58 Oboists Performing Outside of Germany. One Possible Reason Is That Either Th

Total Page：16

File Type：pdf, Size：1020Kb

58 Oboists Performing Outside of Germany. One Possible Reason Is That Either Th

oboists performing outside of Germany. One possible reason is that either the violin soloist or conductor was German or lived in Germany for a significant period. For example, Charles Munch, conductor of the Concertebow orchestra on their 1948 recording with Ossy Renardy, was born in the Alsatian region of France which borders Germany and lived and worked in Germany for a significant period before the Second World War. The International New-School German Style: 1992 – 2009 The new-school German approach to the Adagio solo is a distinct departure from the old-school. This approach can first be heard on two recordings by the Berlin Philharmonic in 1992 and 2000—both under Claudio Abbado.142 On the 1992 recording oboist Hansjorg Schellenberger takes a moderate tempo, averaging 59 bpm. This tempo is faster than the typical old-school German tempos and enables him to use small-group, motivic phrasing without losing sense of the longer line or becoming heavy. The result is a lighter performance with lots of motion and lilting rhythmic gestures. Schellenberger stylizes the portato motive each time it appears by adding a lift after the first eighth note. This motive is shown below in Figure 2.2. 142 Viktoria Mullova, Claudio Abbado, and Berlin Philharmonic, Viktoria Mullova: Brahms Violin Concerto in D Major, Op. 77, Youtube video, 1992, https://www.youtube.com/watch?v=6hej7zpulR8. Gilles Shaham, Claudio Abbado, and Berlin Philharmonic, “Violin Concerto in D Major, Op. 77,” on Brahms, J.: Violin Concerto, Op. 77/Double Concerto for Violin and Cello, Op. 102 (Shaham, Jian Wang, Berlin Philharmonic, Abbado), Compact Disc, Deutsche Grammophon, 2000, Cat. No. 00028946952924, Naxos Music Library, http://temple.naxosmusiclibrary.com.libproxy.temple.edu/catalogue/item.asp?ci d=00028946952924. 58 .

Copy Link

Recommended publications

BIOGRAPHIES Violin Faculty Justin Chou Is a Performer, Teacher And
MASTER PLAYERS FESTIVAL: BIOGRAPHIES Violin faculty Justin Chou is a performer, teacher and concert producer. He has assisted and performed in productions such as the Master Players Concert Series, IVSO 60th anniversary, Asian Invasion recital series combining classical music and comedy, the 2012 TEDxUD event that streamed live across the Internet and personal projects like Violins4ward, which recently produced a concert titled “No Violence, Just Violins” to promote violence awareness and harmonious productivity. Chou’s current project, Verdant, is a spring classical series based in Wilmington, Delaware, that presents innovative concerts by growing music into daily life, combining classical performance with unlikely life passions. As an orchestral musician, he spent three years as concertmaster of the Illinois Valley Symphony, with duties that included solo performances with the orchestra. Chou also has performed in various orchestras in principal positions, including an international tour to Colombia with the University of Delaware Symphony Orchestra, and in the state of Wisconsin, with the University of Wisconsin Symphony Orchestra, the Lake Geneva Symphony Orchestra and the Beloit-Janesville Symphony. Chou received his master of music degree from UD under Prof. Xiang Gao, with a full assistantship, and his undergraduate degree from the University of Wisconsin, with Profs. Felicia Moye and Vartan Manoogian, where he received the esteemed Ivan Galamian Award. Chou also has received honorable mention in competitions like the Milwaukee Young Artist and Youth Symphony Orchestras competitions. Xiang Gao, MPF founding artistic director Recognized as one of the world's most successful performing artists of his generation from the People's Republic of China, Xiang Gao has solo performed for many world leaders and with more than 100 orchestras worldwide.
