DOCSLIB.ORG

Rachel Barton Pine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rachel Barton Pine To the memory of Harry Edlund, Capricho Latino unaccompanied violin music's greatest champion. 1 Isaac Albéniz (1860–1909) 8 Luis Jorge González (b. 1936) arr. Rachel Barton Pine Epitalamio Tanguero (a Rachel y Greg)* Producer Judith Sherman Engineer Bill Maylone Asturias (Leyenda)* (6:02) (5:48) Recorded July 13–15 and 17–18, 2009, and January 6, 2011, in the Fay and Daniel 2 Levin Performance Studio, WFMT, Chicago, IL Roque Cordero (1917–2008) 9 José White (1835–1918) Violin “ex-Soldat” Guarneri del Gesu, Cremona, 1742 Rapsodia Panameña* (9:14) Etude No. 6 (a Secundino Arango)* Strings Vision Titanium Solo by Thomastik-Infeld Bow Dominique Peccatte 3 Traditional arr. Jesús Florido (5:11) Style Director Jesús Florido Balada Española (Romance)* (2:10) bu Francisco Tárrega (1852–1909) Narration Recorded December 8, 2010, at DG Entertainment, Los Angeles, CA 4 César Espejo (1892–1988) arr. Ruggiero Ricci Narration Director Marice Tobias Narration Engineer Peter Cutler Recuerdos de la Alhambra (3:47) Narration Editing James Ginsburg Prélude Ibérique (a Henryk Szeryng)* bl Front Cover Photo Andrew Eccles (4:44) Joaquín Rodrigo (1901–1999) Art Direction Booklet: Nancy Bieschke; Inlay Card: Adam Fleishman/www.adamfleishman.com 5 Manuel Quiroga (1892–1961) Capriccio (Offrande à Sarasate) (6:18) Emigrantes Celtas (3:09) bm José Serebrier (b. 1938) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted Aires de Tango (a Rachel Barton Pine)* to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s 6 Manuel Quiroga (8:18) activities are supported in part by contributions and grants from individuals, foundations, corporations, and Terra!! Á Nosa!! (2:10) government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, bn 7 Eugène Ysaÿe (1858–1931) Astor Piazzolla (1921–1992) NIB Foundation, Negaunee Foundation, Sage Foundation, and the Illinois Arts Council, a state agency. This project arr. Rachel Barton Pine is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. Sonata No. 6 (a Manuel Quiroga) (6:34) Tango Etude No. 3 con Libertango* (4:22) CONTRIBUTIONS TO THE CHICAGO CLASSICAL RECORDING FOUNDATION MAY BE MADE AT WWW.CEDILLERECORDS.ORG OR 773-989-2515. bo Alan Ridout (1934–1996) Ferdinand the Bull (10:43) CEDILLE RECORDS trademark of The Chicago Classical Recording Foundation with Héctor Elizondo, narrator 1205 W Balmoral Ave., Chicago IL 60640, USA 773.989.2515 tel - 773.989.2517 fax WWW.CEDILLERECORDS.ORG CDR 90000 124 P & C 2011 Cedille Records All Rights Reserved. Made in U.S.A * World Premiere Recording TT: (79:38) 2 3 My interest in music for unaccompa- writing for a glorious melodic instru- composers’ country of origin or af- nied violin originated out of neces- ment that doesn't lend itself natu- filiation. I was so excited by the book A Personal Note sity. As a child growing up in a finan- rally to polyphonic self-sufficiency. that I called the author at his home in by Rachel Barton Pine cially struggling household, I faced a Even today, I continue to discover Sweden. He turned out to be a trans- number of challenges in pursuing my new ways in which to experience lator by profession and a violinist violin studies. I was fortunate to play the creativity and usefulness of this and chamber musician by avocation. on loaned instruments and receive repertoire. It's wonderful to be able Collecting music for unaccompanied scholarships to cover the cost of my to share a wide variety of music that violin had been his life’s work. As our lessons, but my family had to pay out is complete in itself when visiting friendship and correspondence pro- of pocket for many expenses that schools, radio or television stations, gressed, we initiated plans to release scholarships didn’t cover, including private homes, and alternative ven- a new edition of his book as a search- sheet music, my thrift store concert ues such as bars and cafés. I enjoy able online database. clothes, audition recording sessions, showcasing shorter unaccompanied Tragically, though only in his early and bow re-hairs. Choosing to learn violin works as encores following con- 60’s, Harry passed away suddenly and Paganini's Nel Cor Più Non Mi Sento certo performances. And, of course, unexpectedly. His widow generously for solo violin rather than his I Palpiti it is particularly satisfying to play this invited me to their home in Sweden for violin and piano, or Bartók's So- repertoire alone in the practice room. to peruse his personal collection of nata for Solo Violin instead of one of In my effort to collect as many di- more than 1,000 pieces — by far the his duo sonatas, meant less money verse solo works for my instrument world’s largest collection of music