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All Strings Considered a Subjective List of Classical Works

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All Strings Considered
A Subjective List of Classical Works & Recordings
All Recordings are available from the Lake Oswego Public Library

These are my faves, your mileage may vary. Bill Baars, Director

  • Composer / Title
  • Performer(s)
  • Comments

Middle Ages and Renaissance Sequentia

HILDEGARD OF BINGEN Antiphons
We carry a lot of plainsong and chant; recordings by the Anonymous 4 are also highly recommended.
Various, Renaissance vocal and instrumental collections.
King’s Consort, Folger Consort

  • or
  • Baltimore

Consort

Baroque Era

VIVALDI

The Four Seasons

Biondi/Europa Galante or Loveday/Marriner.
Vivaldi wrote several hundred concerti; try the concerti for multiple instruments, and the Mandolin concerti. Also, Corelli's op. 6 and Tartini (my fave is his op.96).
HANDEL

Messiah

Asch/Scholars Baroque Ensemble, Shaw/Atlanta Symphony Orch. or Jacobs/Freiberg Baroque orch.
For more Baroque vocal, Bach’s cantatas - start with 80 & 140, and his Bach B Minor Mass with John Gardiner conducting. And for

fun, Bach's “Coffee” cantata.

HANDEL

Water Music Suites

Lamon/Tafelmusik

For an encore, Handel's “Music for the Royal Fireworks.”

  • J.S. BACH
  • Akademie für Alte Musik
  • Also, the Suites for Orchestra; the Violin and

  • Brandenburg Concertos
  • Berlin or Koopman, Pinnock, Harpsicord Concerti are delightful, too.

or Tafelmusik
J.S. BACH Works for Lute

  • Walter Gerwig
  • More lute - anything by Paul O'Dette, Ronn

McFarlane & Jakob Lindberg. Also interesting, the Lute-Harpsichord.
J.S. BACH Cello Suites
Bylsma on period cellos, Fournier on a modern

  • instrument;
  • Casals'

recording was the standard DuPre/Barenboim/ECO & Barbirolli/LSO

Classical Era

HAYDN Cello Concerti

  • HAYDN
  • Fischer, Davis or Kuijiken

"London" Symphonies (93-101)

  • HAYDN
  • Mosaiques or Kodaly quartets Or start with opus 9, and take it from there.

String Quartets op. 20, #2&4 MOZART Clarinet Concerto MOZART Piano Concertos Nos. 19 & 20 MOZART Symphonies Nos. 35-41

Romantic Era

BEETHOVEN
Meyer, Brymer or Shifrin. Serkin/Szell
Next, try the Clarinet Quintet & the Sinfonia Concertante. Mozart wrote 27 concertos for piano and 5 for violin; all are worth seeking out.
Karl Böhm/Berlin Philharmonic

Rudolf Serkin.
Piano Sonatas Nos. 8, 14 and 23.

  • BEETHOVEN
  • Mosaiques, Lindsay quartet. Start with the opus 18s and work your way

The String Quartets BEETHOVEN up from there.
Hanover Band
Symphony No. 3

  • BEETHOVEN
  • Perlman/Giulini or

Violin Concerto BEETHOVEN
Heifetz/Reiner Carlos Kleiber/Vienna
Symphony No. 5 in c minor, Op. Philharmonic 67

  • BEETHOVEN
  • Bruno Walter

Symphony No. 6 BEETHOVEN Piano Concerto #5

  • Arrau/Davis
  • All 5 have moments of great beauty, as does

the “Triple” concerto, often on cd with

Brahms' Double concerto.
BEETHOVEN

Piano trio op.97, “Archduke”

Istomin/Schneider/Casals, Kempf/Szeryng/Fournier or Immerseel/Beths/Bylsma Curzon/Vienna or or
SCHUBERT

“Trout” Quintet

Serkin/Laredo/Naegele/Parna s/Levine
SCHUBERT

Symphony No. 8, “Unfinished”

Walter/Columbia Symphony Orch.
BEETHOVEN Symphony No. 9 SCHUBERT
Walter/Columbia Symphony Orch. Murray Perahia
Impromptus

  • SCHUBERT
  • Szell/Cleveland

Symphony #no. 9, “The Great”

  • BERLIOZ
  • Colin Davis/ London

Symphony Orchestra Mackerras/Orchestra of the Age of Enlghtenment Timmerman/Davis or Lincer/Bernstein
A psychedelic symphony if ever there was one.

