Shostakovich (1906-1975)

Total Page:16

File Type:pdf, Size:1020Kb

Shostakovich (1906-1975) RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Piano Concerto No. 1 in C minor with Trumpet and String Orchestra, Op. 35 (1933) Dmitri Alexeyev (piano)/Philip Jones (trumpet)/Jerzy Maksymiuk/English Chamber Orchestra ( + Piano Concerto No. 2, Unforgettable Year 1919, Gadfly: Suite, Tahiti Trot, Suites for Jazz Orchestra Nos. 1 and 2) CLASSICS FOR PLEASURE 382234-2 (2007) Victor Aller (piano)/Murray Klein (trumpet)/Felix Slatkin/Concert Arts Orchestra ( + Hindemith: The Four Temperaments) CAPITOL P 8230 (LP) (1953) Leif Ove Andsnes (piano)/Håkan Hardenberger (trumpet)/Paavo Järvi/City of Birmingham Symphony Orchestra ( + Britten: Piano Concerto and Enescu: Legende) EMI CLASSICS 56760-2 (1999) Annie d' Arco (piano)/Maurice André (trumpet)/Jean-François Paillard/Orchestre de Chambre Jean François Paillard (included in collection: "Maurice André Edition - Volume 3") WARNER CLASSICS AND JAZZ WCJ 2564 683219 (6 CDs) (2011) (original LP release: ERATO STU 70477) (1959) Martha Argerich (piano)/Sergei Nakariakov (trumpet)/Alexander Vedernikov/Orchestra della Svizzera Italiana ( + Concertino for 2 Pianos and Quintet for Piano and Strings) EMI CLASSICS 504504-2 (2007) Martha Argerich (piano)/Guy Touvron (trumpet)/Jörg Faerber/Württemberg Chamber Orchestra, Heilbronn ( + Haydn: Concerto for Keyboard and Orchestra in D) DEUTSCHE GRAMMOPHON 439864-2 (1997) Maxim Arkushin (piano)/Dmitri Yablonsky/Russian State Orchestra ( + Prokofiev: Piano Concerto No. 3 and Stravinsky Three Movements from Petrushka) BEL AIR MUSIC BAM 2023 (2003) MusicWeb International Last updated: August 2020 Shostakovich Concertos Dagmar Baloghova´ (piano)/Miroslav Kejmar (trumpet)/Jiri Kout/Prague Radio Symphony Orchestra ( + Chamber Symphony, Op. 110a and Schnittke: Concerto for Piano and Strings) PANTON 81 1309 (1993) (original LP release: PANTON 110396) (1974) Maurizio Barboro (piano)/Vladislav Davidovsky (trumpet)/Antonello Gotta/Belarussian Philharmonic Orchestra (rec. 1993) ( + Piano Concerto No. 2 and The Age of Gold: Ballet Suite) PHOENIX PHCD 00602 (2001) Ksenia Bashmet (piano)/Yuri Bashmet/Moscow Soloists ( + Schnittke: Concero for Piano and Strings and J.S. Bach: Harpsichord Concerto in D minor) QUARTZ RECORDS 2060 (2008) Evgeni Bozhanov (piano)/Hannes Läubin (trumpet)/Radoslaw Szulc/Kammerorchester des Symphonieorchesters des Bayerischen Rundfunks ( + Mozart: Piano Concerto No. 17)\ MERIDEN PH17086 (2018) Ronald Brautigam (piano)/Peter Masseurs (trumpet)/Riccardo Chailly/Royal Concertgebouw Orchestra ( + Tahiti Trot, Suites for Jazz Orchestra Nos. 1 and 2) DECCA 433702-2 (1993) Yefim Bronfman (piano)/Thomas Stevens (trumpet)/Esa-Pekka Salonens/Los Angeles Philharmonic Orchestra ( + Piano Concerto No. 2 and Quintet for Piano and Strings) SONY CLASSICAL SK 60677 (1999) Alexander Cattarino (piano)/Miroslav Kejmar (trumpet)/Bogdan Warchal/Slovak Radio Symphony Orchestra ( + ( + Chamber Symphony, Op. 110a) OPUS 912210-2 (1989) Jitka Cechová (piano)/Johannes Sondermann (trumpet)/Oswald Sallaberger/SW German Radio Symphony Orchestra ( + Symphony No. 12) ARTE NOVA 74321 63649-2 (1999) Angelin Chang (piano)/John Brndiar (trumpet)/John McLaughlin WilliamsCleveland Chamber Symphony ( + Danceanu: Chinonic, Ligeti: Chamber Concerto and Messiaen: Oiseaux Exotiques) TNC RECORDINGS 101551 (2006) Shura Cherkassky (piano)/Harold Jackson (trumpet)/Herbert Menges/Philharmonia Orchestra (rec. 1955) ( + Prokofiev: Piano Concerto No. 2, Chasins: Chinese Pieces, Poulenc: Toccata, Stravinsky: Circus Polka and Beethoven: Bagatelle No. 1) MEDICI MASTERS 13 (2001) (original LP release: HMV ALP 1349) (1956) MusicWeb International p2 Shostakovich Concertos Lise De la Salle (piano)/Gábor Boldoczki (trumpet)/Lawrence Foster//Gulbenkian Foundation Symphony Orchestra, Lisbon ( + Prokofiev: Piano Concerto No. 1 and Liszt: Piano Concerto No. 1) NAÏVE V5053 (2008) Damon Denton (piano)/Frederic Mills (trumpet)/Levon Ambartsumian/Arco Chamber Orchestra ( + Chamber Symphony, Op. 110a and 2 Pieces for String Octet) PHOENIX USA PHCD 151 (2001) Anton Dikov (piano)/Yordan Kozhouharov (trumpet)/Vassil Kazandjiev/Philharmonia Bulgarica (Sofia Chamber Orchestra) ( + Violin Concerto No. 1) SOUND CD 3445 (1988) (original LP release: BALKANTON BCA 1012) (1970s) Peter Donohoe (piano)/Hugh Davies (trumpet)/David Curtis/Orchestra of the Swan ( + Piano Concerto No. 2 and Piano Sonata No. 2) SIGNUM SIGCD493 (2017) Thomas Duis (piano)/Reinhold Friedrich (trumpet)/Lutz Köhler/Deutsches Symphonie-Orchester, Berlin ( + Jolivet: Trumpet Concerto, Concertino for Piano, Trumpet and String Orchestra and Rääts: Concerto for Piano, Trumpet and String Orchestra) CAPRICCIO 10575 (1997) Julian Gallant (piano)/Tim Hawes (trumpet)/Stefan Asbury/Oxford Orchestra da Camera ( + Górecki: Piano Concerto, Hindemith: The Four Temperaments and Williamson: Piano Concerto No. 2) WHITEHALL MQCD 4003 (1994) Lukas Geniušas (piano)/Dmitri Trubakov, (trumpet)/Alexander Sladkovsky/Tatarstan National Symphony Orchestra ( + Piano Concerto No. 2, Violin Concertos Nos. 1and 2, Cello Concertos Nos. 1and 2) MELODIYA MELCD1002465 (3 CDs (2017) Boris Giltburg (piano)/Rhys Owens (trumpet)/Vasily Petrenko/Royal Liverpool Philharmonic Orchestra ( + Piano Concerto No. 2, String Quartets Nos. 2 and 8 {arr. for piano}) NAXOS 8.573666 (2016) Bernd Glemser (piano)/Reinhold Friedrich (trumpet)/Achim Fiedler/ Lucerne Festival Strings ( + String Quartet No. 8) OEHMS OC 561 (2006) Folke Gräsbeck (piano)/Aki Valimaki (trumprt)/Vitaly Kataev/Minsk Chamber Orchestra ( + Chamber Symphony Op. 110a and 24 Preludes) BLUEBELL ABCD 039 (1991) Maria Grünberg (piano)/Sergei Popov (trumpet)/Gennady Rozhdestvensky/Moscow Radio Symphony Orchestra ( + J.S.Bach: Piano Concerto in F minor and Franck: Symphonic Variations) MELODIYA S 0387-8 (LP) (1962) MusicWeb International p3 Shostakovich Concertos Andrey Gugnin (piano)/Vladislav Lavrik (trumpet)/Constantine Orbelian/Moscow Chamber Orchestra ( + Piano Concerto No.2 and 9 Preludes) DELOS DE 3366 (2007) Paul Gulda (piano)/Vladimir Goncharov (trumpet)/Vladimir Fedoseyev/Moscow Radio Symphony Orchestra (rec. 1992) ( + Piano Concerto No. 2) GRAMOLA 98928 (2012) (original CD release: MUSICA CLASSIC 780013-2) (1994) Marc-André Hamelin (piano)/Mark O'Keeffe (trumpet)/Andrew Litton/BBC