for spent on accompanist fees. What as I could find, I came across a book unaccompanied violin. I ultimately began as a practical measure soon that proved to be the Rosetta Stone became the inheritor of this treasure became a passion as I became ever of the genre: Harry Edlund’s Music trove. Sadly, Harry’s widow has also more intrigued by the beauty and for Solo Violin Unaccompanied. The since passed away. versatility of music for unaccompa- slim out-of-print volume contains nied violin. It was during my initial sorting of Har- more than 2,500 titles listed alpha- ry’s music that I first came across the While there is nothing more fulfill- betically with notes on editions and unaccompanied works by Quiroga, ing than collaborating with talented recordings, followed by indexes that Espejo, and Tárrega heard here, along colleagues, it is also fascinating to sort the works by time period and with two different arrangements of explore composers' solutions to 4 5 Asturias (I ultimately chose to create able 19th Century harmonies of José work with the fabulous Cedille artis- my own) and a version of Balada Es- White to the satisfying thorniness of tic team of Jim Ginsburg, Judy Sher- pañola (not the one included on this Roque Cordero. Even the Celtic bag- man, and Bill Maylone. Thanks also to album). Remembering the pieces for pipe was present. Two weeks of seri- Cedille’s hardworking staff, Nancy Bi- solo violin by Rodrigo, González, and ous study convinced me that this was eschke and Cindy Ross, and publicist Cordero I already knew and loved, an album I had to make. Nat Silverman. I couldn’t do any of a possible recording project imme- I’m very grateful to my friend, violin- this without the support of my man- diately presented itself. Once the ist Jesús Florido, for serving as my agement, Mel Kaplan, John Zion, and concept crystallized as music with a “dialect” or style coach as I prepared their colleagues, and my own public- Spanish or Latin American flavor — as the repertoire and played the record- ity team, Jane Covner and Allison opposed to, for example, contempo- ing sessions. I would especially like to Ravenscroft — you guys are the best! rary works by Latino composers with thank Jesús and guitarist Rene Izqui- Lastly, I would like to acknowledge no trace of the traditional music of erdo for their helpful comments on the patience and fortitude of my hus- their homelands — it seemed natural band Greg, who has generously set my arrangement of Asturias as I ex- to include important Latin-flavored perimented with chordal voicing and aside his reticence towards public works by two non-Latino composers: the placement of harmonics, pizzica- speaking and performed Ferdinand Ysaÿe’s famous Sonata No. 6 and Rid- to, ponticello, etc. It is such an honor with me for many appreciative au- out’s imaginative setting of Ferdinand to have been able to collaborate with diences of children and adults. I’m the Bull. I brought all of this music two wonderful composers, Luis Jorge looking forward to our performances with me when my husband and I went González and José Serebrier, and to of Ferdinand for the person who will on our honeymoon cruise in Decem- introduce their gorgeous new works soon arrive and become our most im- ber 2005, embarking in Buenos Aires to the public. Voice-over narration di- portant listener of all: our first child. and journeying around the bottom of rector Marice Tobias did a terrific job Cape Horn back up to Santiago. Dur- in the studio, and watching the great ing my practice sessions on the deep actor Héctor Elizondo in action was sea, I especially enjoyed the diversity a thrill and a revelation: I know now of the repertoire, from the sounds of that not all music involves notes. Of the tango to the evocation of the course, it is always a true pleasure to Spanish guitar, and from the comfort- 6 7 Asturias is the name of a northern the piano. Albéniz was one of the piano and guitar versions for this Capricho Latino region of Spain with a strong local Europe’s most vaunted pianists and arrangement. In measures 62–64, Notes by Elbio Barilari character. Its inhabitants speak his catalogue includes many major I borrow a two-octave pizzicato Asturian as well as Spanish and have piano works, foremost among them technique from Bartók’s Sonata for a distinct musical tradition. Isaac the monumental suite Iberia. Solo Violin to imitate the plucking (1860–1909), a Catalonian of the guitar, while in mm. 103–04, Albéniz The global popularity of Asturias composer, included this tribute began when Albéniz’s fellow-composer I use the violin’s capability for to Asturias as a part of his Chants Francisco Tárrega (1852–1909) made legato as a way to increase the d’Espagne (Melodies of Spain) a a transcription for the guitar.
