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Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein Iolinv Methods
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein iolinV Methods. Allan Riggs Fuller Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Music Commons Recommended Citation Fuller, Allan Riggs, "Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein ioV lin Methods." (1974). LSU Historical Dissertations and Theses. 8156. https://digitalcommons.lsu.edu/gradschool_disstheses/8156 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. ^'SYNOPSES, COMPARISONS, AND EVALUATIONS OF THE LEOPOLD AUER AND ERICH DOFLEIN VIOLIN METHODS / A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Allan Riggs Fuller B.M., Central College, 1953 M.M,, University of Rochester, 1956 December, 1974 UMI Number: DP69543 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI Dissertation Publishing UMI DP69543 Published by ProQuest LLC (2015). -
A Study of Gian Carlo Menotti's Concerto for Violin and Orchestra
A STUDY OF GIAN CARLO MENOTTI’S CONCERTO FOR VIOLIN AND ORCHESTRA by LAURA ANNE TOMLIN (Under the Direction of Dorothea Link and Levon Ambartsumian) ABSTRACT Gian Carlo Menotti’s Concerto for Violin and Orchestra (1952), although written and premiered in the early 1950s, has been an unduly neglected work due to a number of circumstances, but one that has recently been gaining in popularity. The purpose of this document is to provide a comprehensive guide to the Violin Concerto in the hope that it will help capture the attention of those unaware of its existence and ultimately aide in the concerto’s acceptance into the violinist’s standard repertoire. The Violin Concerto’s historical context is examined in relationship to its compositional style and possible sources of inspiration, and to its neglect in the past and recent surge in popularity in the violin world. A formal and theoretical analysis of Menotti’s concerto, as well as a discussion of its technical challenges from the standpoint of the performer, will provide insight into its composition and interpretative issues. Despite its traditional form, Menotti’s Violin Concerto is an unusual piece in many respects, among which are its intriguing possible biographical components. Composed in 1952 for violinist Efrem Zimbalist, the work, on first hearing, can seem a bit disjointed with elements obviously derived from, or at the very least influenced by, other works. However, on closer examination of the work and of its intended performer, these elements appear to be intentional. For these reasons, in addition to its appeal simply as a composition, Menotti’s Violin Concerto is worthy of further study. -
THE NAFF COLLECTION (Location: Range 4, Section 5 – NR Workroom)
THE NAFF COLLECTION (Location: Range 4, Section 5 – NR Workroom) The Naff Collection is an accumulation of programs, autographed photographs, posters, folders, booklets, announcements and a few other items which tell the story of professional theater in Nashville between the years 1900 and 1960. This material was collected by the late Mrs. L. C. Naff during the period in which she served as secretary to the Rice Bureau and later as manager of the Ryman Auditorium. She bequeathed the collection to Francis Robinson, assistant manager of the Metropolitan Opera, who began his career as an usher at the Ryman. On March 27, 1967, Mr. Robinson made the formal presentation of the collection to the Public Library of Nashville and Davidson County, Charles C. Trabue, chairman of the board, and Marshall Stewart, chief librarian. The public was invited to this ceremony at which the collection was on display. The materials had been listed by chronological periods and arranged by Ann Dorsey, head of the reference department, Edward Durham and Terry Hudson. After the material had remained on exhibit for one month, it was packed for storage. In January 1971, it was decided that the collection should be classified and indexed so that it might be more readily available to researchers and other interested parties. The holdings in the Naff Collection have been classified as follows: NAFF COLLECTION CLASSIFICATIONS Advertising Announcements Descriptive Folders Letters and Telegrams Librettos Newspaper Clippings Photographs Posters Programs: Concerts Dances Lectures Miscellaneous Musical Comedies Operas Operettas Orchestras Plays Recitals Souvenirs Variety Realia Scripts Souvenir Booklets The subject headings of the various collections will most likely lead to desired information, particularly if the medium of a performer is known. -
