DOCSLIB.ORG

PAVEL KOLESNIKOV Le Jeune Tsar Du Piano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Clic Musique ! CLICMAG N° 65 Votre disquaire classique, jazz, world NOVEMBRE 2018 PAVEL KOLESNIKOV Le jeune tsar du piano © Colin Way Retrouvez les 25 000 références de notre catalogue sur www.clicmusique.com ! Hyperion La Famille Bach : Magnificats J.S. Bach : Messe en si mineur W. Sterndale Bennett : Concertos H. Berlioz : Harold en Italie, op. 16 J. Brahms : Intégrale des mélodies, M.-A. Charpentier : Leçons de Ensemble Arcangelo Chœur du Trinity College de Cambridge; pour piano n° 1-3 et autres œuvres orchestrales vol. 7 ténèbres, Litanies & Magnificat Jonathan Cohen Orchestra of the Age of Enlightenment; BBC Scottish Symphony Orchestra; Lawrence Power, alto; Bergen Philharmo- Benjamin Appl, baryton Ensemble Arcangelo Stephen Layton, direction Howard Shelley, direction, piano nic Orchestra; Andrew Manze, direction Graham Johnson, piano Jonathan Cohen, direction CDA68157 - 1 CD Hyperion CDA68181/2 - 2 CD Hyperion CDA68178 - 1 CD Hyperion CDA68193 - 1 CD Hyperion CDJ33127 - 1 CD Hyperion CDA68171 - 1 CD Hyperion F. Chopin : Œuvres pour piano L. Couperin : Danses C. Debussy : Mélodies, vol. 4 C. Debussy : Œuvres pour piano C. Debussy : Œuvres pour piano E. von Dohnányi : Quatuors à Cédric Tiberghien, piano du Manuscrit Bauyn Lucy Crowe, soprano Stephen Hough, piano Steven Osborne, piano cordes, Quintettes et Sextuors Pavel Kolesnikov, piano The Nash Ensemble CDA68194 - 1 CD Hyperion CDA68224 - 1 CD Hyperion CDA68075 - 1 CD Hyperion CDA68139 - 1 CD Hyperion CDA68161 - 1 CD Hyperion CDA68215 - 1 CD Hyperion M. de Falla : Fantasia Baetica et G. Fauré : Requiem et autres G.F. Haendel : Les plus beaux Haydn, C.P.E. Bach : Concertos Stephen Hough : Dream Album. N. Ludford : Œuvres chorales autres œuvres pour piano œuvres sacrées airs pour basse pour violoncelle Œuvres pour piano de Liszt, Minkus, sacrées Garrick Ohlsson, piano Milly; Yanovitch; Richardson Christopher Purves Steven Isserlis; Orchestre de Chambre Albéniz, Ponce, Chaminade... Chœur de l’Abbaye de Westminster Yale Schola Cantorum; David Hill Ensemble Arcangelo; Jonathan Cohen Philharmonique de Brême Stephen Hough, piano James O’Donnell, orgue, direction CDA68177 - 1 CD Hyperion CDA68209 - 1 CD Hyperion CDA68152 - 1 CD Hyperion CDA68162 - 1 CD Hyperion CDA68176 - 1 CD Hyperion CDA68192 - 1 CD Hyperion G. de Machaut : Fortune’s Child W.A. Mozart : Sonates pour violon, J. Obrecht : Missa Grecorum G.P. da Palestrina : Missa J. Peter Pixis : Trios pour piano S. Rachmaninov : Études-tableaux, The Orlando Consort vol. 5 & Motets Confitebor tibi Domine Leonore Piano Trio op. 33 Alina Ibragimova, violo The Brabant Ensemble Yale Schola Cantorum Steven Osborne, piano Cédric Tiberghien, piano Stephen Rice David Hill, direction CDA68195 - 1 CD Hyperion CDA68175 - 2 CD Hyperion CDA68216 - 1 CD Hyperion CDA68210 - 1 CD Hyperion CDA68207 - 1 CD Hyperion CDA68188 - 1 CD Hyperion Rheinberger, Scholz : Concertos F. Ries : Concerto pour piano R.S. Coke : Concertos pour piano D. Scarlatti : Sonates pour piano, F. Schubert : Sonate pour piano, D Strauss, Beethoven, Glinka : pour piano n° 8 et 9 n° 3, 4 et 5 vol. 2 960; 4 Impromptus, op. 142 Musique de chambre pour clari- Simon Callaghan, piano Piers Lane, piano; The Orchestra Now Simon Callaghan, piano Angela Hewitt, piano Marc-André Hamelin, piano nette, hautbois et piano BBC Scottish SO; Ben