapest, but was known in the United States mainly as repertoire were recorded, but judging by the records she By contrast Lehmann could be full of fun, and the Der Rosenkavalier. Opera, however, was not all, and Hamburg to hear the Don José in Carmen, but he was should be a successful concert singer and recording a fine accompanist. He said that his happiest artistic did make, she was one of Wolf’s most skilled Schumann duets with Lauritz Melchior, her partner in her abilities as a consummate Lieder singer must never far more impressed with Lehmann’s Micaëla, and artist, especially in major nineteenth-century Lieder. It association was with Lehmann, and judging by the rate advocates. many Wagner performances going back to 1926, be overlooked, nor her final career at the Music immediately offered her a contract. In the following is likely that Lehmann gave her first proper song recital at which they completed the session (with two As to the question of which composer best illustrate an unexpected aspect of their collaboration. It Academy of the West in Santa Barbara. Emigrating to October she gave a proving performance as Eva in Die in Argentina in 1922. It was not until Salzburg in 1934 recording machines going) it would appear that they represented Lehmann, Schubert would have to be high is difficult to believe that Lehmann was able to present the United States in 1938, she continued singing at the Meistersinger. that she and Bruno Walter gave the first of their ‘Lieder worked as though it were a recital: one Lied after on the list. In her last session for RCA records she her part with such delightful relish, considering that somewhat critical age of fifty, then took citizenship and Now she had become ‘a property’, and her new Evenings’ where she realised how easily she could hold another, using the alternative recording machine to keep recorded eleven Lieder from the Winterreise. Only these records were made in the shadow of her husband’s stayed on the West Coast as a successful voice teacher agent arranged appearances for her in London with audiences by this very personal form of music-making. up the momentum. Certainly the frequency with which Elena Gerhardt among female singers had essayed the death only eight days before. for the rest of her life. Thomas Beecham, Hans Pfitzner in Cologne and at The ‘two darlings of Salzburg’ were to pack the concert the first of two ‘takes’ was chosen indicates a ‘Winter journey’ on disc, but she had only made eight Sixty years ago, singers trained for a longer time Zoppot with Richard Tauber, all before her first hall at the annual Salzburg Festival until 1937, as well spontaneity not always accomplished in the studio. of them whereas Lehmann was to continue to record the © Alan Jefferson than they do today; they were more patient about appearance in Vienna. On arrival she was regarded as a as appearing together in Vienna. The next recording session took place a year later, working their way up from the bottom of the profession provincial in speech, manners and clothes, her Prussian Lotte Lehmann was a prolific recording artist. In shortly before the Anschluss in Austria, when Lehmann under a strict discipline, not, as now, under early coldness and stiffness equally unwelcome, but she sang the primitive studios before electrical recording, her was already worrying about her husband and his (not pressure to perform. Conditions were such that the well, and became a member of the company in August introduction to the large acoustic horn was in 1921 with her) four, part-Jewish, children in Vienna. She was wisest of them, including Lotte Lehmann, sang from 1916 when her contract with Hamburg had expired. Richard Strauss’s Cäcilie and Morgen for Polydor. She occupied for the rest of 1937 and 1938 with many their vocal income, not from its capital. The ways of the German northerners were very was an Odeon artist between 1924 and 1933, and, personal troubles. Her husband and the children had to Lotte Lehmann came from Mecklenburg in North different from the central European Viennese who because they favoured the 10-inch 78 rpm record, she be ransomed for a huge sum in order to get them out of Germany, was blessed with a pure voice from birth, but considered Lehmann to be bourgeois, badly dressed, was encouraged to extend her output of Lieder. The Austria, and he never recovered from the anxiety and in spite of her father’s discouragement (he was a civil with a curious accent and boorish. The great Maria fashion of the time was for orchestrated misery of this. There were no further recordings by servant) she was accepted as a pupil with free tuition at Jeritza never so much as spoke to her. This disconcerted accompaniments, often of an inappropriate and Lehmann for Victor until January 1939 when Balogh a private academy in Berlin.