Also. A Midsummer Night's Dream Overture

Op. 21 & Incidental Music Op. 61

Symphonie Fantastique

MENDELSSOHN Symphony No. 4 "Italian" BERLIOZ Harold in Italy STRAUSS (Johann II) Waltzes
Boskovsky

  • MUSSORGSKY
  • Richter, for piano solo
  • And who can forget the recording by

  • Pictures at an Exhibition
  • Solti or Maazel for orchestral Emerson, Lake & Palmer?

  • BRAHMS
  • Abbado/Berlin Philharmonic
  • And Symphony No. 2. And 3. And 4

Symphony No. 1 BORODIN String quartet No. 2
Borodin quartet Emerson quartet
Check out his Polovtsian Dances, too. And his Symphony No. 2

  • BRAHMS
  • Jascha Heifetz/Reiner/ChicagoAlso try his version of the Beethoven,

  • Violin Concerto in D, Op. 77
  • Symphony
  • Mendelssohn and Tchaikovsky violin

concerti.

  • MAHLER
  • Fischer-Dieskau
  • Songs of a Wayfarer.

Lieder eines fahrenden Gesellen

  • MAHLER
  • Abbado/Berlin Philharmonic

Symphony No. 1 RIMSKY-KORSAKOV Schererazade
Beecham/Royal Philharmonic Orchestra

  • DVORÁK
  • Emerson String Quartet
  • The Bagatelles are fabulous, too.

String Quartet, op. 96,

“American”

DVORAK Serenade for Strings
Marriner/Academy of St. Martin in the Fields
While you're at it, Dvorak's Serenade for Winds is wonderful, too; so is Tchaikovsky's Serenade for Strings.

  • DVORAK
  • Kertesz/London Symphony
  • 7 and 8 are great, too.

Symphony No. 9, “From the New Orchestra

World”

DVORÁK Cello Concerto in B minor, Op.
Fournier/Szell/Berlin Philharmonic
Often combined on cd with Tchaikovsky's splendid Rococo Variations.
104 PUCCINI La Bohème
DelosAngeles/Björling/Corena Opera – It's not as bad as it sounds. Really. /Merrill/Tozzi RCA /Beecham
RAVEL Introduction and Allegro
Martinon/Chicago Symphony Also worth checking out - Ma Mere L'Oye, Tokyo Strinq Quartet/Galway Bolero. et al.

Modern Era

STRAVINSKY
Stravinsky/Columbia Symphony
Other great Stravinsky ballets - The Firebird, Apollo.

The Rite of Spring

VAUGHAM-WILLIAMS The Lark Ascending
Ozawa/Boston Symphony Bean/Boult/New Philharmonia And if you like this, try his Fantasia on a

  • Orch.
  • Theme by Thomas Tallis and his Fantasia on

Greensleeves.
RESPIGHI Pines of Rome
Lane/Atlanta Symphony Orch. And Fountains of Rome, Roman Festivals, DePriest/Oregon Symphony The Birds, Ancient Airs and Dances. Dutoit/Montreal Symphony

  • ELGAR
  • Jacqueline DuPre/Barbirolli

Elgar's “Enigma” Variations are fascinating.

And his violin concerto, too. For the non-vocal Pulcinella Suite, Neville Marriner. Follow with Dumbarton Oaks
Cello concerto STRAVINSKY Pulcinella
Stravinsky/Columbia Symphony

  • GERSHWIN
  • Leonard Bernstein/Columbia

Symphony Orch. Tilson Thomas/Los Angeles Philharmonic

Rhapsody in Blue

PROKOFIEV Lieutenant Kije Suite RODRIGO

Symphony #1, “Classical;” and Peter and

the Wolf.

  • Also, Fantasia para un gentilhombre
  • Bonnell/Dutoit

Concierto de Aranjuez COPLAND

Appalachian Spring

HEATH
Tilson Thomas/San Francisco Rodeo Sym. Warren-Green/London Chamber Orchestra
This cd is a good introduction to Glass,

  • Adams and the minimalist school.
  • Frontier

Recommended publications
  • Mozart Magic Philharmoniker

    Mozart Magic Philharmoniker

    THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro).
  • ARSC Journal, Spring 1992 69 Sound Recording Reviews

    ARSC Journal, Spring 1992 69 Sound Recording Reviews

    SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr.