Gernon Leon Botstein, direction BBC Scottish SO; Martyn Brabbins Watts; Perkins; Roscoe CDA68225 - 1 CD Hyperion CDA68217 - 1 CD Hyperion CDA68173 - 1 CD Hyperion CDA68184 - 1 CD Hyperion CDA68213 - 1 CD Hyperion CDA68263 - 1 CD Hyperion I. Stravinski : Le Sacre du Printemps J. Suk : Œuvres pour piano T. Tallis : Les antiennes votives M. Tippett : Symphonies n° 1 et 2 S. de Vivanco : Missa Assumpsit Tallis, Byrd, Tomkins... : Motets de (version pour 2 pianos) Jonathan Plowright, piano The Cardinall’s Musick BBC Scottish SO Jesus la Renaissance anglaise Marc-André Hamelin, piano Andrew Carwood, direction Martyn Brabbins Ensemble De Profundis The Gesualdo Six Leif Ove Andsnes, piano Robert Hollingworth Owain Park, direction CDA68189 - 1 CD Hyperion CDA68198 - 1 CD Hyperion CDA68250 - 1 CD Hyperion CDA68203 - 1 CD Hyperion CDA68257 - 1 CD Hyperion CDA68256 - 1 CD Hyperion 2 ClicMag novembre 2018 www.clicmusique.com Disque du mois / Northern Flowers / Caro Mitis Haydn semble s’être invité. Surprendre dans la « Clair de lune » semble plus improbable, mais pourtant il y parvient : il entend le sostenuto noté par Beetho- ven pour « l’Adagio » comme un soste- nuto rythmique, tempo rapide tel celui d’un astre lointain qui tournerait sur lui- même, le tout murmuré dans les feutres des marteaux, théâtre d’ombre pour une Yuri A. Falik : Quatuors à cordes V. Gavrilin : The War Letters; Glinka, Glazounov, Rubinstein... lune couleur d’amande, pâle, hivernale. n° 3-6 Theatre Divertimento; The Earth : Musique romantique russe pour Quatuor Taneiev Orchestra of the Leningrad Radio & TV; violon et piano Northern Flowers Quelle vision dans ce presque silence, Stanslaw Gorkovenko, direction Hideko Udagawa Alexander Panifilov si ce n’est pas d’un magicien, ce son là ! NFPMA99124 - 1 CD NFPMA99126 - 1 CD NFPMA99130 - 1 CD « L’Allegretto » posé, se regarde dans le miroir, mystérieux avec ses rallentan- Ludwig van Beethoven (1770-1827) dos, étrange ! Alors que le Presto agita- Andante en do majeur, WoO 211; Presto en to est un galop dans la brume. L’album do mineur, WoO 52; Allegrettos; WoO 53 et 56; Sonates pour piano, op. 27 n° 2 « Clair s’ouvre par quatre pièces brèves, ponc- de Lune », op. 14 n° 2; 7 Bagatelles, op. tuations dites avec une sorte de réserve, 33; 32 Variations sur un thème original en de distance, même dans les deux Alle- do mineur, WoO 80 gretto assez pince sans rire. L’ombre Pavel Kolesnikov, piano de Haydn à nouveau ? En son centre, CDA68237 • 1 CD Hyperion les « Bagatelles op 33 » étonnent par B. Tichtchenko : Concert pour violon B. Tichtchenko : Symphonie n° 4 B. Tichtchenko : Symphonie leur ton musardant, leur fantaisie sans et pour violoncelle OP de Saint-Pétersbourg n° 7, op. 119 avel Kolesnikov ne fait rien comme Victor Lieberman, violon Gennadi Rozhdestvensky OP de Saint-Pétersbourg En couverture Pautrui. Un disque Beethoven oui nuage, quelque chose de lisse qui les Mstislav Rostropovich, violoncelle Edward Serov, direction mais alors sans aligner trois ou quatre met à cent lieux des fantaisies d’un NFPMA9967 - 1 CD NFPMA99117/8 - 2 CD NFPMA99100 - 1 CD sonates, deux suffiront. Et quel choix ! Stephen Bishop. Etrange là encore, La petite « Sol majeur op. 14 n°2 », mais fascinant, alors que les « Varia- pure pièce d’humeur, de fantaisie, qui tions sur un thème original » manquent permet au jeune pianiste de distiller soudain d’incarnation : il ne faut pas des couleurs en estompe, et de