Load more

Recommended publications
  • Edouard Lalo Symphonie Espagnole for Violin and Orchestra, Op. 21
    PROGRAM NOTES by Phillip Huscher Edouard Lalo Born January 27, 1823, Lille, France. Died April 22, 1892, Paris, France. Symphonie espagnole for Violin and Orchestra, Op. 21 Lalo composed the Symphonie espagnole in 1874 for the violinist Pablo de Sarasate, who introduced the work in Paris on February 7, 1875. The score calls for solo violin and an orchestra consisting of two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle, snare drum, harp, and strings. Performance time is approximately thirty-one minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lalo's Symphonie espagnole were given at the Auditorium Theatre on April 20 and 21, 1900, with Leopold Kramer as soloist and Theodore Thomas conducting. Bizet's Carmen is often thought to have ignited the French fascination with all things Spanish, but Edouard Lalo got there first. His Symphonie espagnole—a Spanish symphony that's really more of a concerto—was premiered in Paris by the virtuoso Spanish violinist Pablo de Sarasate the month before Carmen opened at the Opéra-Comique. And although Carmen wasn't an immediate success (Bizet, who died shortly after the premiere, didn't live to see it achieve great popularity), the Symphonie espagnole quickly became an international hit. It's still Lalo's best-known piece by a wide margin, just as Carmeneventually became Bizet's signature work. Although the surname Lalo is of Spanish origin, Lalo came by his French first name (not to mention his middle names, Victoire Antoine) naturally. His family had been settled in Flanders and in northern France since the sixteenth century.
    [Show full text]
  • 18.7 Instrumental 78S, Pp 173-195
    78 rpm INSTRUMENTAL Sets do NOT have original albums unless indicated. If matrix numbers are needed for any of the items below in cases where they have been omitted, just let me know (preferably sooner rather than later). Albums require wider boxes than I use for records. If albums are available and are wanted, they will have to be shipped separately. U.S. postal charges for shipment within the U.S. are still reasonable (book rate) but out of country fees will probably be around $25.00 for an empty album. Capt. H. E. ADKINS dir. KNELLER HALL MUSICIANS 2107. 12” PW Plum HMV C.2445 [2B2922-IIA/2B2923-IIA]. FANFARES (Composed for the Musicians’ Benevolent Fund by Lord Berners, Sir. W. Davies, Dorothy Howell and Dame Edith Smyth). Two sides . Lt. rubs, cons . 2. $15.00. JOHN AMADIO [flutist] 2510. 12” Red Orth. Vla 9706 [Cc8936-II/Cc8937-II]. KONZERTSTÜCK, Op. 98: Finale (Heinrich Hofmann) / CONCERTINO, Op. 102 (Chaminade). Orch. dir. Lawrance Collingwood . Just about 1-2. $12.00. DANIELE AMFITHEATROF [composer, conductor] dir. PASDELOUP ORCH. 3311. 12” Green Italian Columbia GQX 10855, GQX 10866 [CPTX280-2/ CPTX281-2, CPTX282-3/ CPTX283- 1]. PANORAMA AMERICANO (Amfitheatrof). Four sides. Just about 1-2. $25.00. ENRIQUE FERDNANDEZ ARBOS [composer, conductor] dir. ORCH. 2222. 12” Blue Viva-Tonal Columbia 67607-D [WKX-62-2/WKX-63]. NOCHE DE ARABIA (Arbos). Two sides. Stkr. with Arbos’ autograph attached to lbl. side one. Just about 1-2. $20.00. LOUIS AUBERT [composer, con- ductor] dir. PARIS CONSERVA- TOIRE ORCH. 1570. 10” Purple Eng.