  • ARSC Journal

    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
  • Europa Galante

    Europa Galante

    CNDM | SALAMANCA BARROCA AUDITORIO HOSPEDERÍA FONSECA 14.02.18 | EUROPA GALANTE EUROPA GALANTE Europa Galante se funda en el año 1990 por Fabio Biondi, su director musical, con la intención de formar un grupo instrumental italiano e interpretar un repertorio tanto Barroco como Clásico. El conjunto obtiene un gran éxito con la publicación de su primer disco con los conciertos de Vivaldi (Premio Cini de Venecia, Choc de la Musique en Francia), recogiendo multitud de premios: cinco Diapason d'Oro, Golden Diapason d'Oro del año en Francia, Premio RTL, nominación a 'Disco del Año' en España, Canadá, Suecia, Francia y Finlandia, Prix du Dix, entre otros muchos. Desde entonces Europa Galante ha actuado en las principales salas de conciertos y teatros del mundo: desde el Teatro alla Scala de Milán, Academia de Santa Cecilia de Roma, Suntory Hall de Tokio, Concertgebouw de Ámsterdam, hasta el Royal Albert Hall de Londres, Lincoln Center de Nueva York, Teatro de los Campos Elíseos de París, y la Ópera de Sydney. En Italia colabora con la Academia Nacional de Santa Cecilia en la recuperación de obras vocales del siglo XVIII italiano como Passione di Gesù Cristo de Antonio Caldara, Sant’Elena al Calvario de Leonardo Leo, Gesú sotto il Peso della Croce de Gian Francesco de Mayo, La Santissima Annunziata de Alessandro Scarlatti. Europa Galante también difunde el repertorio de Scarlatti, con numerosos oratorios y óperas, destacando, en colaboración con el Festival de Scarlatti en Palermo, Massimo Puppieno, Il Trionfo dell’Onore, Carlo Re d’Alemagna y La Principessa Fedele. Con gran éxito de crítica y público, Europa Galante ha estado presente en Venecia, en colaboración con la Fundación Teatro La Fenice, con la ópera Didone en el 2006, Bajazet ed Ercole sul Termodonte de Vivaldi en el 2007 y Virtù degli strali d'amori en el 2008.
  • Boston Symphony Orchestra Concert Programs, Season 100, 1980-1981, Subscription

    Boston Symphony Orchestra Concert Programs, Season 100, 1980-1981, Subscription

    # o '?, *ne Hundredth Season . MIST SOFTENS tf/EFYTHING rr touches. What a pleasant way to feel the soft touch of Irish Mist, in "Liquid Sunshine'.' Start with a tall glass of ice. add 1 part Irish Mist and 3 parts orange juice. Irish Mist, the centuries old liqueur sweetened with a hint of heather honey, will blend with almost anything. Pour the soft touch of Irish Mist anytime. anywhere. You'll like the way it feels. IRISH MIST THE LEGENDARY SPIRIT Imported Irish Mist® Liqueur. 70 Proof. ©1980 Heublein, Inc., Hartford, Conn. U.S.A. Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundredth Season, 1980-81 The Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Philip K. Allen, Vice-President Mrs. Harris Fahnestock, Vice-President Leo L. Beranek, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden E. Morton Jennings, Jr. Irving W. Rabb Mrs. John M. Bradley Edward M. Kennedy Paul C. Reardon Mrs. Norman L. Cahners George H. Kidder David Rockefeller, Jr. George H. A. Clowes, Jr. David G. Mugar Mrs. George Lee Sargent Archie C. Epps III Albert L. Nickerson William A. Selke Mrs. John L. Grandin Thomas D. Perry, Jr. John Hoyt Stookey Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus Allen G. Barry John T. Noonan Richard P. Chapman Mrs. James H. Perkins Edward G. Murray John L. Thorndike Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager Peter Gelb Gideon Toeplitz Daniel R.
  • CURRICULUM DE Placldo DOMINGO EMBIL Plácido Domingo