faire avoir Gilels en tête. Bémol mineur pour usage d’une pédale virtuose. Il faut en- un disque majeur, qui me donne envie tendre comment il compose les images d’entendre Kolesnikov chez Haydn. sonores du finale, ce presque rien où (Jean-Charles Hoffelé) S. Taneiev : Intégrale des quintettes G. Ustvolskaya : Musique de Marches de l’Empire russe Quatuor Taneiev chambre The Admiralty Band of the Leningrad Oleg Malov; Mikhail Waiman; Maria Naval Base; Valentin Lyaschenko Karandashova; Oleg Stolpner NFPMA9944/5 - 2 CD NFPMA99122 - 1 CD NFPMA99125 - 1 CD F. Chopin : Mazurkas L. Couperin : Danses du Manuscrit P.I. Tchaikovski : Les Saisons, op. Pavel Kolesnikov, piano Bauyn 37b; 6 morceaux, op. 19 Pavel Kolesnikov, piano Pavel Kolesnikov, piano CDA68137 - 1 CD Hyperion CDA68224 - 1 CD Hyperion CDA68028 - 1 CD Hyperion mière Symphonie. Violoniste virtuose J.S. Bach : Suites pour orchestre n° M. Berezovsky : Sinfonia en do D.S. Bortnyansky : Sinfonia «Il 2 et 4; Concerto hautbois, BWV 1059 majeur; 4 Sonates clavecin; Arias Quinto Fabio»; Motets... il aura réussi dans ses trois concertos Hermitage Chamber Orchestra Galina Knysh; Olga Martynova Galina Knysh; Elena Pozhidaeva; Anton à développer une lyrique touchante Alexei Utkin, hautbois, direction Teodor Currentzis Vassiliev; Sergei Filchenko qui se libère des carcans formels : son CM0012004 - 1 SACD C. Mitis CM0022003 - 1 SACD C. Mitis CM0042003 - 1 SACD C. Mitis archet est rapsode, ce qu’a bien saisi le formidable Ulf Wallin qui voulait à toute Mitis Caro force enregistrer ce triptyque. Andrew Manze l’accompagne de sa battue évo- catrice, éclairant cet orchestre sombre Tor Aulin (1866-1914) où s’esquissent des paysages psycho- Concertos pour violon n° 1, op. 7, n° 2, op. logiques surprenant : le discours de 11 et n° 3, op. 14 Tor Aulin abonde en surprises, il force Ulf Wallin, violon; Helsingborg Symphony Orches- l’admiration par son coté divagant qui tra; Andrew Manze, direction semble vous dire des secrets à l’oreille. J.C.F. Fischer : Suites pour clavecin Haydn : Sinfonie concertante, op. A. Rosetti : Concertos pour cor n° 1 à 8 84; Divertimento, Hob. XV : 35; et pour violon; Symphonies CPO777826 • 1 CD CPO Si les deux premiers Concertos ont dis- Olga Martynova, clavecin Concerto, Hob. VII : C1 Dmitry Sinkovsky; Helen MacDougall; rois concertos lyriques, tour à tour paru des salles de concert– on peut au- Alexei Utkin, hautbois, direction Pratum Integrum Orchestra Tdiscrets, sensibles puis endiablés et jourd’hui mesurer l’importance de cette CM0012006 - 1 SACD C. Mitis CM0042006 - 1 SACD C. Mitis CM0012005 - 1 SACD C. Mitis fantasques, écrits en l’espace de six ans injustice - le Troisième est demeuré par un jeune-homme dans sa vingtaine. un tant soit peu au répertoire des vio- Trois opus merveilleux d’invention, de lonistes scandinaves, chef d’œuvre du liberté, qui peuvent sans rougir regar- genre pour lequel Stenhammar batailla, der en face les ouvrages concertants conscient que son ami y avait résumé de Sinding, autrement plus extraver- tout son art : le dialogue du violon tis. C’est qu’Aulin, génie tourmenté, avec les bois qui introduit la partition, aura été avec Stenhammar le grand la romance aux demi-teintes magiques compositeur du romantisme suédois, de l’andante, le final capricieux comme du Berwald, quelle œuvre en effet ! R.
Recommended publications
  • Vienna, 30Th January, 18062 . . . Every Monday, Which Has Been My Usual