    [Show full text]
  • Franco-Belgian Violin School: on the Rela- Tionship Between Violin Pedagogy and Compositional Practice Convegno Festival Paganiniano Di Carro 2012
    5 il convegno Festival Paganiniano di Carro 2012 Convegno Società dei Concerti onlus 6 La Spezia Centro Studi Opera Omnia Luigi Boccherini Lucca in collaborazione con Palazzetto Bru Zane Centre de Musique Romantique Française Venezia Musicalword.it CAMeC Centro Arte Moderna e Contemporanea Piazza Cesare Battisti 1 Comitato scientifico: Andrea Barizza, La Spezia Alexandre Dratwicki, Venezia Lorenzo Frassà, Lucca Roberto Illiano, Lucca / La Spezia Fulvia Morabito, Lucca Renato Ricco, Salerno Massimiliano Sala, Pistoia Renata Suchowiejko, Cracovia Convegno Festival Paganiniano di Carro 2012 Programma Lunedì 9 LUGLIO 10.00-10.30: Registrazione e accoglienza 10.30-11.00: Apertura dei lavori • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini / Società dei Concerti della Spezia) • Francesco Masinelli (Presidente Società dei Concerti della Spezia) • Massimiliano Sala (Presidente Centro Studi Opera Omnia Luigi Boccherini, Lucca) • Étienne Jardin (Coordinatore scientifico Palazzetto Bru Zane, Venezia) • Cinzia Aloisini (Presidente Istituzione Servizi Culturali, Comune della Spezia) • Paola Sisti (Assessore alla Cultura, Provincia della Spezia) 10.30-11.30 Session 1 Nicolò Paganini e la scuola franco-belga presiede: Roberto Illiano 7 • Renato Ricco (Salerno): Virtuosismo e rivoluzione: Alexandre Boucher • Rohan H. Stewart-MacDonald (Leominster, UK): Approaches to the Orchestra in Paganini’s Violin Concertos • Danilo Prefumo (Milano): L’infuenza dei Concerti di Viotti, Rode e Kreutzer sui Con- certi per violino e orchestra di Nicolò Paganini
    [Show full text]
  • Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation 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 Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
    [Show full text]
  • Sarasate.Pdf
    2 SEMBLANZAS DE COMPOSITORES ESPAÑOLES 29 PABLO DE SARASATE 1844 -1908 Robin Stowell Catedrático de Música de la Universidad de Cardiff ablo de Sarasate fue un heredero espiritual de Nicolò Paganini, un artista elegante y do- tado para el espectáculo cuya facilidad y arte innatos y cuya aristocrática presencia es- P cénica lo convirtieron posiblemente en el más grande y más venerado violinista y com- positor español. Según los testimonios contemporáneos, su elegante pero sutil estilo interpre- tativo era único y su desenfadado virtuosismo difería radicalmente tanto del enfoque “clásico” y enormemente intelectual de la “escuela” rival alemana de Joseph Joachim y sus discípulos co- mo de la técnica más rigurosa y el sonido enérgico y vibrante del más joven Eugène Ysaÿe. Así, Sir George Henschel llegó hasta el extremo de señalar que la interpretación de Sarasate del Concierto para violín Op. 64 de Mendelssohn en el Festival del Bajo Rin de 1877 “fue pa- ra los oídos alemanes como una suerte de revelación, provocando un auténtico furor”. Sarasate introdujo distinción, encanto y refinamiento en el arte de la ejecución violinística y presentaba su música con magnetismo, una facilidad y elegancia naturales y ningún tipo de afectación, hasta el punto de que su público encontraba irresistible su estilo “acariciante”. Su timbre solía describirse como dulce y puro, aunque no especialmente fuerte o vibrante, pero go- zó de un especial renombre por la precisión de su interpretación, la justeza de su afinación y, en palabras de Sir Alexander Mackenzie, su “talento para penetrar de forma intuitiva ‘debajo En «Semblanzas de compositores españoles» un especialista en musicología expone el perfil biográfico y artístico de un autor relevante en la historia de la música en España y analiza el contexto musical, social y cultural en el que desarrolló su obra.
