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Saturday, April 13, 2019 Saturday, April 27, 2019 m a r Great Pianists on Film g o r Page 21 P Great Pianists Play Beethoven e Saturday, April 13, at 1:00 pm h Page 23 T Great Pianists Play Chopin Saturday, April 13, at 3:00 pm Page 25 Gould Plays Bach Saturday, April 27, at 1:00 pm Presented in association with the Film Society of Lincoln Center and Christian Labrande Please make certain all your electronic devices are switched off. These screenings are made possible in part by the Josie Robertson Fund for Lincoln Center. Walter Reade Theater Great Performers Support is provided by Rita E. and Gustave M. Hauser, The Shubert Foundation, The Katzenberger Foundation, Inc., Audrey Love Charitable Foundation, Great Performers Circle, Lincoln Center Spotlight, Chairman’s Council, and Friends of Lincoln Center Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature Endowment support for Symphonic Masters is provided by the Leon Levy Fund Endowment support is also provided by UBS Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center UPCOMING GREAT PERFORMERS EVENTS: Sunday, April 14 at 3:00 pm in David Geffen Hall London Philharmonic Orchestra Edward Gardner, conductor Jean-Efflam Bavouzet, piano DEBUSSY: La mer; Ibéria, from Images RAVEL: Piano Concerto; Mother Goose Suite Pre-concert lecture by James Parakilas at 1:45 pm in the Stanley H. Kaplan Penthouse Sunday, May 19 at 11:00 am in the Walter Reade Theater Francesco Piemontesi, piano BACH: Italian Concerto DEBUSSY: Images, Book II RACHMANINOFF: Piano Sonata No. 2 Sunday, May 19 at 3:00 pm in David Geffen Hall Pittsburgh Symphony Orchestra Manfred Honeck, conductor Till Fellner, piano BEETHOVEN: Piano Concerto No. 5 (“Emperor”) MAHLER: Symphony No. 5 For tickets, call (212) 721-6500 or visit LCGreatPerformers.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or to request a Great Performers brochure. Visit LCGreatPerformers.org for more information relating to this season’s programs. Join the conversation: @LincolnCenter We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. Saturday, April 13, 2019 at 1:00 pm m a Great Pianists on Film r g Great Pianists Play Beethoven o r Introduction by Michael Kimmelman P e Rudolf Serkin (1987) BEETHOVEN: Sonata in E major, Op. 109 h T Claudio Arrau (1977) BEETHOVEN: Sonata in C minor, Op. 111 Wilhelm Backhaus (1967) Vienna Symphony , conducted by Karl Böhm BEETHOVEN: Piano Concerto No. 4 in G major, Op. 58 Presented in association with the Film Society of Lincoln Center and Christian Labrande Please make certain all your electronic devices are switched off. This screening is made possible in part by the Josie Robertson Fund for Lincoln Center. Walter Reade Theater Great Performers I Notes on the Program Notes on the Program m By Christian Labrande a r Although he played many 20th-century masterpieces in concert, Rudolph g Serkin returned to Classical music at the end of his life : to the sonatas of o Schubert and Beethoven. In Vienna in 1987, he gave a memorable recital r where he performed the latter’s final three sonatas. P The number of existing films on Claudio Arrau shows the great popularity e that he enjoyed. Filmed in the studio, Beethoven’s Sonata in C minor, h Op. 111, shows Arrau’s technique founded on total relaxation, giving an t impression of ease that emanates from all the films about him. n Wilhelm Backhaus had a particular taste for Beethoven’s Concerto No. 4 o in G major. We know of another film where the great pianist performed the same concerto in concert, conducted by Hans Knappertsbusch. Here, s he is filmed in the studio with Karl Böhm, who adopts a beat that is dis - e tinctly more lively than Knappertsbusch’s. Although Backhaus was a few t months from his death, he maintained an inspired and unreserved energy. o N —Copyright © 2019 by Christian Labrande. Translated from the French by Lucy Powis. Saturday, April 13, 2019 at 3:00 pm m a Great Pianists on Film r g Great Pianists Play Chopin o r Introduction by Michael Kimmelman P e Arthur Rubinstein Plays Chopin (1953) h Vladimir Horowitz T Excerpt from The Last Romantic (dir. Albert and David Maysles, 1985) Martha Argerich (1970) Orchestre National de L’ORTF , conducted by Franco Mannino CHOPIN: Piano Concerto No. 1 in E minor Presented in association with the Film Society of Lincoln Center and Christian Labrande Please make certain all your electronic devices are switched off. This screening is made possible in part by the Josie Robertson Fund for Lincoln Center. Walter Reade Theater Great Performers I Notes on the Program Notes on the Program m By Christian Labrande a r A virtuosic pianist, but also a great