Scottish Symphony Orchestra ( + Shostakovich: Piano Concerto No. 2 and Shchedrin: Piano Concerto No. 2) HYPERION CDA 67425 (2004) Derek Han (piano)/John Henes (trumpet)/Paul Freeman/Chicago Sinfonietta ( + Tahiti Trot, The Gadfly: Suite,Hamlet: Suite and 5 Days and 5 Nights: Excerpt) PRO ARTE CD 551 (1991) Martin Helmchen (piano)/Paul Beniston (trumpet)/Vladimir Jurowski/London Philharmonic Orchestra ( + Piano Concerto No. 2 and Quintet for Piano and Strings) LONDON PHILHARMONIC ORCHESTRA LPO 0053 (2011) Michael Houstoun (piano)/John Taber (trumpet)/Christopher Lyndon-Gee/New Zealand Symphony Orchestra ( + Piano Concerto No. 2, Festive Overture and Age of Gold: Suite) NAXOS 8.553126 (1995) Valentina Igoshina (piano)/Thomas Hammes (trumpet)/Lavard Skou-Larsen/Deutsche Kammerakademie Neuss ( + Piano Concerto No. 2 and Hamlet: Suite) CPO 777750-2 (2012) Peter Jablonski (piano)/Raymond Simmons (trumpet)/Vladimir Ashkenazy Royal Philharmonic Orchestra ( + Piano Concerto No. 2, Violin Concertos Nos. 1 and 2 and Cello Concertos Nos. 1 and 2) DECCA TRIO 475260-2 (3 CDs) (2003) (original CD release: DECCA 436239-2) (1992) Ingrid Jacoby (piano)/Crispian Steele-Perkins (trumpet)/Sir Charles Mackerras/Royal Philharmonic Orchestra ( + Piano Concerto No.2 and Ustvolskaya: Piano Concerto) DUTTON LABORATORIES CDSA4804 (2003) Martin Jones (piano)/Graham Ashton (trumpet)/William Boughton/English Symphony Orchestra ( + Piano Concerto No. 2 and ChamberSymphony, Op. 110a) NIMBUS NI 5308 (1991) Geneviève Joy (piano)/Roger Delmotte (trumpet)/Louis de Froment/Paris Institute Chamber Orchestra ( + Bartók: Romanian Folkdances and Roussel:Sinfonietta) EPP APG 120 (LP) (c. 1955) MusicWeb International p4 Shostakovich Concertos Eileen Joyce (piano)/Arthur Lockwood (trumpet)/Leslie Heward/Hallé Orchestra (rec. 1941) ( + Borodin: Symphony No. 2, Liadov: Kikimora and Tchaikovsky: Sleeping Beauty -Waltz) DUTTON LABORATORIES CDAX 8010 (1995) (original LP release: COLUMBIA MASTERWORKS ML-4389) (1956) (from COLUMBIA 78s) William Kapell (piano)/Samuel Krauss (trumpet)/ Eugene Ormandy/Philadelphia Orchestra (rec. 1945) ( + Beethoven: Piano Concerto No. 3 - 2 Movements, Mussorgsky: Pictures at an Exhibition and Busoni: Nun komm der Heiden Heiland) ARBITER 108 (1997) (original private LP release: OPUS MLG 71) (?1960s) Yakov Kasman (piano)/Emmanuel Leducq-Barôme/Kaliningrad Philharmonic Orchestra ( + Chamber Symphony, Op. 110a and Schnittke: Concerto for Piano and Strings) CALLIOPE CAL 9299 (2000) Yevgeny Kissin (piano)/Bernard Soustrot (trumpet)/Vladimir Spivakov/St. Petersburg Chamber Orchestra (rec. 1988)
Recommended publications
  • (1; . -;-."':::With, Say, Itzhak ~ ...•
    PROKOFIEVViolin concertos nO.1 in D major op.19 & no.2 . in G minor op.63. Sonata in C major for two violins op.56* [ Pavel Berman, Anna find the effect here, especially Tifu* (violin) Orchestra in the Second Concerto, I della Svizzera ltaliana/ initially disorientating. Yet Andrey Boreyko to hear Prokofiev's super- DYNAMIC CD5 676 virtuoso writing emerging Indianapo!is prizewinner wìth such blernishless poìse Pavel Berman brings and unforced eloquence comes freshness and eloquence as a welcome relìef compared to Prokofiev to the claustrophobic intensity of most recorded accounts. When cornpared The Double Violin Sonata is .