Tracing Curtis Traditions Curtis’S Rich Heritage Has Deeper Roots Than You May Realize
TRACING CURTIS TRADITIONS CURTIS’S RICH HERITAGE HAS DEEPER ROOTS THAN YOU MAY REALIZE BY MATTHEW BARKER Here’s a game for a lazy afternoon: Pick your favorite Curtis faculty member and count the connections back to 18th- and 19th-century masters. it’s fun, easy, and kind of amazing. Start with the violin. Current faculty members Aaron rosand, Joseph Silverstein, Michael tree, and Shmuel Ashkenasi all studied with efrem Zimbalist, Curtis’s director from 1941 to 1968. Go back just one generation and you’ll find that Zimbalist was a pupil of famed pedagogue Leopold Auer, the dedicatee of the tchaikovsky Leopold Auer Violin Concerto. Auer himself served on the Curtis faculty for two years, from 1928 to 1930. His pupils, at Curtis and elsewhere, also included Mischa elman, Jascha Heifetz, Nathan Milstein, toscha Seidel, and Oscar Shumsky. Also among current faculty members, ida Kavafian was a Shumsky student and Arnold Steinhardt Konstantin Mostras Oscar Shumsky (’36) Efrem Zimbalist Ivan Galamian Ida Kavafian Aaron Rosand (’48) Joseph Silverstein (’50) Michael Tree (Violin ’55) Shmuel Ashkenasi (’63) Arnold Steinhardt (’59) Yumi Ninomiya Scott (’67) Jaime Laredo (’59) Pamela Frank (’89) More Online Are you a part of this family tree? Let us PHOTOS: BETTMAN/CORBIS (BEETHOVEN, CZERNY, LESCHETIZKY, SCHNABEL); JEAN E. BRUBAKER (ROSAND, know where your branch fits in. Post a SOLZHENITSYN); PETE CHECCHIA (ASHKENASI, C. FRANK, KAVAFIAN, MCDONALD, SILVERSTEIN); JOYCE CREAMER/ comment on the Curtis Facebook page at CURTIS ARCHIVES (HORSZOWSKI); DAVID DEBALKO (TREE); DOROTHEA VON HAEFTEN (STEINHARDT); www.facebook.com/CurtisInstitute. L.C. KELLEY (P. FRANK), PETER SCHAAF (GALAMIAN); STEVE J. -
47Th SEASON PROGRAM NOTES Week 2 July 21–27, 2019
th SEASON PROGRAM NOTES 47 Week 2 July 21–27, 2019 Sunday, July 21, 6 p.m. The marking for the first movement is of study at the University of California, San Monday, July 22, 6 p.m. unusual: Allegramente is an indication Diego, in the mid-1980s that brought a new more of character than of speed. (It means and important addition to his compositional ZOLTÁN KODÁLY (1882–1967) “brightly, gaily.”) The movement opens palette: computers. Serenade for Two Violins & Viola, Op. 12 immediately with the first theme—a sizzling While studying with Roger Reynolds, Vinko (1919–20) duet for the violins—followed by a second Globokar, and Joji Yuasa, Wallin became subject in the viola that appears to be the interested in mathematical and scientific This Serenade is for the extremely unusual song of the suitor. These two ideas are perspectives. He also gained further exposure combination of two violins and a viola, and then treated in fairly strict sonata form. to the works of Xenakis, Stockhausen, and Kodály may well have had in mind Dvorˇ ák’s The second movement offers a series of Berio. The first product of this new creative Terzetto, Op. 74—the one established work dialogues between the lovers. The viola mix was his Timpani Concerto, composed for these forces. Kodály appears to have been opens with the plaintive song of the man, between 1986 and 1988. attracted to this combination: in addition and this theme is reminiscent of Bartók’s Wallin wrote Stonewave in 1990, on to the Serenade, he wrote a trio in E-flat parlando style, which mimics the patterns commission from the Flanders Festival, major for two violins and viola when he was of spoken language. -
Tchaikovsky Violin Concerto in D Major, Op
23 Season 2018-2019 Thursday, September 20, at 7:30 The Philadelphia Orchestra Friday, September 21, at 2:00 Saturday, September 22, Yannick Nézet-Séguin Conductor at 8:00 Lisa Batiashvili Violin Berwald Symphony No. 3 in C major (“Sinfonie singulière”) I. Allegro fuocoso II. Adagio III. Finale: Presto First Philadelphia Orchestra performances Sibelius Symphony No. 7, Op. 105 (In one movement) Intermission Tchaikovsky Violin Concerto in D major, Op. 35 I. Allegro moderato—Moderato assai II. Canzonetta: Andante— III. Allegro vivacissimo This program runs approximately 1 hour, 50 minutes. LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. The September 20 concert is sponsored by Mrs. Lyn M. Ross in memory of George M. Ross. The September 21 concert is sponsored by Edith R. Dixon. The September 22 concert is sponsored by David Haas. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. ® Getting Started with LiveNote 2.0 » Please silence your phone ringer. » Make sure you are connected to the internet via a Wi-Fi or cellular connection. » Download the Philadelphia Orchestra app from the Apple App Store or Google Play Store. » Once downloaded open the Philadelphia Orchestra app. » Select the LiveNote tab in the bottom left corner. » Tap “OPEN” on the Philadelphia Orchestra concert you are attending. » Tap the “LIVE” red circle. The app will now automatically advance slides as the live concert progresses. -
Troy Chromatic Concerts Performers 1894-2007
Troy Chromatic Concerts 110 Seasons of Classical Music Excellence 1894-2007 1ST SEASON - 1894-1895 Raoul Pugno, piano, & Maude MacCarthy, violin Henry E. Krehbiel, lecturer, with Thomas Impett, tenor Marcella Sembrich, soprano Edward A. MacDowell, piano Bendix String Quartet & Augusta Cottlow, piano Mr. & Mrs. Max Heinrich 10TH SEASON - 1903-1904 Kneisel Quartet Jacques Thibaud, cello 2ND SEASON - 1895-1896 Lillian Nordica, soprano Louis C. Elson Ernestine Schumann-Heink, mezzo soprano Fannie Bloomfield Zeisler, piano Arbos String Quartet & Alfred Reisenauer, piano Plunket Greene, bass-baritone 11TH SEASON - 1904-1905 Kneisel Quartet Kneisel Quartet & Augusta Cottlow, piano 3RD SEASON - 1896-1897 Eugen d'Albert, piano Corrine Moore-Lawson Johanna Gadski, soprano Albert Lockwood, piano Louise Homer, contralto, & Emilio de Gogorza, baritone Kneisel Quartet 12TH SEASON - 1905-1906 Plunket Greene, bass-baritone Harold Bauer, piano 4TH SEASON - 1897-1898 Johanna Gadski, soprano Georg Henschel, baritone, & Mrs. Georg Henschel, Marie Nichols, violin, & Elsa Ruegger, cello soprano Herbert Witherspoon, bass Henri Marteau, violin 13TH SEASON - 1906-1907 David Bispham, baritone Ernestine Schumann-Heink, mezzo soprano Kneisel Quartet Josef Lhevinne, piano 5TH SEASON - 1898-1899 Alexandre Petschnikoff, violin, & Rudolf Ganz, piano In a Persian Garden Victor Harris, conductor George Hamlin, tenor David Bispham, baritone 14TH SEASON - 1907-1908 Emil Sauer, piano Susan Metcalfe, soprano Kneisel Quartet Emilio de Gogorza, baritone 6TH SEASON - 1899-1900 -
“A New Mode of Expression”: Karol Szymanowski's First
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright “A NEW MODE OF EXPRESSION”: KAROL SZYMANOWSKI’S FIRST VIOLIN CONCERTO OP. 35 WITHIN A DIONYSIAN CONTEXT Marianne Broadfoot A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music University of Sydney 2014 I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. -
Selected Students of Leopold Auer: a Study in Violin Performance-Practice
SELECTED STUDENTS OF LEOPOLD AUER – A STUDY IN VIOLIN PERFORMANCE-PRACTICE by RUTH ELIZABETH RODRIGUES A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham October 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis investigates the teaching and legacy of Leopold Auer; it addresses, in particular to what extent his promulgation of the ‘German’ School of Violin Playing was instrumental in establishing the ‘Russian’ and ‘American’ Schools. Recent research in late 19th-century violin performance-practice has focused mainly on the ‘German’ and ‘Franco-Belgian’ Schools, and on tracing ‘genealogies’ of violin playing, especially within the ‘German’ school itself. Auer, however, has been little studied, as remarkably is also true for descendents of the German school such as Ossip Schnirlin, Benno Rabinof, and Mischa Weisbord. This research will also briefly examine the authority of Joachim and Auer (who were both native Hungarians) on their students with regards to Hungarian musical gestures and Gypsy performance styles, in an era where violin playing was more uniform and the style hongrois gradually disappearing from Western music altogether. -
78 Rpm INSTRUMENTAL RECORDINGS