charmer and marvelous speaker, Arthur g Rubinstein aroused cinematic interest. Aware of this asset, he created a o production company with violinist Jascha Heifetz called World Artists r Company, and participated in a series of films documenting slightly P scripted recitals. Rubinstein is filmed here in the recording studio perform - ing a series of his favorite Chopin pieces. e h It was Peter Gelb, then a pianists’ agent at CAMI, who convinced Vladimir t Horowitz to be filmed in the intimacy of his New York apartment. The result is a fascinating testimonial where the virtuosic pianist plays with his n facial expressions and antics seen through the magnifying glass of the o directors’ camera. s Five years after her memorable victory in the International Chopin Piano e Competition, the young Martha Argerich was filmed as part of a series of t public broadcasts from Salle Pleyel in Paris. This is one of the first filmed o instances of a pianist who became popular because of the emotional charge that her electric playing could communicate to the public. Here, N Argerich plays one of her signature pieces, Chopin’s Concerto No. 1. —Copyright © 2019 by Christian Labrande. Translated from the French by Lucy Powis. Saturday, April 27, 2019 at 1:00 pm m a Great Pianists on Film r g Gould Plays Bach o r Introduction by Michael Kimmelman P e Glenn Gould h New York Philharmonic , conducted by Leonard Bernstein (1960) BACH: Allegro, from Concerto No. 1 in D minor T Gould Plays Bach: The Goldberg Variations (dir. Bruno Monsaingeon, 1981) Presented in association with the Film Society of Lincoln Center and Christian Labrande Please make certain all your electronic devices are switched off. This screening is made possible in part by the Josie Robertson Fund for Lincoln Center. Walter Reade Theater Great Performers I Notes on the Program Notes on the Program m By Christian Labrande a r On January 31, 1960, as part of the series Ford Presents, Leonard g Bernstein presented a program entitled “The Creative Performer” with o two distinguished guests who were making their first appearance on r American television: Igor Stravinsky and Glenn Gould. Passionate about all P the modern means of broadcasting music, the Canadian pianist was a devoted admirer of Bernstein’s television work. Here he plays the first e movement of Bach’s Concerto No. 1 in D minor. h t The twilight masterpiece of Bach’s career, the Goldberg Variations , also frame the career of Glenn Gould, from the famous June 1955 recording in n New York’s CBS studios to Bruno Monsaingeon’s film, which is a sort of o spiritual testament to the pianist. The film was made from April to May 1980 in optimal conditions that enabled the filmmaker to convey the pas - s sionate relationship between Gould and his instrument. It is no longer e about television, but rather cinema, with all the resources that the medium t affords to capture the incredible physical choreography of a musician pos - o sessed by his instrument. N —Copyright © 2019 by Christian Labrande. Translated from the French by Lucy Powis. Great Performers Michael Kimmelman Michael Kimmelman, the architecture critic of the New York Times and a bestselling author, was born and grew up in New York City. He teaches at Columbia University and, in his other life, is a pianist. Lincoln Center’s Great Performers Initiated in 1965, Lincoln Center’s Great Performers series offers classical and contemporary music performances from the world’s outstanding sym - phony orchestras, vocalists, chamber ensembles, and recitalists. One of the most significant music presentation series in the world, Great Performers runs from October through June with offerings in Lincoln Center’s David Geffen Hall, Alice Tully Hall, Walter Reade Theater, and other performance spaces around New York City. From symphonic masterworks, lieder recitals, and Sunday morning coffee concerts to films and groundbreaking produc - tions specially commissioned by Lincoln Center, Great Performers offers a rich spectrum of programming throughout the season. Lincoln Center for the Performing Arts, Inc. Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A pre - senter of more than 3,000 free and ticketed events, performances, tours, and educational activities annually, LCPA offers 15 programs, series, and festi vals including American Songbook, Great Performers, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center , which airs nationally on PBS.
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  • Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice

    Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2762 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community.