(1; . -;-."':::with, say, Itzhak also beautìfully played and . ~~~i,-""-.=...• Perlman's EMI record ed, with Prokofiev's - ' recording wìth lyrìcal genius well to the fore, ~ Gennadi JULlAN HAYLOCK Rozhdestvensky or Isaac Stern's Sony classìc with Eugene Orrnandy, the natural perspectives of this new version, where Pavel Berrnan's sweer-toned playing emerges seductively frorn the orchestrai ranks, are such that one couId almost be listening to different pieces. Subtle internai orchestrai detaìl is revealed (particularly in the First Concerto) that usuali)' lies concealed behind the solo image. The passages where Bcrrnan duets engagingl), with solo woodwind instrumenrs or harp feel more 'sinfonia concertante' than concerto proper. The effect, especially rowards the end of the finale, is often magical, as Berman's silvery purity becomes enveloped in a pulsating web of orchestrai sound. Those raised on classi c accounts from David Oistrakh (EMI),Kyung-Wha Chung (Dccca) or Shlorno Mintz (Deutsche Grammophon), in which one can hear and feel the contract ofbow on string or fingers on fingerboard, ma)' AUGUST 2011 THE STRAD 93 Rue St-Pierre 2 - 1003 Lausanne (eH) Te1.
    [Show full text]
  • Fabulously Tidal — Issue 117, 1 January 2018
    Fabulously Tidal — Issue 117, 1 January 2018 SPONSORED FEATURE — PHILIP SAWYERS' THIRD SYMPHONY Alice McVeigh: 'This is a fabulously tidal symphony, with wild expanses of differing moods, but it begins with a ripple of unease. We in the cello section were told to play the opening with as much stillness as possible, allowing the first theme to grow as it weaves into violins and violas, into threads of flute and oboe, and — from there — into a tempestuous section of interweaving themes. The argument descends into a woodwind quarrel, resolved by flute and oboe, decorated by horns — while the strings continue to niggle and churn away at any sense of calm. 'Then solo bassoon ignites a new, still tenser, section. The violins take over, lightly but resolutely, answered by middle strings conveying a sense of tenderness — but with a bitter aftertaste. (This is incidentally one of Sawyers' most characteristic strengths: a tenderness, never saccharine, often undermined by subtle discontent.) From the brass comes the first glimpse of escape: the powerful broken octave theme over which the other themes furiously contend. 'The cellos at the recapitulation, now deepened and enriched, are twisted by Sawyers into something passionate and grounded in lower brass, reinforced by timpani. The movement ends with the heavy brass seemingly triumphant over the strings' stubborn reiteration of the theme. Still, the lower strings' pessimism prevails. 'Tutti violins kick-start the second movement with a dramatic leap from their richest register, only yielding to keening solo oboe. 'The sobered strings leave the solo winds to mourn, yet, with characteristic Sawyers intensity, something is brewing at subterranean depths: eventually, the violas' chuntering is answered by full insistent brass, in a stormily ecstatic tantrum.