    [Show full text]
  • Al Son De La Clave: El 3+3+2 En El Tango Las Décadas Del 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), Pp
    artículos AL SON DE LA CLAVE: EL 3+3+2 EN EL TANGO LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), pp. 55-68, abril 2016 ISSN 2524-9215 Al son de la clave: el 3+3+2 en el tango LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos [email protected] Facultad de Bellas Artes. Universidad Nacional de La Plata. Argentina RESUMEN En la «Tercera Guardia» del tango, desde 1949 en adelante, dentro de la corriente que llamamos «Tango de vanguardia», estudiamos la clave afroamericana «3+3+2» como un elemento estructural de muchas compo- siciones de referentes, como Astor Piazzolla y Eduardo Rovira. Este artículo surge a partir de la investigación sobre el origen de este material y las transformaciones a través de la historia del tango. Más allá de las vincula- ciones altamente consensuadas con las sonoridades africanas desarrolladas en el Río de la Plata desde la época colonial y con el género milonga du- rante el siglo XIX, en el estudio realizado se identificaron otras apariciones de gran importancia textural en versiones de tangos grabadas durante las décadas del veinte, del treinta y del cuarenta. PALABRAS CLAVE Tango de vanguardia, claves afroamericanas, Piazzolla, Rovira Clang Año 4 | N.°4 | ISSN 2524-9215 55 Enseñar música popular no es tarea sencilla. y único» (2014: s/p). Esa línea de trabajo es la No lo era antes y tampoco ahora que existen que intentamos seguir en nuestras clases y en importantes experiencias en instituciones de nuestros trabajos académicos. Actualmente, en enseñanza formal terciaria y universitaria.
    [Show full text]
  • TANGO… the Perfect Vehicle the Dialogues and Sociocultural Circumstances Informing the Emergence and Evolution of Tango Expressions in Paris Since the Late 1970S
    TANGO… The Perfect Vehicle The dialogues and sociocultural circumstances informing the emergence and evolution of tango expressions in Paris since the late 1970s. Alberto Munarriz A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO March 2015 © Alberto Munarriz, 2015 i Abstract This dissertation examines the various dialogues that have shaped the evolution of contemporary tango variants in Paris since the late 1970s. I focus primarily on the work of a number of Argentine composers who went into political exile in the late 1970s and who continue to live abroad. Drawing on the ideas of Russian linguist Mikhail Bakhtin (concepts of dialogic relationships and polyvocality), I explore the creative mechanisms that allowed these and other artists to engage with a multiplicity of seemingly irreconcilable idioms within the framing concept of tango in order to accommodate their own musical needs and inquietudes. In addition, based on fieldwork conducted in Basel, Berlin, Buenos Aires, Gerona, Paris, and Rotterdam, I examine the mechanism through which musicians (some experienced tango players with longstanding ties with the genre, others young performers who have only recently fully embraced tango) engage with these new forms in order to revisit, create or reconstruct a sense of personal or communal identity through their performances and compositions. I argue that these novel expressions are recognized as tango not because of their melodies, harmonies or rhythmic patterns, but because of the ways these features are “musicalized” by the performers. I also argue that it is due to both the musical heterogeneity that shaped early tango expressions in Argentina and the primacy of performance practices in shaping the genre’s sound that contemporary artists have been able to approach tango as a vehicle capable of accommodating the new musical identities resulting from their socially diverse and diasporic realities.
    [Show full text]
  • Program Notes by Dr
    Pittsburgh Symphony Orchestra 2016-2017 Gala Concert September 17, 2016 MANFRED HONECK, CONDUCTOR GIL SHAHAM, VIOLIN DMITRI SHOSTAKOVICH Festive Overture, Opus 96 SERGEI PROKOFIEV “Masks” from Romeo and Juliet, Opus 64a CLAUDE DEBUSSY Clair de Lune Orch. Arthur Luck FELIX MENDELSSOHN Scherzo from the Incidental Music to Shakespeare’s A Midsummer Night’s Dream, Opus 61 RICHARD STAUSS “Moonlight Scene” from Capriccio, Opus 85 EDVARD GREIG “In the Hall of the Mountain King” from Peer Gynt ARAM KHACHATURIAN Suite from Masquerade I. Waltz IV. Romance V. Galop FRITZ KREISLER Praeludium and Allegro Orch. Clark McAlister FRITZ KREISLER Liebesleid Orch. André Kostelanetz FRITZ KREISLER Schön Rosmarin Orch. André Kostelanetz PABLO DE SARASATE Fantasy on Bizet’s Carmen for Violin and Orchestra, Opus 25 Mr. Shaham Sept. 17, 2016, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA DMITRI SHOSTAKOVICH (1906-1975) Festive Overture, Opus 96 (1954) Among the grand symphonies, concertos, operas and chamber works that Dmitri Shostakovich produced are also many occasional pieces: film scores, tone poems, jingoistic anthems, brief instrumental compositions. Though most of these works are unfamiliar in the West, one — the Festive Overture — has been a favorite since it was written in the autumn of 1954. Shostakovich composed it for a concert on November 7, 1954 commemorating the 37th anniversary of the Russian Revolution, but its jubilant nature suggests it may also have been conceived as an outpouring of relief at the death of Joseph Stalin one year earlier. One critic suggested that the Overture was “a gay picture of streets and squares packed with a young and happy throng.” As its title suggests, the Festive Overture is a brilliant affair, full of fanfare and bursting spirits.