    CURRICULUM DE Placldo DOMINGO EMBIL Plácido Domingo

    CURRICULUM DE PLAClDO DOMINGO EMBIL Plácido Domingo nació en 1941 en Madrid, hijo de los cantantes de zarzuela Plácido Domingo y Josefa Embil Echániz. En 1949 su familia se trasladó a la Ciudad de México para trabajar en teatro musical y pronto destaCÓ en las lecciones de piano. para luego esrudiar en la Escuela Nacional de Artes y en el Conservatorio Nacional de Música de la capital mexicana. estudiando piano y dirección de orquesta. Se casó en 1957 con la pianista Ana María Guerra Cué, con quien tuvo a su primogénito. José Plácido Domingo Guerra. En el 1%2 contrajo segundas nupcias con la soprano veracruzana Mana Omelas. En el mes de marm de 2008, un jurado de 16 críticos de especial reconocimiento y valía. convocado por la revista BBC Music Magazine, eligió a 1}lácido Domingo como el más grande tenor de todos los tiempos. Michael Tanner. crítico de la revista británica "TIte Spectator", ha dicho "Desde los sesenta, el mundo de la ópera parece inconcebible sin Domingo. y el enorme tesoro de sus grabaciones dará testimonio de su grandeza a futuras generaciones y en una época en el que la ''fama'' se ha convertido en una palabra casi despreciable. la obtenida por Domingo es un ejemplo de una gran reputación construida sobre cimientos sólidos". CARRERA PROFESIONAL Comenzó como barítono debutando en escena el 12 de mayo de 1959 en el teatro Degollado, de Guadalajara, México, como Pascual, en Marina. Le siguió el papel de Borsa en Rigolello, Padre Confesor en Diálogos de carmelitas, etc. Más tarde ya como tenOr interpretó a Alfredo en la Traviata en la Ciudad de Monterrey en el Teatro María Teresa Montoya en 1959.
  • César Franck's Violin Sonata in a Major

    César Franck's Violin Sonata in a Major

    Honors Program Honors Program Theses University of Puget Sound Year 2016 C´esarFranck's Violin Sonata in A Major: The Significance of a Neglected Composer's Influence on the Violin Repertory Clara Fuhrman University of Puget Sound, [email protected] This paper is posted at Sound Ideas. http://soundideas.pugetsound.edu/honors program theses/21 César Franck’s Violin Sonata in A Major: The Significance of a Neglected Composer’s Influence on the Violin Repertory By Clara Fuhrman Maria Sampen, Advisor A thesis submitted in partial fulfillment of the requirements as a Coolidge Otis Chapman Scholar. University of Puget Sound, Honors Program Tacoma, Washington April 18, 2016 Fuhrman !2 Introduction and Presentation of My Argument My story of how I became inclined to write a thesis on Franck’s Violin Sonata in A Major is both unique and essential to describe before I begin the bulk of my writing. After seeing the famously virtuosic violinist Augustin Hadelich and pianist Joyce Yang give an extremely emotional and perfected performance of Franck’s Violin Sonata in A Major at the Aspen Music Festival and School this past summer, I became addicted to the piece and listened to it every day for the rest of my time in Aspen. I always chose to listen to the same recording of Franck’s Violin Sonata by violinist Joshua Bell and pianist Jeremy Denk, in my opinion the highlight of their album entitled French Impressions, released in 2012. After about a month of listening to the same recording, I eventually became accustomed to every detail of their playing, and because I had just started learning the Sonata myself, attempted to emulate what I could remember from the recording.
  • With a Rich History Steeped in Tradition, the Courage to Stand Apart and An

    With a Rich History Steeped in Tradition, the Courage to Stand Apart and An

    With a rich history steeped in tradition, the courage to stand apart and an enduring joy of discovery, the Wiener Symphoniker are the beating heart of the metropolis of classical music, Vienna. For 120 years, the orchestra has shaped the special sound of its native city, forging a link between past, present and future like no other. In Andrés Orozco-Estrada - for several years now an adopted Viennese - the orchestra has found a Chief Conductor to lead this skilful ensemble forward from the 20-21 season onward, and at the same time revisit its musical roots. That the Wiener Symphoniker were formed in 1900 of all years is no coincidence. The fresh wind of Viennese Modernism swirled around this new orchestra, which confronted the challenges of the 20th century with confidence and vision. This initially included the assured command of the city's musical past: they were the first orchestra to present all of Beethoven's symphonies in the Austrian capital as one cycle. The humanist and forward-looking legacy of Beethoven and Viennese Romanticism seems tailor-made for the Symphoniker, who are justly leaders in this repertoire to this day. That pioneering spirit, however, is also evident in the fact that within a very short time the Wiener Symphoniker rose to become one of the most important European orchestras for the premiering of new works. They have given the world premieres of many milestones of music history, such as Anton Bruckner's Ninth Symphony, Arnold Schönberg's Gurre-Lieder, Maurice Ravel's Piano Concerto for the Left Hand and Franz Schmidt's The Book of the Seven Seals - concerts that opened a door onto completely new worlds of sound and made these accessible to the greater masses.
  • PROGRAM NOTES by Phillip Huscher