    Vienna, 30Th January, 18062 . . . Every Monday, Which Has Been My Usual

    1807 1375. CONSTANZE MOZART TO HER SON CARL THOMAS,1 MILAN EXCERPT: Vienna, 30th January, 18062 . Every Monday, which has been my usual society day for a couple of years now, we have beautiful music here at home, thanks to the foreign virtuosos; but those who particularly distinguish themselves are the two Pixis3 brothers from Mannheim, [5] the elder on the violin, a pupil of Vioti,4 and the younger on the pianoforte. In particular Herr Seidler5 from Berlin, a quite outstanding violinist who is now based in Paris and, they say, is in no way inferior to the famous Rode.6 You should just hear him playing your father’s quartets! – What would I give if you could join us to hear them. [10] These are fine people, all have already given public concerts, they have already been here for the whole winter, and although they are here to give concerts, for which most artists, as you know, make themselves scarce, they nevertheless play here in my home every Monday, and in fact compete with each other and leave me the winner, as you can easily imagine. Everyone wants a chance to perform, and this way I hear them all, [15] and that very frequently; they all send their heartiest greetings. Your brother7 is now going to Salieri8 and to Humel.9 Both have a great deal of affection and friendship for him, my only fear is that he does not make the use of them that he should, for is not always good if one has too much help because one relies on it too much, and when one no longer has any, one cannot help oneself, [20] and this is really my complaint.
  • The Pedagogical Legacy of Johann Nepomuk Hummel

    The Pedagogical Legacy of Johann Nepomuk Hummel

    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
  • Late Fall 2020 Classics & Jazz

    Late Fall 2020 Classics & Jazz

    Classics & Jazz PAID Permit # 79 PRSRT STD PRSRT Late Fall 2020 U.S. Postage Aberdeen, SD Jazz New Naxos Bundle Deal Releases 3 for $30 see page 54 beginning on page 10 more @ more @ HBDirect.com HBDirect.com see page 22 OJC Bundle Deal P.O. Box 309 P.O. 05677 VT Center, Waterbury Address Service Requested 3 for $30 see page 48 Classical 50% Off beginning on page 24 more @ HBDirect.com 1/800/222-6872 www.hbdirect.com Classical New Releases beginning on page 28 more @ HBDirect.com Love Music. HBDirect Classics & Jazz We are pleased to present the HBDirect Late Fall 2020 Late Fall 2020 Classics & Jazz Catalog, with a broad range of offers we’re sure will be of great interest to our customers. Catalog Index Villa-Lobos: The Symphonies / Karabtchevsky; São Paulo SO [6 CDs] In jazz, we’re excited to present another major label as a Heitor Villa-Lobos has been described as ‘the single most significant 4 Classical - Boxed Sets 3 for $30 bundle deal – Original Jazz Classics – as well as a creative figure in 20th-century Brazilian art music.’ The eleven sale on Double Moon, recent Enlightenment boxed sets and 10 Classical - Naxos 3 for $30 Deal! symphonies - the enigmatic Symphony No. 5 has never been found new jazz releases. On the classical side, HBDirect is proud to 18 Classical - DVD & Blu-ray and may not ever have been written - range from the two earliest, be the industry leader when it comes to the comprehensive conceived in a broadly Central European tradition, to the final symphony 20 Classical - Recommendations presentation of new classical releases.
  • TOCC0335DIGIBKLT.Pdf