[Show full text]
Women Pioneers of American Music Program
Mimi Stillman, Artistic Director Women Pioneers of American Music The Americas Project Top l to r: Marion Bauer, Amy Beach, Ruth Crawford Seeger / Bottom l to r: Jennifer Higdon, Andrea Clearfield Sunday, January 24, 2016 at 3:00pm Field Concert Hall Curtis Institute of Music 1726 Locust Street, Philadelphia Charles Abramovic Mimi Stillman Nathan Vickery Sarah Shafer We are grateful to the William Penn Foundation and the Musical Fund Society of Philadelphia for their support of The Americas Project. ProgramProgram:: WoWoWomenWo men Pioneers of American Music Dolce Suono Ensemble: Sarah Shafer, soprano – Mimi Stillman, flute Nathan Vickery, cello – Charles Abramovic, piano Prelude and Fugue, Op. 43, for Flute and Piano Marion Bauer (1882-1955) Stillman, Abramovic Prelude for Piano in B Minor, Op. 15, No. 5 Marion Bauer Abramovic Two Pieces for Flute, Cello, and Piano, Op. 90 Amy Beach (1867-1944) Pastorale Caprice Stillman, Vickery, Abramovic Songs Jennifer Higdon (1962) Morning opens Breaking Threaded To Home Falling Deeper Shafer, Abramovic Spirit Island: Variations on a Dream for Flute, Cello, and Piano Andrea Clearfield (1960) I – II Stillman, Vickery, Abramovic INTERMISSION Prelude for Piano #6 Ruth Crawford Seeger (1901-1953) Study in Mixed Accents Abramovic Animal Folk Songs for Children Ruth Crawford Seeger Little Bird – Frog He Went A-Courtin' – My Horses Ain't Hungry – I Bought Me a Cat Shafer, Abramovic Romance for Violin and Piano, Op. 23 (arr. Stillman) Amy Beach June, from Four Songs, Op. 53, No. 3, for Voice, Violin, and
[Show full text]
TURNER SIMS Southampton
TURNER SIMS Southampton AUTUMN SEASON 2011 GREAT MUSIC LIVE www.turnersims.co.uk Box Office 023 8059 5151 SUPPORT US Put the arts on your agenda Turner Sims offers a dynamic programme of corporate partnership opportunities that can benefit your organisation. l Generate greater brand awareness Concert and education partners l Target new customers and supporters l Invest in your community l Get involved in exciting new projects l Take advantage of excellent PR opportunities l Set your next product launch or company event in a unique, creative setting Find out how a partnership with Turner Sims can help to fulfil your corporate objectives. Contact Kevin Appleby, Concert Hall Manager, on 023 8059 2223 or email [email protected] Turner Sims Southampton is provided by TURNER SIMS Friends University of Southampton. We gratefully acknowledge the support of the following organisations: Core Support Turner Sims is proud to be a member of the following organisations: SOUTHAMPTON CITY COUNCIL 2 Box Office 023 8059 5151 to TurnerWELCOME Sims, Southampton Kevin Appleby Concert Hall Manager A year of notable firsts begins this Autumn at Turner Sims. Across this season and into 2012 you will find BECOME A performance premieres, appearances by musical pioneers, and debuts from many artists new to FRIEND OF Turner Sims, both established names and rising stars. TURNER SIMS Ironically the most notable first of the Autumn is also a last: the British premiere of a work which Benjamin Britten wrote in 1927 at the age of Join our group of 14 features in the final concert of our Bridge Quartets series with the enthusiastic supporters Maggini Quartet.