Load more

Recommended publications
  • Symposium Programme
    Singing a Song in a Foreign Land a celebration of music by émigré composers Symposium 21-23 February 2014 and The Eranda Foundation Supported by the Culture Programme of the European Union Royal College of Music, London | www.rcm.ac.uk/singingasong Follow the project on the RCM website: www.rcm.ac.uk/singingasong Singing a Song in a Foreign Land: Symposium Schedule FRIDAY 21 FEBRUARY 10.00am Welcome by Colin Lawson, RCM Director Introduction by Norbert Meyn, project curator & Volker Ahmels, coordinator of the EU funded ESTHER project 10.30-11.30am Session 1. Chair: Norbert Meyn (RCM) Singing a Song in a Foreign Land: The cultural impact on Britain of the “Hitler Émigrés” Daniel Snowman (Institute of Historical Research, University of London) 11.30am Tea & Coffee 12.00-1.30pm Session 2. Chair: Amanda Glauert (RCM) From somebody to nobody overnight – Berthold Goldschmidt’s battle for recognition Bernard Keeffe The Shock of Exile: Hans Keller – the re-making of a Viennese musician Alison Garnham (King’s College, London) Keeping Memories Alive: The story of Anita Lasker-Wallfisch and Peter Wallfisch Volker Ahmels (Festival Verfemte Musik Schwerin) talks to Anita Lasker-Wallfisch 1.30pm Lunch 2.30-4.00pm Session 3. Chair: Daniel Snowman Xenophobia and protectionism: attitudes to the arrival of Austro-German refugee musicians in the UK during the 1930s Erik Levi (Royal Holloway) Elena Gerhardt (1883-1961) – the extraordinary emigration of the Lieder-singer from Leipzig Jutta Raab Hansen “Productive as I never was before”: Robert Kahn in England Steffen Fahl 4.00pm Tea & Coffee 4.30-5.30pm Session 4.
    [Show full text]
  • The Blue Review Literature Drama Art Music
    Volume I Number III JULY 1913 One Shilling Net THE BLUE REVIEW LITERATURE DRAMA ART MUSIC CONTENTS Poetry Rupert Brooke, W.H.Davies, Iolo Aneurin Williams Sister Barbara Gilbert Cannan Daibutsu Yone Noguchi Mr. Bennett, Stendhal and the ModeRN Novel John Middleton Murry Ariadne in Naxos Edward J. Dent Epilogue III : Bains Turcs Katherine Mansfield CHRONICLES OF THE MONTH The Theatre (Masefield and Marie Lloyd), Gilbert Cannan ; The Novels (Security and Adventure), Hugh Walpole : General Literature (Irish Plays and Playwrights), Frank Swinnerton; German Books (Thomas Mann), D. H. Lawrence; Italian Books, Sydney Waterlow; Music (Elgar, Beethoven, Debussy), W, Denis Browne; The Galleries (Gino Severini), O. Raymond Drey. MARTIN SECKER PUBLISHER NUMBER FIVE JOHN STREET ADELPHI The Imprint June 17th, 1913 REPRODUCTIONS IN PHOTOGRAVURE PIONEERS OF PHOTOGRAVURE : By DONALD CAMERON-SWAN, F.R.P.S. PLEA FOR REFORM OF PRINTING: By TYPOCLASTES OLD BOOKS & THEIR PRINTERS: By I. ARTHUR HILL EDWARD ARBER, F.S.A. : By T. EDWARDS JONES THE PLAIN DEALER: VI. By EVERARD MEYNELL DECORATION & ITS USES: VI. By EDWARD JOHNSTON THE BOOK PRETENTIOUS AND OTHER REVIEWS: By J. H. MASON THE HODGMAN PRESS: By DANIEL T. POWELL PRINTING & PATENTS : By GEO. H. RAYNER, R.P.A. PRINTERS' DEVICES: By the Rev.T. F. DIBDIN. PART VI. REVIEWS, NOTES AND CORRESPONDENCE. Price One Shilling net Offices: 11 Henrietta Street, Covent Garden, W.G. JULY CONTENTS Page Post Georgian By X. Marcel Boulestin Frontispiece Love By Rupert Brooke 149 The Busy Heart By Rupert Brooke 150 Love's Youth By W. H. Davies 151 When We are Old, are Old By Iolo Aneurin Williams 152 Sister Barbara By Gilbert Cannan 153 Daibutsu By Yone Noguchi 160 Mr.
    [Show full text]
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • Der Rosenkavalier by Richard Strauss
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality.