    TOCC0335DIGIBKLT.Pdf

    WENZEL HEINRICH VEIT: COMPLETE STRING QUARTETS VOLUME ONE: QUARTETS NOS. 1 AND 2 by Markéta Kabelková and Aleš Březina Te first half of the nineteenth century saw a change from old to new forms of musical life. Performances accessible to the general public were increasingly promoted, and from the third quarter of the eighteenth century public concerts and publicly accessible musical theatres began to be developed. A lively and diverse cultural environment tends to emerge in places that are not only strong economically – that is, have a solid, educated middle class – but also have an existing cultural tradition. Although Prague was at that time the capital of the Czech kingdom and as such part of the Hapsburg monarchy, no ruler resided within the city, which therefore lacked the cultural life associated with a royal court. It was nonetheless an important European musical centre – the most important in Bohemia – and a popular stop for musicians on their concert tours. In 1810 the ‘Jednota pro zvelebení hudby v Čechách’ (‘Association for the Promotion of Music in Bohemia’) was established there and, only one year later, the Prague Conservatoire was founded, becoming the first professional training institution for musicians in central Europe. New forms of social life influenced demand for certain types of music, particularly smaller-scale compositions (songs, piano pieces and choruses). Larger instrumental compositions– such as symphonies, concertos and chamber music (which at that time was not intended for public concerts but to be played for smaller audiences) – were far less popular in Bohemia during the first half of the nineteenth century.
  • 1 the (50) Variations (Not by Beethoven) on a Theme by Diabelli – Monstrosity Or Monument? Professor Peter J. Roennfeldt

    1 the (50) Variations (Not by Beethoven) on a Theme by Diabelli – Monstrosity Or Monument? Professor Peter J. Roennfeldt

    The (50) Variations (not by Beethoven) on a Theme by Diabelli – Monstrosity or Monument? Professor Peter J. Roennfeldt, Queensland Conservatorium Griffith University Diabelli’s Vaterländischer Künstlerverein (Patriotic Artists’ Association) project resulted in a two volume publication that appeared in 1823-1824. The more famous Part One comprises Beethoven’s final piano work Opus 120, but its companion volume has received relatively little artistic or scholarly attention. As an enterprising pedagogue, composer and publisher, Diabelli brought together a virtual kaleidoscope of composers then active in Vienna and the Austrian Imperial states. While not exactly without precedent or sequel, this unusual collective work could be described as a musical monstrosity. The 50 variations based on Diabelli’s Waltz in C were published purely in alphabetical order, thus exhibiting no overriding structural logic other than the implicit unity that his fecund theme provides. Further investigation reveals a work containing many points of interest, and one that invites various pedagogical and performance approaches. It is also a starting point for investigation into the careers and contributions of an extraordinarily diverse composers’ collective, including a host of lesser-known musicians that modern pianists and audiences might enjoy exploring further. A virtual ‘who’s who’ of Austrian music c.1820, Diabelli’s unusual conception and his extensive network of colleagues and acquaintances resulted in the creation of what is indeed a rare and valuable musical monument. Anton Diabelli (1781-1858) is best known today for three types of output: as a composer of pedagogical pieces for piano; as Schubert’s first publisher; and most notably as the instigator of the project based on his epigrammatic waltz theme that resulted in Beethoven’s final piano work.
  • Franz Liszt Reproduction from the Original Oil Painting, 1837–39 Klassik Stiftung Weimar, Acc

    Franz Liszt Reproduction from the Original Oil Painting, 1837–39 Klassik Stiftung Weimar, Acc