[Show full text]
559188 Bk Harbison US
559752 bk Higdon US_559752 bk Higdon US 23/04/2013 19:33 Page 4 Serafin String Quartet AMERICAN CLASSICS Hailed by The Strad Magazine (2010) for “playing with style and sophistication” and the American Record Guide (2011) for “combining true rhythmic precision, beautiful intonation, and beautiful articulation with an excellent sense of balance and deeply satisfying musical phrasing,” the Serafin String Quartet made its début to a sell-out crowd at New York City’s Weill Recital Hall at Carnegie Hall in 2004. Since its début, the Quartet JENNIFER HIGDON has been applauded by audiences around the nation, including sell-out crowds at repeat performances in New York City’s Weill Recital Hall and recent performances at St John’s, Smith Square in London, Philadelphia’s Annenberg Center for the Arts and the Delaware Sky Quartet Chamber Music Festival. The Quartet’s 2010 début CD, on the Centaur label, received critical acclaim and is now widely available internationally. It features an American Tapestry of works by American composers and composers influenced by American Amazing Grace • Viola Sonata • Dark Wood • String Trio sounds. Quartet in Residence for the University of Delaware, the Serafin String Quartet regularly reaches young musicians through a variety of performances and instructional Serafin String Quartet activities on the University of Delaware campus and beyond. Charles Abramovic, Piano • Eric Stomberg, Bassoon Charles Abramovic Photo: Conrad Erb Photography Photo: Joseph Labolito Charles Abramovic has won critical acclaim for his international performances as a soloist, chamber musician, and collaborator with leading instrumentalists and singers. He has appeared as soloist with the Baltimore Symphony, the Pittsburgh Symphony, the Colorado Philharmonic, the Florida Philharmonic, and the Nebraska Chamber Orchestra.
[Show full text]
Friday 14 February 2020 12:00 Music Through the Night 6:00 Daybreak
Spanish Songs - Alison Balsom (tpt), G450 - Kazuhito Yamashita (gtr), Phil/Daniel Harding (Virgin 5 45480) Gothenburg SO/Edward Gardner Tokyo String Quartet (RCA RD 60421) (EMI 3 53255) CHOPIN: Ballade No 1 in G minor R SMITH: Air Castles - Ryan Smith HILL: String Quartet No 3 in A minor, Op 23 - Krystian Zimerman (pno) (DG (accordian), Robyn Jaquiery (pno) Carnival - Dominion Quartet (Naxos 423 090) 8.570491) PUCCINI: Oh, saro la piu bella! - Tu, VIVALDI: Violin Concerto in G RV310 Friday 14 February 2020 BACH: Keyboard Concerto in G tu, amore? Tu?, from Manon Lescaut - Adrian Chandler (vln/dir), La Wq43/5 - Trevor Pinnock - Kiri Te Kanawa (sop), José Carreras, Serenissima (Avie AV 2106) 12:00 Music Through the (hpschd/dir), English Concert (CRD Orchestra del Teatro Comunale di Night 3311) Bologna/Richard Cheetham (Decca 7.00 ZIPOLI arr Hunt: Elevazione - SZYMANOWSKI: Nocturne & 475 459) Gordon Hunt (ob/dir), Niklass Tarantella Op 28 - Tasmin Little (vln), KOEHNE: Way Out West - Diana HAYDN: Cello Concerto No 2 in D Veltman (cello), Norrköping SO (BIS Piers Lane (pno) (Chandos CHAN Doherty (ob), Sinfonia HobVIIb/2 (3) - Gautier Capuçon CD 5017) 10940) Australis/Mark Summerbell (ABC 980 (cello), Mahler CO/Daniel Harding LISZT transcr Grainger: Hungarian RACHMANINOV: Prelude No 4 in E 046) (Virgin 5 45560) Fantasy S123 - Ivan Hovorun (pno), Minor, Op 32 - Colin Horsley (pno) DUSSEK: Sinfonia in A - Helsinki Royal Northern College of Music (Atoll ACD 442) Baroque Orch/Aapo Häkkinen RACHMANINOV: Symphony No 2 in Wind Orch/Clark Rundell (Chandos
[Show full text]
LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography
LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography DEUTSCHE GRAMMOPHON SALONEN: Piano Concerto; Helix; Dichotomie (Yefim Bronfman, piano) STRAVINSKY: The Rite of Spring; MUSSORGSKY: Night on Bald Mountain (original version); BARTÓK: The Miraculous Mandarin Suite NONESUCH ADAMS: Naive and Sentimental Music ONDINE SAARIAHO: Du cristal ... à la fumée (Petri Alanko, alto flute; Anssi Karttunen, cello) PHILIPS CLASSICS BARTÓK: Violin Concerto No. 2; STRAVINSKY: Violin Concerto (Viktoria Mullova, violin) SONY CLASSICAL BACH: Transcriptions for Orchestra (by Elgar, Mahler, Schoenberg, Stokowski, Webern) BARTÓK: Concerto for Orchestra; Music for Strings, Percussion, and Celesta BARTÓK: Piano Concertos Nos. 1, 2, and 3 (Yefim Bronfman, piano) BRUCKNER: Symphony No. 4, “Romantic” DEBUSSY: Prélude à l’après-midi d’un faune; La mer; Images pour orchestre DEBUSSY: Trois nocturnes (Women of the Los Angeles Master Chorale); Le martyre de St. Sébastien (Fragments symphoniques); La damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale) HERRMANN: Suites from Psycho, Marnie, Vertigo, Fahrenheit 451, and Taxi Driver; Prelude to The Man Who Knew Too Much; Overture to North by Northwest; excerpts from Torn Curtain HINDEMITH: Mathis der Maler Symphony; Symphonic Metamorphosis on Themes by Carl Maria von Weber; Four Temperaments (Emanuel Ax, piano) LUTOSLAWSKI: Symphony No. 2; Piano Concerto (Paul Crossley, piano); Chantefleurs et Chantefables (Dawn Upshaw, soprano); Fanfare for Los Angeles Philharmonic LUTOSLAWSKI: Symphony No. 3; Les espaces du sommeil (John Shirley-Quirk, baritone); Symphony No. 4 MAHLER: Symphony No. 3 (Anna Larsson, contralto; Paulist Boy Choristers of California) MAHLER: Symphony No. 4 (Barbara Hendricks, soprano) MAHLER: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone) MARSALIS: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; singers) PROKOFIEV: Violin Concertos Nos.
[Show full text]
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity.
[Show full text]
With Matthew Barley & Stephen De Pledge
1 Chamber Music New Zealand Supported by with Matthew Barley & Stephen De Pledge 2 Chamber Music New Zealand “The Ébène foursome animated an entire universe.” – Bachtrack QUATUOR ÉBÈNE 25 & 26 October chambermusic.co.nz/ebene Tēnā koutou Viktoria Mullova is one of her generation’s most breath-taking violinists, whose versatile musical world stretches right across the genres, from classical to jazz and world music. We are to be treated to Viktoria Mullova’s exquisite violin playing within the intimacy of the piano trio, where she performs with her husband, cellist Matthew Barley and long-time collaborator, one of New Zealand’s favourite pianists, Stephen De Pledge. Their programme is drawn from the cornerstones of the repertoire - the impassioned masterpiece of Schubert’s Trio in E flat followed in the second half by the heartfelt and sensual sonorities in Ravel’s Trio in A Minor, I am sure this will be an evening to remember. The CMNZ commission of a new work by Salina Fisher ‘Mono no aware’ for cello and piano is generously supported by Prof. Jack C Richards and received its world premiere at the Melbourne Recital Centre ahead of the CMNZ tour. I’m thrilled that a brand-new New Zealand work has been internationally showcased in this way. I would like to thank the Turnovsky Endowment Trust, who are the generous supporters of the Wellington concert. Catherine Gibson Chief Executive Chamber Music New Zealand Please kindly remember to switch off all cellphones, pagers and watches. Taking photographs, or sound or video recordings during the concert is prohibited unless with the prior approval of Chamber Music New Zealand.
[Show full text]
Digital Concert Hall
Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence.