    [Show full text]
  • University Musical Society Oslo Philharmonic
    UNIVERSITY MUSICAL SOCIETY OSLO PHILHARMONIC ORCHESTRA MARISS JANSONS Music Director and Conductor FRANK PETER ZIMMERMANN, Violinist Sunday Evening, November 17, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM Concerto in E minor for Violin and Orchestra, Op. 64 . Mendelssohn Allegro molto appassionata Andante Allegretto non troppo, allegro molto vivace Frank Peter Zimmermann, Violinist INTERMISSION Symphony No. 7 in C major, Op. 60 ("Leningrad") ..... Shostakovich Allegretto Moderate Adagio, moderate risoluto Allegro non troppo CCC Norsk Hydro is proud to be the exclusive worldwide sponsor IfiBUt of the Oslo Philharmonic Orchestra for the period 1990-93. The Oslo Philharmonic and Frank Peter Zimmermann are represented by Columbia Artists Management Inc., New York City. The Philharmonic records for EMl/Angel, Chandos, and Polygram. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts. Twelfth Concert of the 113th Season 113th Annual Choral Union Series Program Notes Violin Concerto in E minor, Op. 64 root tone G on its lowest note, the flute and FELIX MENDELSSOHN (1809-1847) clarinets in pairs are entrusted with the gentle melody. On the opening G string, the solo uring his short life of 38 years, violin becomes the fundament of this delicate Mendelssohn dominated the passage. The two themes are worked out until musical world of Germany and their development reaches the cadenza, exercised the same influence in which Mendelssohn wrote out in full. The England for more than a gener­ cadenza, in turn, serves as a transition to the ationD after his death. The reason for this may reprise.
    [Show full text]
  • To Read Or Download the Competition Program Guide
    THE KLEIN COMPETITION 2021 JUNE 5 & 6 The 36th Annual Irving M. Klein International String Competition TABLE OF CONTENTS Board of Directors Dexter Lowry, President Katherine Cass, Vice President Lian Ophir, Treasurer Ruth Short, Secretary Susan Bates Richard Festinger Peter Gelfand 2 4 5 Kevin Jim Mitchell Sardou Klein Welcome The Visionary The Prizes Tessa Lark Stephanie Leung Marcy Straw, ex officio Lee-Lan Yip Board Emerita 6 7 8 Judith Preves Anderson The Judges/Judging The Mentor Commissioned Works 9 10 11 Competition Format Past Winners About California Music Center Marcy Straw, Executive Director Mitchell Sardou Klein, Artistic Director for the Klein Competition 12 18 22 californiamusiccenter.org [email protected] Artist Programs Artist Biographies Donor Appreciation 415.252.1122 On the cover: 21 25 violinist Gabrielle Després, First Prize winner 2020 In Memory Upcoming Performances On this page: cellist Jiaxun Yao, Second Prize winner 2020 WELCOME WELCOME Welcome to the 36th Annual This year’s distinguished jury includes: Charles Castleman (active violin Irving M. Klein International performer/pedagogue and professor at the University of Miami), Glenn String Competition! This is Dicterow (former New York Philharmonic concertmaster and faculty the second, and we hope the member at the USC Thornton School of Music), Karen Dreyfus (violist, last virtual Klein Competition Associate Professor at the USC Thornton School of Music and the weekend. We have every Manhattan School of Music), our composer, Sakari Dixon Vanderveer, expectation that next June Daniel Stewart (Music Director of the Santa Cruz Symphony and Wattis we will be back live, with Music Director of the San Francisco Symphony Youth Orchestra), Ian our devoted audience in Swensen (Chair of the Violin Faculty at the San Francisco Conservatory attendance, at the San of Music), and Barbara Day Turner (Music Director of the San José Francisco Conservatory.
    [Show full text]
  • Alexander Briger: What Makes a Conductor Is Personality
    Alexander Briger: What Makes a Conductor is Personality The Australian conductor tells us about growing up in a musical clan, founding the Australian World Orchestra, and reducing the work load to better enjoy performances and time with his young family. by Jo Litson, 16 May 2019 The Australian conductor tells us about growing up in a musical clan, founding the Australian World Orchestra, and reducing the work load to better enjoy performances and time with his young family. Was there lots of music around you when you were growing up? Yeah, a lot. My mother was a ballet dancer. My uncle Alastair [Mackerras] who lived downstairs was the Headmaster of Sydney Grammar, and he would drive me to school. He was a classical music fanatic. He owned thousands and thousands of CDs, from A to Z, and he was so methodical about it. So, I learnt a hell of a lot of music. Alexander Briger. Photo © Cameron Grayson What instrument did you play? I played violin but I didn’t really take it all that seriously, I have to say. I was much more into aeroplanes, that sort of thing. My uncle was Charles Mackerras, although I didn’t really know him well, he didn’t live here. He would come home to conduct the Sydney Symphony or the opera occasionally. I remember when I was 12, I was taken to a concert that he gave, Mahler’s Fourth Symphony with the Sydney Symphony, and that was the first concert that I was allowed to go to. I remember just being completely blown away by it and that’s when I started to take music very seriously and to think about conducting.