    CHECKLIST Liszt in Paris: Enduring Encounters August 29 through November 16, 2008 Ary Scheffer (1795–1858) Franz Liszt Reproduction from the original oil painting, 1837–39 Klassik Stiftung Weimar, acc. no. LGE/01351 Franz Liszt (1811–1886) Seven Brilliant Variations, for the Piano Forte, to a Theme of Rossini, op. 2 London: T. Boosey & Co., [1825?] First English edition PMC 2036; The Mary Flagler Cary Music Collection Variations on preexisting themes—particularly those taken from operas—were popular during the nineteenth century and frequently cultivated by virtuoso performer-composers. These instrumental works were conceived as a means of displaying a performer’s (rather than a composer’s) skill, brilliance, artistry, and technical prowess. The adolescent Liszt based these variations on the theme “Ah come nascondere la fiamma,” from Rossini’s 1819 opera Ermione. Years later Liszt would compose a virtuosic piece based on the overture to Rossini’s Guillaume Tell. [Playbill for a concert at the Theatre Royal, Covent Garden, England, 2 June 1827] [London: W. Rey, 1827] James Fuld Collection After arriving in Paris in 1823, Liszt and his father made three visits to England (1824, 1825, and 1827). This playbill documents Liszt’s appearance at Covent Garden on 2 June 1827. The featured artist at the end of the first part, Master Liszt performed a fantasia. Such works were of an improvisatory character, introducing familiar tunes that served as themes to be varied and embellished. In this case, Liszt chose the popular melody Rule Britannia. For many years the young virtuoso had already proven most adept at improvising on tunes suggested to him on the spot.
  • Newsletter from the Section for the Arts of Eurythmy, Speech and Music

    Newsletter from the Section for the Arts of Eurythmy, Speech and Music

    Newsletter from the Section for the Arts of Eurythmy, Speech and Music Michaelmas 2008 1 TABLE OF CONTENTS Topical forum Meeting for Composers II at the Goetheanum (Dr Wolfram Graf) . 36 The situation of the Speech School at the Goetheanum . 3 The 2nd “Toward Genuine Tuning Conference” Thomas Parr – (Laura Langford Schnur) . 37 new manager of the Goetheanum Stage . 3 The integrative Orchestra (Danielle Volkart) . 38 Announcements / Events of the Section . 3 Concert Review (Ruth Dubach) . 38 Courage for the Soft Tone (Verena Zacher Züsli) . 39 Articles Obituaries The Eurythmical Gesture for “Reverence” (Beth Usher) . 5 “The most essential thing in eurythmical movement” Frank Michael Beyer (Michael Kurtz) . 40 Stimuli for fashioning rests, Part II Maria Jenny-Schuster (Daniel Marston) . 6 (Wilfried Hammacher, Ea Koster-Jenny) . 41 What does the Spirit of the Age demand of the arts today? (Werner Barfod) . 8 From spatial to time-orientated movement (Ursula Zimmermann) . 10 Announcements Speech (Hans-Jürgen Gorenflo) . 13 Classical and Romantic Musical Styles – Eurythmy . 44 (Julian Clarke) . 20 – Speech . 48 The Importance of Puppetry in Therapy for Children – Music . 49 with Special Disturbances (Gabriele Pohl) . 23 – Puppetry . 50 Reports Publication Toward a new eurythmy training Werner Barfod – Planetengebärden und (David-Michael and Glenda Monasch) . 26 Menschenwesen Reports on the World Eurythmy-Therapy Conference [Planetary gestures and the human being] . 51 (Heike Houben, Erika Leiste) . 28 Eurythmy Training in Spain (Elisa Betancor) . 28 Fostering Speech Development through Elementary Eurythmy in the Kindergarten? (Sabine Deimann) . 28 Miscellaneous Passing on the Sceptre (Svlvia Bardt) . 30 Two reports on the Light Eurythmy Seminar, Discussion with Maria Jenny on questions concerning Chestnut Ridge, New York, May 8—10, 2008 the work with Rudolf Steiner in music eurythmy (Maria Ver Eecke, Elizabeth Linda (Stefan Hasler, Päivi Lappalainen, Gardner Lombardi) .
  • BENELUX and SWISS SYMPHONIES from the 19Th Century to the Present