    [Show full text]
  • Shining the Spotlight on New Talent Independent Opera
    Independent Opera Shining the spotlight on new talent INDEPENDENT OPERA AT SADLER’S WELLS 2005–2020 Introduction Message from Wigmore Hall Thursday 15 October 2020, 7.30pm In this period of uncertainty, Independent Opera at Sadler’s It gives me great pleasure to welcome Independent Opera Wells is grateful to be able to present its annual Scholars’ to Wigmore Hall for its fourth showcase event. Now, more Independent Opera Recital at Wigmore Hall. For this final concert in Independent than ever, such opportunities are vital for young singers. Opera’s 15-year history, we are thrilled to bring together We are immensely grateful to Independent Opera for its four talented singers: tenor Glen Cunningham, soprano pioneering work and for its extraordinary commitment Scholars’ Recital Samantha Quillish, bass William Thomas, mezzo-soprano to young artists when they need it most. Tonight’s concert Lauren Young and renowned pianist Christopher Glynn. is a great example of the spirit of Independent Opera and all that it has represented over so many years. I hope Antonín Dvorˇák The four emerging artists you will hear tonight were Glen Cunningham tenor that you all enjoy this concert. Cigánské melodie, Op. 55 selected from Independent Opera’s partner conservatoires: Royal College of Music No. 1 Má písenˇ zas mi láskou zní Royal College of Music, Royal Academy of Music, Guildhall John Gilhooly Director No. 4 Když mne stará matka zpívat School of Music & Drama and Royal Conservatoire of Samantha Quillish soprano Moravian Duets, Op. 38 Scotland. The Independent Opera Voice Scholarships were Royal Academy of Music No.
    [Show full text]
  • Preliminary Pages [PDF]
    THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Rebecca Mara Plack May 2008 © 2008 Rebecca Mara Plack THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 Rebecca Mara Plack, Ph. D. Cornell University 2008 In this dissertation, I examine the relationship between vocal technique and performance style through 165 audio clips of early Lieder recordings. I proceed from the starting point that many stylistic gestures are in fact grounded in a singer’s habitual vocalism. Vibrato, tempo and rubato are directly affected by a singer’s voice type and his physical condition, and portamento has long been a technical term as well as a stylistic one. If we consider these technical underpinnings of style, we are inevitably moved to ask: how do a singer’s vocal habits affect what we perceive to be his style? Does a singer’s habitual vocalism result in his being more likely to make certain style gestures, or even unable to make others? To address these questions, I begin by defining a vocabulary that draws on three sources: the language of vocal pedagogy, data derived from voice science, and evidence drawn from recordings themselves. In the process, I also consider how some Lieder singers distorted the word “technique,” using it to signify emotional detachment. Next, I examine the ways in which a recording represents the performer, addressing how singers are affected by both changing aesthetics and the aging process; both of these lead to a discussion of how consistently some performers make certain stylistic gestures throughout their recordings.
    [Show full text]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Looking Back at CHARM
    Annual newsletter Issue 5 (April 2009) We set up CHARM because we thought that musicology was skewed towards the study of Looking back scores, that there was enormous untapped potential in the last century's heritage of recordings, and that bringing recordings to the forefront of the at CHARM discipline could help to transform it—not least in terms of overcoming the mismatch between a discipline focussed on written documents and a public for whom music means performed sound. Although reception theory and history had a major influence on post-war musicology, the focus remained on the written document. And although the 'performative turn' that swept through cultural studies in the last decades of the twentieth century also had an effect on musicology, it perversely served only to reinforce the conception of music as a form of writing. The historically informed performance movement brought documentary and other period evidence to bear upon performance practice, in effect subordinating playing to writing. Analytical approaches to performance did much the same by mapping score-based analysis onto performances. While ethnomusicology and popular music studies were more successful in adopting a performative approach, we felt that in the area of Western 'art' music there was the potential for a major transformative intervention. That was where we hoped CHARM might make a critical contribution. Although we saw CHARM as in essence a vehicle The CHARM website is undergoing a major for the development of a performative approach to redevelopment. Our new site will be hosted by King’s musicology, we saw significant advantages in College London, and will bring together the on-line focussing it specifically on recordings.