    PROGRAM NOTES by Phillip Huscher

    PROGRAM NOTES by Phillip Huscher Gustav Mahler Born July 7, 1860, Kalischt, Bohemia. Died May 18, 1911, Vienna, Austria. Symphony No. 9 in D Major Mahler began his ninth symphony in the spring of 1909 and on April 1, 1910, he told the conductor Bruno Walter that the score was complete. Walter conducted the first performance with the Vienna Philharmonic on June 26, 1912. The score calls for four flute s and piccolo, four oboes and english horn, three clarinets, E-flat clarinet and bass clarinet, four bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, cymbals, bass drum, tam -tam, triangle, glockenspiel, chimes, two harps, and strings. Performance time is approximately eighty -one minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mahler’s Ninth Symphony were given at Orchestra Hall on April 6 and 7, 1950, with George Szell conductin g. Our most recent subscription concert performances were given on November 30, December 1, 2, and 5, 1995, with Pierre Boulez conducting. The Orchestra first performed this symphony at the Ravinia Festival on August 11, 1979, with Lawrence Foster conducti ng, and most recently on June 28, 1991, with James Levine conducting. Because this symphony is Mahler’s last completed work, and because he died tragically of heart disease at the age of fifty shortly after finishing it, leaving behind his beautiful wife Alma and young daughter Anna, it’s often considered both his farewell and his most deeply personal score. Bruno Walter, who conducted the premiere thirteen months after Mahler’s death, said that he recognized the composer’s own gait in the limping rhythm o f the march at the climax of the first movement.
  • Inquiry Into J.S. Bach's Method of Reworking in His Composition of the Concerto for Keyboard, Flute and Violin, Bwv 1044, and Its

    Inquiry Into J.S. Bach's Method of Reworking in His Composition of the Concerto for Keyboard, Flute and Violin, Bwv 1044, and Its

    INQUIRY INTO J.S. BACH'S METHOD OF REWORKING IN HIS COMPOSITION OF THE CONCERTO FOR KEYBOARD, FLUTE AND VIOLIN, BWV 1044, AND ITS CHRONOLOGY by DAVID JAMES DOUGLAS B.A., The University of British Columbia, 1994 A THESIS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming tjjfe required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1997 © David James Douglas, 1997 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ZH t/S fC The University of British Columbia Vancouver, Canada Date . DE-6 (2788) Abstract Bach's Concerto for Keyboard, Flute, and Violin with Orchestra in A minor, BWV 1044, is a very interesting and unprecedented case of Bach reworking pre-existing keyboard works into three concerto movements. There are several examples of Bach carrying out the reverse process with his keyboard arrangements of Vivaldi, and other composers' concertos, but the reworking of the Prelude and Fugue in A minor, BWV 894, into the outer movements of BWV 1044, and the second movement of the Organ Sonata in F major, BWV 527, into the middle movement, appears to be unique among Bach's compositional activity.
  • 110988 Bk Menuhin 19/07/2004 11:42Am Page 4

    110988 Bk Menuhin 19/07/2004 11:42Am Page 4

    110988 bk Menuhin 19/07/2004 11:42am Page 4 Ward Marston ADD In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on Great Violinists • Menuhin 8.110988 BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four MOZART decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Violin Sonatas In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm K. 376 and K. 526 recordings. His aim is to promote the importance of preserving old recordings and make available the works of great musicians who need to be heard.
  • Program Notes | January 25/26

    Program Notes | January 25/26

    PROGRAM NOTES | JANUARY 25/26 George Walker in musical composition turned serious after LYRIC FOR STRINGS graduating from Curtis. He went to Europe and Born in Washington, D.C., June 27, 1922 studied with Nadia Boulanger. Upon returning Died in Montclair, New Jersey, to the States, he earned his Doctoral degree in August 23, 2018 composition from the Eastman School of Music. Last performed by the Wichita Symphony Teaching was the third component of Walker’s December 10/11, 1994 life in music. He enjoyed positions at Smith College, the University of Colorado, and most Most people in the audience this weekend may importantly at Rutgers University in New be encountering the music of George Walker Jersey, where he taught for twenty-three years for the first time. The Lyric for Strings, Walker’s until his retirement in 1992. most performed work is an appropriate introduction as it makes a long overdue Walker’s list of compositions includes over 100 appearance on a Wichita Symphony program. works covering a wide range of genres, from sonatas, quartets, art songs, choral works, Described by one writer as “an under-heard to symphonic works. He received numerous American Master,” George Walker’s was a awards including the Pulitzer Prize for Music in “trailblazer” in a career full of firsts for an 1996 for Lilacs, a work for voice and orchestra African-American musician: one of the first based on poetry by Walt Whitman. Many to graduate from the Curtis Institute of Music leading orchestras and organizations including (1945), first to give a Town Hall debut recital the Boston Symphony, Cleveland Orchestra, on piano (1945), perform as a soloist with New York Philharmonic, the John F.