    BENELUX and SWISS SYMPHONIES from the 19Th Century to the Present

    BENELUX AND SWISS SYMPHONIES From the 19th Century to the Present A Discography of CDs And LPs Prepared by Michael Herman JEAN ABSIL (1893-1974) BELGIUM Born in Bonsecours, Hainaut. After organ studies in his home town, he attended classes at the Royal Music Conservatory of Brussels where his orchestration and composition teacher was Paul Gilson. He also took some private lessons from Florent Schmitt. In addition to composing, he had a distinguished academic career with posts at the Royal Music Conservatory of Brussels and at the Queen Elisabeth Music Chapel and as the long-time director of the Music Academy in Etterbeek that was renamed to honor him. He composed an enormous amount of music that encompasses all genres. His orchestral output is centered on his 5 Symphonies, the unrecorded ones are as follows: No. 1 in D minor, Op. 1 (1920), No. 3, Op. 57 (1943), No. 4, Op. 142 (1969) and No. 5, Op. 148 (1970). Among his other numerous orchestral works are 3 Piano Concertos, 2 Violin Concertos, Viola Concerto. "La mort de Tintagiles" and 7 Rhapsodies. Symphony No. 2, Op. 25 (1936) René Defossez/Belgian National Orchestra ( + Piano Concerto No. 1, Andante and Serenade in 5 Movements) CYPRÈS (MUSIQUE EN WALLONIE) CYP 3602 (1996) (original LP release: DECCA 173.290) (1958) RAFFAELE D'ALESSANDRO (1911-1959) SWITZERLAND Born in St. Gallen. After some early musical training, he studied in Paris under the tutelage of Marcel Dupré (organ), Paul Roës (piano) and Nadia Boulanger (counterpoint). He eventually gave up composing in order to earn a living as an organist.
  • Sketch for a Portrait of Kalkbrenner and Chopin

    Sketch for a Portrait of Kalkbrenner and Chopin

    Interdisciplinary Studies in Musicology 9,2011 © Department o f Musicology, Adam Mickiewicz University, Poznań, Poland DANUTA JASIŃSKA (Poznań) Sketch for a portrait of Kalkbrenner and Chopin ABSTRACT: In this article, the author sketches a portrait of Kalkbrenner and Chopin against the background of musical practice during the 1830s. On the basis of sources, including Chopin’s correspondence and the opinions of his contemporaries and of Chopin scholars, an attempt is made to distinguish characteristic features of the two composers in their mutual relations. Their contacts are outlined, as well as their artis­ tic activities, with particular emphasis on Chopin’s first concert in Paris and the role of pianistic virtuosity linked with the style brillant. Attention is drawn to the properties of the Pleyel piano which Kalkbrenner and Chopin both preferred and to the differing playing aesthetics and artistic images of the two composer-virtuosos. Chosen for the purposes of stylistic comparison are their methods of piano playing, with the accent on the schematic nature of Kalkbrenner’s “finger techniQue”, whilst most crucial for Chopin was to bring out the beautiful Quality of the sound. In the closing remarks, it is stated that the two musicians, in their pianistic, compositional and pedagogic activi­ ties, represented the distinct antithesis of one another and two different schools. Prominent in the portrait of Kalkbrenner are distinct connections with the convention of the style brillant, whilst the portrait of Chopin, who broke through those conven­ tions, is marked by features more profound and individualised. KEYWORDS: Friedrich Kalkbrenner, Fryderyk Chopin, piano, virtuosity, style brillant, variations, piano concerto, piano playing method Friedrich Kalkbrenner is named more than once in the Chopin lit­ erature, primarily on account of the two composer-virtuosos’ contacts in Paris.
  • Cpo 555 316 2Booklet.Indd 1 17.04.2020 07:51:18 Leopold Van Der Pals