    [Show full text]
  • Intervju: Anna Vinnitskaya
    Intervju: Anna Vinnitskaya Jag vill lämna publiken med upplevelser som efter en bra film, med nya erfarenheter och upplevelser, snarare än att imponera med virtuositet Konsertpianisten Anna Vinnitskaya tog emot CAPRICCIO på Konzerthaus i Berlin i våras i samband medhennes framförande av Dmitrij Sjostakovitjs första pianokonsert. Vinnitskaya övar när jag anländer, och jag väntar avsiktligt med att knacka på dörren till repetitionsrummet för att inte avbryta mitt i en fras i Rachmaninovs tredje pianokonsert. Samma dag som vårt samtal ägde rum släpptes även hennes senaste skiva med Bachkonserter för piano, inspelad medEvgeni Koroliov, Ljupka Hadzi Georgievaoch Kammerakademie Potsdam (Alpha). Anna Vinnitskaya föddes 1983 i Novorossiysk vid Svarta havet. Båda hennes föräldrar var pianister och hon tog tidigt pianolektioner, från sex års ålder. Hon har gett konserter internationellt sedan hon var sju år gammal. När Vinnitskaya var liten fann hon glädje i musikutövandet; som tonåring blev pianospelandet dock alltmer en form av yrkesidentitet nästan i en slags sportslig riktning för den vänsterhänta pianisten. Hon gav sin första stora konsert – Sjostakovitjs andra pianokonsert – när hon var tolv år gammal. Vinnitskaya har vunnit ett antal tävlingar, första gången när hon var tretton, bland annat Queen Elizabeth Competition i Bryssel 2007 då hon vann första pris – hon var den andra kvinnliga pianisten någonsin att vinna tävlingen – och Leonard Bernstein Award 2008. Hon har även bland annat gett en Junge Wilde- konsert i Dortmund, och gav ut sitt debutalbum 2009. Vinnitskaya är ”Artist in Residence” vid Dresdner Philharmoniker innevarande säsong som kommer att avslutas med just Rachmaninovs tredje pianokonsert i juni 2020. Anna Vinnitskaya © Marco Borggreve Upplevde du att du egentligen någonsin hade något val? Valde du pianot? – För att vara ärlig, nej, valet var inte mitt.
    [Show full text]
  • Roach and Barker Are Elected President, Vice-President Of
    VOLUME XLV VIRGINIA MILITARY INSTITUTE, LEXINGTON, VIRGINIA, JANUARY 17, 1955 NUMBER 14 Eugene List^ Famous Pianist Two '53 Grads Roach And Barker Are Elected To Concertize In Lexington To Be Air Tacs Two 1953 graduates of Virginia President, Vice-President Of OGA For Rockbridge Concert Series Military Institute have been select- ed for duty on the tactical staff Last Tuesday evening, immediately following the Corps One of the most widely Itnown' of the new Air Force Academy, Meeting, the Officer of the Guard Association met for the and praised of American pianists On Lee's Birthday according to an announcen\ent by is young Eugene List, who accord- purpose of electing new officers. Bill Maddox, the Retiring Colonel Robert M. Stillman, Air ing to international critical ac- Seven score to an added eight President, announced his decision to relinquish his position Force Academy Commandant. claim, is destined for music's per- Years bence, was upon this date, because of his desire to apply him- manent "Who's Who." He will ap- They are Lieutenants Harry C. A Virginian bom on the creat of self more diligently to his studies. pear here in concert on February Gornto, HI, of Norfolk, and Charles fate. Law Would Deepen "Basically, we hope to have the R. Steward, of Coolidge, Ariz., both 3 at Lexington High School unde^ The South has cause to same objectives as before: first of- of whom entered the Air Force the auspeces of the Rockbridge commemmrate. all, to enforce the Class System; pilot training program following Army Reserves Concert Series.
    [Show full text]
  • The Musical Partnership of Sergei Prokofiev And
    THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St.