    [Show full text]
  • JAVS 32.3.Pdf
    Viola V33 N1.indd 302 5/8/17 10:10 PM Journal of the American Viola Society A publication of the American Viola Society Spring 2017: Volume 33, Number 1 p. 3 From the Editor p. 5 From the President News & Notes p. 7 Announcements p. 8 The Lionel ertis-JohnT White Collection p. 11 In Memoriam: Bernie Zaslav Feature Articles p. 13 The Genesis of BenjaminYusupov’s Viola Tango Rock Concerto: Dalton Competition Winner Andrea Carolina del Pilar Sánchez Ruiz presents her research on one of the first viola concertos to be premiered in the twenty-first century. p. 27 Grigori Frid and the Viola: In Conversation with the Composer: Elena Artamonova introduces a composer whose work is little known amongst violists, providing fascinating background and connections to twentieth-century Soviet Russian music. Departments p. 37 Outreach: Carol Rodland writes about her very practical and creative “If Music Be the Food…” program, for which volunteers and musicians donate their time to help raise monetary and non-perishable food donations for Foodlink, the Feeding America Hub of Western New York. p. 39 Health and Wellness: Our new Health and Wellness Editor, Jessica Ray King, introduces her new column with some of her more recent research. On the Cover: Joyce Lin Viola 24 x 36 inches Watercolor, graphite Joyce Lin is an artist and designer studying Furniture Design at the Rhode Island School of Design and Geology at Brown University as part of the Brown/RISD Dual Degree program. Her drawing is a full-scale technical rendering of her friend’s beloved viola, first drawn on a computer-aided design (CAD) program and then traced onto paper, as an exercise in measurement and detail.
    [Show full text]
  • BEHIND the MUSIC Featuring Nicola Benedetti Larkinsurance.Co.Uk
    ISSUE 5 BEHIND THE MUSIC Featuring Nicola Benedetti larkinsurance.co.uk What’s Inside Cover Story 12-15 4-5 Nicola Benedetti at 30 I had to be tough She has no wish for lavish gifts on her 30th birthday but Lyric baritone Sir Thomas Allen has natural Nicola Benedetti expresses her desire to fathom a way to talent and shares his craft by encouraging formalise her education work young opera hopefuls 26-29 22-25 Land of legends It was serendipity The Gower Festival goes from strength to strength, thanks Annette Isserlis put her heart and soul into to a music-loving team led by Artistic Director Gordon arranging the posthumous birthday concert in Back who has been attracting top musicians to the idyllic honour of Francis Baines – and she planned it peninsula in south-west Wales in her personal woodland Welcome t is fascinating to discover what goes on behind the scenes in the world of top-class music and inside this issue of LARKmusic I hope you will enjoy reading the exclusive features which capture our Iinterviewees’ passion and incredible drive for perfection. The Lark team has been enjoying some wonderful music, attending events from the Francis Baines’ centenary concert to recitals at the Royal College of Music, the Suffolk schools’ Celebration at Snape Maltings and this summer’s Gower Festival – meeting clients and making new friends along the way. Read on for the full stories! Back in the office, it’s been busy with a focus on improving our insurance products and online service so I am pleased to introduce our new Public Liability Cover, as well as highlighting our new quote and buy portal which will make buying insurance cover online even more convenient.
    [Show full text]
  • Central Reference CD List
    Central Reference CD List January 2017 AUTHOR TITLE McDermott, Lydia Afrikaans Mandela, Nelson, 1918-2013 Nelson Mandela’s favorite African folktales Warnasch, Christopher Easy English [basic English for speakers of all languages] Easy English vocabulary Raifsnider, Barbara Fluent English Williams, Steve Basic German Goulding, Sylvia 15-minute German learn German in just 15 minutes a day Martin, Sigrid-B German [beginner’s CD language course] Berlitz Dutch in 60 minutes Dutch [beginner’s CD language course] Berlitz Swedish in 60 minutes Berlitz Danish in 60 minutes Berlitz Norwegian in 60 minutes Berlitz Norwegian phrase book & CD McNab, Rosi Basic French Lemoine, Caroline 15-minute French learn French in just 15 minutes a day Campbell, Harry Speak French Di Stefano, Anna Basic Italian Logi, Francesca 15-minute Italian learn Italian in just 15 minutes a day Cisneros, Isabel Latin-American Spanish [beginner’s CD language course] Berlitz Latin American Spanish in 60 minutes Martin, Rosa Maria Basic Spanish Cisneros, Isabel Spanish [beginner’s CD language course] Spanish for travelers Spanish for travelers Campbell, Harry Speak Spanish Allen, Maria Fernanda S. Portuguese [beginner’s CD language course] Berlitz Portuguese in 60 minutes Sharpley, G.D.A. Beginner’s Latin Economides, Athena Collins easy learning Greek Garoufalia, Hara Greek conversation Berlitz Greek in 60 minutes Berlitz Hindi in 60 minutes Berlitz Hindi travel pack Bhatt, Sunil Kumar Hindi : a complete course for beginners Pendar, Nick Farsi : a complete course for beginners
    [Show full text]