    Cpo 555 316 2Booklet.Indd 1 17.04.2020 07:51:18 Leopold Van Der Pals

    Leopold van der Pals Concertos for Violin, Piano & Cello Mönch Wanderer op 84b Gordan Trajkovic · Marianna Shirinyan · Tobias van der Pals Helsingborg Symphony Orchestra Fredrik Burstedt cpo 555 316_2Booklet.indd 1 17.04.2020 07:51:18 Leopold van der Pals cpo 555 316_2Booklet.indd 2 17.04.2020 07:51:18 Leopold van der Pals (1884–1966) Concert Piece for Violin & Orchestra op. 10 in B minor 19'03 1 Intrada. Allegro – Andante 8'38 2 Allegro energico 10'25 Concertino for Violoncello & Orchestra op. 108 13'15 3 Allegro moderato 5'17 4 Adagio 3'59 5 Allegro 3'59 Concerto for Piano & Orchestra op. 100 9'32 6 Andante 3'24 7 Intermezzo – Vivace 1'16 8 Allegro moderato 4'52 cpo 555 316_2Booklet.indd 3 17.04.2020 07:51:19 »Sphären-Musik« aus Mönch Wanderer op. 84 20'11 9 Vorspiel 3'07 10 Mond 2'14 11 Merkur 1'09 12 Venus 3'27 13 Sonne 2'01 14 Mars 2'43 15 Jupiter 1'41 16 Saturn 2'24 17 Abstieg 1'25 T.T.: 62'10 Gordan Trajkovic, Violin Tobias van der Pals, Violoncello Marianna Shirinyan, Piano Helsingborg Symphony Orchestra Fredrik Burstedt, Conductor cpo 555 316_2Booklet.indd 4 17.04.2020 07:51:19 Leopold van der Pals dafür ist es ungeheuer lohnend, diese Musik zum Leben Die Konzerte zu erwecken.« Leopold van der Pals hat insgesamt drei Werke ge- Konzertstück für Violine h-moll op. 10 schrieben, in denen er sich – auf recht unterschiedliche Weise – mit der Gattung des Konzertes auseinandersetzte.
  • DIABELLI VARIATIONS ANDREAS STAIER Fortepiano After Conrad Graf

    DIABELLI VARIATIONS ANDREAS STAIER Fortepiano After Conrad Graf

    BEETHOVEN DIABELLI VARIATIONS ANDREAS STAIER fortepiano after Conrad Graf including variations by CZERNY · HUMMEL · KALKBRENNER KERZKOWSKY · KREUTZER · MOSCHELES LISZT · PIXIS · F.X.W. MOZART · SCHUBERT FRANZ LISZT DIABELLI VARIATIONS Aus 50 Veränderungen über einen Walzer von Anton Diabelli (Wien, 1824) 1 | ANTON DIABELLI (1781-1858). Thema 0’54 21 | Var. VIII. Poco vivace 1’38 2 | CARL CZERNY (1791-1857). Var. IV 1’06 22 | Var. IX. Allegro pesante e risoluto 1’46 3 | JOHANN NEPOMUK HUMMEL (1778-1837). Var. XVI 1’11 23 | Var. X. Presto 0’36 4 | FRIEDRICH [WILHELM MICHAEL] KALKBRENNER (1785-1849). Var. XVIII 1’05 24 | Var. XI. Allegretto 0’58 5 | JOSEPH KERZKOWSKY (1791-?). Var. XX 1’07 25 | Var. XII. Un poco più moto 0’44 6 | CONRADIN KREUTZER (1780-1849). Var. XXI 1’03 26 | Var. XIII. Vivace 1’07 7 | FRANZ LISZT (1811-1886). Var. XXIV 0’59 27 | Var. XIV. Grave e maestoso 3’31 8 | IGNAZ MOSCHELES (1794-1870). Var. XXVI 0’59 28 | Var. XV. Presto scherzando 0’33 9 | JOHANN PETER PIXIS (1788-1874). Var. XXXI 1’30 29 | Var. XVI. Allegro 0’57 10 | FRANZ XAVER WOLFGANG MOZART (1791-1844). Var. XXVIII 1’17 30 | Var. XVII. 0’59 11 | FRANZ SCHUBERT (1797-1828). Var. XXXVIII 1’36 31 | Var. XVIII. Poco moderato 1’07 32 | Var. XIX. Presto 0’56 12 | Andreas Staier. “Introduction” 3’20 33 | Var. XX. Andante 2’33 34 | Var. XXI. Allegro con brio - Meno allegro 1’06 35 | Var. XXII. Allegro molto 0’48 36 | Var. XXIII. Allegro assai 0’56 LUDWIG VAN BEETHOVEN (1770-1827) 37 | Var.
  • Viewed Möller’S Publication in the Zeitschrift Für Musikwissenschaft, August- September 1931, Pp

    Viewed Möller’S Publication in the Zeitschrift Für Musikwissenschaft, August- September 1931, Pp

    J & J LUBRANO MUSIC ANTIQUARIANS Item 87 Joseph Haydn Autograph Letter Catalogue 80 AUTOGRAPH LETTERS OF COMPOSERS SIGNED PHOTOGRAPHS, &c. Part I: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory number (the 5-digit number in parentheses preceding the price) of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full.