    [Show full text]
  • Volume 75, Number 01 (January 1957) Guy Mccoy
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1957 Volume 75, Number 01 (January 1957) Guy McCoy Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation McCoy, Guy. "Volume 75, Number 01 (January 1957)." , (1957). https://digitalcommons.gardner-webb.edu/etude/79 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. • ••• BEST "tell then certainInlvy yvou want •a Progressive Series Plan teacher. us a story ... " I ke a career of private P~ogressive .Series te~~le~a:a excellent music backgrounds ~~~n~h:eya~~~~;l~~v~tm~ the high standa~s ref~~redto (an Ada Richter musical story, of course I) be eligible for an Appointment as a teu: er 0 e Progressive, Series Plan' of Music Education. piano beginners ••. why not a musical story? Yes. YOJ.lrchild deserves the best, he deserves a (like all children) love the magic of storyland. Bright Progressive Series Plan teacher. Every year more piano teachers turn to musical stories eyes grow brighter-interest reaches a new high at I h.ild receives the BEST to enhance their regular piano lessons.
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • Mozart and Brahms I Contents Welcome 1
    Music to soothe your soul Mozartand Brahms 28 + 29 MAY 2021 CONCERT HALL, QPAC PROGRAM | MOZART AND BRAHMS I CONTENTS WELCOME 1 IF YOU'RE NEW TO THE ORCHESTRA 2 FOR YOUNGER EARS 4 DEFINTION OF TERMS 8 LISTENING GUIDE 10 ARTIST BIOGRAPHIES 14 SUPPORTING YOUR ORCHESTRA 24 MUSICIANS AND MANAGEMENT 26 II PROGRAM | MOZART AND BRAHMS WELCOME Today we are very privileged to welcome back to the QPAC stage one of the world's greatest oboists - Diana Doherty. The oboe is a notoriously tricky instrument with several parameters that make it hard to master, none more so than the temperamental double reed at the top. These are hand- made by the oboist from a weed similar to bamboo (Arundo Donax for those playing at home). There are but a handful of oboists in the world who are invited to perform as soloists outside of their country, and Diana is one of them. One of my first trips to see the Sydney Symphony Orchestra as a teenager was to witness Diana perform the Richard Strauss Oboe Concerto. I marvelled at her gloriously resonant oboe sound, especially as she was 37 weeks pregnant! Nearly a decade later I watched Diana premiere Ross Edwards' Oboe Concerto, dressed (as instructed by the composer) as a wild bird, whilst undertaking dance choreography. I can’t think of any other oboist in the world who can pull off these jaw-dropping feats. Today, Diana performs the most famous work from the oboe repertoire - Mozart's Oboe Concerto in C. Diana is one of those oboists who makes the instrument sound like a human voice, and I have no doubt that you will enjoy her breathtaking rendition of this charming yet virtuosic concerto.
    [Show full text]
  • Download Booklet
    557757 bk Bloch US 20/8/07 8:50 pm Page 5 Royal Scottish National Orchestra the Sydney Opera, has been shown over fifty times on U.S. television, and has been released on DVD. Serebrier regularly champions contemporary music, having commissioned the String Quartet No. 4 by Elliot Carter (for his Formed in 1891 as the Scottish Orchestra, and subsequently known as the Scottish National Orchestra before being Festival Miami), and conducted world première performances of music by Rorem, Schuman, Ives, Knudsen, Biser, granted the title Royal at its centenary celebrations in 1991, the Royal Scottish National Orchestra is one of Europe’s and many others. As a composer, Serebrier has won most important awards in the United States, including two leading ensembles. Distinguished conductors who have contributed to the success of the orchestra include Sir John Guggenheims (as the youngest in that Foundation’s history, at the age of nineteen), Rockefeller Foundation grants, Barbirolli, Karl Rankl, Hans Swarowsky, Walter Susskind, Sir Alexander Gibson, Bryden Thomson, Neeme Järvi, commissions from the National Endowment for the Arts, the Harvard Musical Association, the B.M.I. Award, now Conductor Laureate, and Walter Weller who is now Conductor Emeritus. Alexander Lazarev, who served as Koussevitzky Foundation Award, among others. Born in Uruguay of Russian and Polish parents, Serebrier has Ernest Principal Conductor from 1997 to 2005, was recently appointed Conductor Emeritus. Stéphane Denève was composed more than a hundred works. His First Symphony had its première under Leopold Stokowski (who gave appointed Music Director in 2005 and his first recording with the RSNO of Albert Roussel’s Symphony No.
    [Show full text]