78 rpm INSTRUMENTAL RECORDINGS String, Keyboard & Wind Soloists – Conductors - Orchestras If anything is not clear, please advise as soon as possible and I’ll try to help. JOHN AMADIO [flutist] 3631. 12” Red Orth. Victrola 9695 [Cc17488-IV/17489-III]. THE CARNIVAL OF VENICE (arr. Briccaldi)/HUNGARIAN PASTORAL FANTASIE (Doppler). With Orch. dir. George Byng. Small lbl. stkr., few lightest rubs. Cons. 2. $12.00. AMAR STRING QUARTET [L. Amar; W. Caspar; P. Hindemith; R. Hindemith] 2388. 12” Blk. EE Polydor 66422-66424 [429bg-434bg]. STRING QUARTET, Op. 22 (Paul Hindemith). Six sides. Just about 1-2. $60.00. AARON AVSHALOMOV [composer/conductor]. Siberia, 1894-Portland, OR, 1964. Avshalomov developed an approach that grafted elements of traditional Chinese music—which he had first encountered as a child among the Chinese community of his Siberian home- town—onto a colorful Russian style in the manner of Rimsky- Korsakov. He used the Western-oriented symphony orchestra to imitate and evoke sounds of traditional Chinese instru- ments, and he also transcribed characteristic ornamentations and used such instruments as temple blocks and finger cymbals. His only musical studies were in Zurich and he then resided in Shanghai, excepting a few years in the U.S. and elsewhere, until 1946. He then permanently moved to Portland, OR, where his son, Jacob, was conductor of the Portland Symphony. – American Composers Alliance website. 3507. 12” PW Columbia Master Works Set 286 (68870-D – 68873-D). [A3074/3075-2, 3076/3077, 3078/3079-2, 3080/3081-2]. CONCERT IN G UPON CHINESE THEMES AND RHYTHMS (Aaran Avshalomov). Eight sides. -
78 Rpm INSTRUMENTAL RECORDINGS
78 rpm INSTRUMENTAL RECORDINGS String, Keyboard & Wind Soloists – Conductors - Orchestras If anything is not clear, please advise as soon as possible and I’ll try to help. HERMANN ABENDROTH [conductor] dir. SYMPHONY ORCHESTRA 4443. 12” PW Dk. Blue Odeon O-7734 [XXB8617/8618]. UNGARISCHE RHAPSODIE (Liszt, arr. Müller-Berghaus). Two sides. Small lbl. stkr., few lt. mks., 2. $10.00. JOHN AMADIO [flutist] 1338. 12” PW Plum Electrola EH 229 [CR1605-I/1604-I]. FLUTE CONCERTO: Andante/ Finale (Mozart). With Orch. Just about 1-2. $12.00. AMAR STRING QUARTET [L. Amar; W. Caspar; P. Hindemith; R. Hindemith] 1095. 12” Blk. EE Polydor 66422-66424 [429bg-434bg]. STRING QUARTET, Op. 22 (Paul Hindemith). Six sides. Just about 1-2. $75.00. ENRIQUE FERNADEZ ARBOS [conductor] dir. MADRID SYMPHONY ORCH. 1519. 12” Blue VT Columbia 67606-D [WKX71/72-2]. LA PROCESIÓN DEL ROCIO (Turina). Two sides. Just about 1-2. $7.00. CLAUDIO ARRAU circa. 1920 CLAUDIO ARRAU [pianist] 3980. 10” Red Decca G-20425 [Be7626/7627]. TARANTELLE IN A FLAT MAJOR, Op. 43/ ÉTUDE IN F MAJOR, Op. 25, No. 3 (both Chopin). 2. $7.00. 1337. 12” Red Decca 25175 [XXB8225/8226]. FOUNTAINS AT THE VILLA D’ESTE (Liszt). Two sides. Odeon matrices. One TB, just about 1-2. $10.00. KURT ATTERBERG [composer/conductor] dir. KAMMARORKESTER 4340. 10” PW Plum HMV X.4946, X.4947 [OSB603-II/604-II, 605-II/606-II]. SUITE PASTORALE, Op. 34 (Kurt Atterberg). Four sides. Just about 1-2. $15.00. ALBERTO BACHMANN [violinist]. 1875-1963. Born in Switzerland and a pupil of Eugen Ysaÿe, Bachmann was active on the concert stage and as a composer. -
Download Booklet
572559bk Kreisler:570034bk Hasse 24/10/11 4:29 PM Page 8 KREISLER ZIMBALIST String Quartets YSAŸE Harmonies du soir Fine Arts Quartet Philharmonic C Orchestra of Europe M Efrem Zimbalist and Fritz Kreisler in San Francisco in 1915, following a performance of Mozart’s Otis Klöber Y Sinfonia Concertante (with Kreisler on viola) under Walter Damrosch Collection of Roy Malan K 8.572559 8 572559bk Kreisler:570034bk Hasse 24/10/11 4:29 PM Page 2 Fritz Kreisler (1875–1962): String Quartet in A minor Otis Klöber Efrem Zimbalist (1890–1985): String Quartet in E minor Otis Klöber is Artistic Director and Principal Conductor of the Philharmonic Orchestra of Europe. His career brings engagements with leading orchestras in Germany, Norway, The Netherlands, Poland, the Czech Republic and Japan, and Eugène Ysaÿe (1858–1931): Harmonies du soir, Op. 31 engagements with leading orchestras. He has a number of recordings to his credit and has recorded for Naxos, VMS, Pan Classics, LTE-Records, Brilliant Classics and Berlin Classics. www.otiskloeber.com Efrem Zimbalist was chronologically the last of the golden great acclaim, owing not only to their charm, but also to a age virtuoso performer/composers. He was immediately scandal that arose around them. Many of the titbits Kreisler Philharmonic Orchestra of Europe preceded by his colleagues Fritz Kreisler and Eugène played on his programmes were his own, but at some point The Philharmonic Orchestra of Europe was first formed in 1996 as part of a cross-border Chamber Music Festival and Ysaÿe, the long line continuing back to Paganini and he started to include arrangements he claimed to have established as the Deutsch-Niederländische KammerPhilharmonie in 2004.