[Show full text]
ONYX4050.Pdf
Ludwig van Beethoven LUDWIG VAN BEETHOVEN (1770–1827) Violin Sonata no.3 in E flat op.12 no.3 Violinsonate Nr. 3 Es-dur op. 12 Nr. 3 Sonate pour violon et piano no3 en mi bémol majeur op.12 no3 1 I Allegro con spirito 8.20 2 II Adagio con molt’espressione 5.26 3 III Rondo: Allegro molto 4.10 Violin Sonata no.9 in A op.47 ‘Kreutzer’ Violinsonate Nr. 9 A-dur op. 47 „Kreutzer“ Sonate pour violon et piano no9 en la majeur op.47 « Kreutzer » 4 I Adagio sostenuto – Presto – Adagio 13.44 5 II Andante con variazioni 14.13 6 III Presto 8.28 Total timing: 54.34 VIKTORIA MULLOVA violin KRISTIAN BEZUIDENHOUT fortepiano About this recording Although the practice of playing Beethoven violin sonatas on instruments of the composer’s time by now needs no introduction, it still serves as a vivid reminder of just how extraordinary and revolutionary Beethoven’s writing really is. The conductor and fortepianist Jos van Immerseel has remarked that Beethoven’s music sounds paradoxically less modern on the instruments of our time than it does on those of the early 19th century, and indeed, while our hallowed modern counterparts – the Steinway and Stradivarius – are remarkable for their consistency and stability, they seem to have greater difficulty expressing the undeniable volatility and danger of this music. Nowhere is this truer than in the case of the violin sonata – a genre that Beethoven greatly developed – where the composer reveals himself a master of exploiting both the qualities and the idiosyncrasies of the violin and fortepiano.
[Show full text]
Historical Performance Practice at the Beginning of the New Millennium
Historical Performance Practice at the beginning of the new millennium Dorottya Fabian An interest in early music and performing practices of the past has a long history by now. Its characteristics in the nineteenth century have been mapped by several authors, especially in relation to the revival of Johann Sebastian Bach’s music, the Cecilian Movement and various musical developments in England. Even more pub- lications are available on its twentieth-century history.1 The initiatives during the early decades (e.g. the organ and recorder movements of the 1920s, the establish- ing of the Schola Cantorum in Basel in 1933) and the contribution of pioneers like Wanda Landowska and Arnold Dolmetsch have been extensively studied togeth- er with lesser-known figures, places and institutions.2 But as is well-known, it was during the second half of the twentieth century that the Early Music or Historically Informed Performance Movement has truly taken off, becoming a major force in the world of classical music. Many books and papers have been dedicated to the history of this development, its various phases, musical characteristics, key figures, aesthetic outlook and philosophical assumptions, and its achievements. There was a burgeon- ing of such literature and heated debates during the 1980s and 1990s followed by more comprehensive and ‘corrective’ analyses published during the early years of the 2000s, most focussing on the second half of the twentieth century.3 Much less has 1 Harry Haskell, The Early Music Revival – A History, London 1988; George B. Stauffer, Changing Issues of Performance Practice, in: John Butt (Hg.), Cambridge Companion to Bach, Cambridge 1997, S.
[Show full text]
Who Do We Think That We Are – All About Us.Com
WHO D O WE THINK THAT WE ARE – ALL ABOUT US.COM ALEKSEYS WELT ALEKSEYS WELT HOW WE MET HK: Actually, that’s not really true anymore- I’m a lot less loud, a lot less @ THE MENUHIN SCHOOL wild, and a lot less non- conformist. – A PLACE FOR YOUNG MAD MUSIC LOVERS. What I’m quite proud of is that while there were several people who bullied It was hate at first sight. me at school, years after leaving Okay, I may be exaggerating slightly, but when Hyung-ki school, I went out of my way to make and I first met at the tender age of 12, we started off on the peace and I am happy to say that I wrong foot. have no grudges against them and Our destinies crashed at the Yehudi Menuhin School, a that I am now friends with all of them. place for young mad, supposedly talented musicians. The But go on with our origin story. Kind year I entered, there were only 45 pupils in total, all aged 8 of feels like a Superhero origin tale. to 18. LX: You are right, and I only wrote, Founded by the famous violin virtuoso, humanitarian, and, “So not much has changed” for yoga fanatic, Yehudi Menuhin, it was a school full of creativi- humorous effect. I admit that you are ty. Yes, I remember Yehudi coming into school and standing much calmer in private, but when you on his head at our morning meeting, without any explana- put your stage persona on, you can go tion as to why.
[Show full text]