    [Show full text]
  • THE BANDONEÓN by Eduardo Lazarowski
    THE BANDONEÓN By Eduardo Lazarowski “Each 11 of July is celebrated as the National Day of the Bandoneón as homage to the birthday of Aníbal Troilo” … Thus read a headline on a major Argentine newspaper on July 2014. Neither Troilo’s name nor the instrument that contributed to his rising as one of the greatest personalities in tango history are foreign words to tango dancers around the world. But not many tango lovers know the history of the “tango wind box”. So, let’s examine the major technical and historic features of the instrument considered the “soul” of tango music. The bandoneón was invented to substitute the otherwise expensive and not always available church organs in rural communities of north Germany around 1835. Technically, the bandoneón is a portable wind instrument that belongs to the subgroup of “aero-phones” together with the accordion and the concertina, and it is played by depressing a series of buttons (keys) capriciously distributed on the surface of its two side panels. Opening and closing the blower produce the vibration of metal wedges. Professional tango musicians use the so-called achromatic bandoneón, which produce different notes (by the same key) during the opening and closing of the instrument. A standard modern bandoneón has 71 keys (38 and 33 on the right and left panels, respectively), generating 142 voices. The bandoneón owes its name to its inventor, Heinrich Band and the cooperative (Union) created to financially Maestro Julian Hasse performing in Durham NC support its manufacturing. Thus, when the instrument arrived to Buenos Aires, it was phonetically called by its trade-mark label “Band-Union” and the voice soon mutated from bandunión to bandoneón.
    [Show full text]
  • Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 6-4-2018 Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons Recommended Citation Buchanan, Vivian, "Evolving Performance Practice of Debussy's Piano Preludes" (2018). LSU Master's Theses. 4744. https://digitalcommons.lsu.edu/gradschool_theses/4744 This Thesis 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 Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EVOLVING PERFORMANCE PRACTICE OF DEBUSSY’S PIANO PRELUDES A Thesis 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 Master of Music in The Department of Music and Dramatic Arts by Vivian Buchanan B.M., New England Conservatory of Music, 2016 August 2018 Table of Contents Abstract……………………………………………………………………………..iii Chapter 1. Introduction………………………………………………………………… 1 2. The Welte-Mignon…………………………………………………………. 7 3. The French Harpsichord Tradition………………………………………….18 4. Debussy’s Piano Rolls……………………………………………………....35 5. The Early Debussystes……………………………………………………...52 Bibliography………………………………………………………………………...63 Selected Discography………………………………………………………………..66 Vita…………………………………………………………………………………..67 ii Abstract Between 1910 and 1912 Claude Debussy recorded twelve of his solo piano works for the player piano company Welte-Mignon. Although Debussy frequently instructed his students to play his music exactly as written, his own recordings are rife with artistic liberties and interpretive freedom.
    [Show full text]
  • City Research Online
    Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) City Research Online Original citation: Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) Permanent City Research Online URL: http://openaccess.city.ac.uk/7937/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. EARLY RECORDED VIOLINISTS CIHAT AS KIN 1996 EARLY RECORDED VIOLINISTS Cihat Askin Thesis submitted in partial fulfilment of the requirements for the degree of Doctorate of Musical Arts City University Music Department April 1996 2 CONTENTS Acknowledgements 25 Abstract 26 Preface 27 Introduction 29 Abbreviations & Symbols 32 1. Joseph Joachim 33 1.1 A Short Biography 34 1.2 Joachim: Beethoven and Brahms Concertos 35 1.3 Joachim as Performer 39 1.4 Joachim as Teacher 40 1.5 Analysis of Joachim's Recordings 43 1.5.1 Bach Adagio and Tempo di Borea 44 1.5.2 Vibrato 60 1.5.3 Chords 61 1.5.4 Perfect Rubato 62 1.5.5 Agogic Accents 62 1.5.6 Intonation 63 1.6 Conclusion 66 2.
    [Show full text]
  • Carmel Music Society
    Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna
    [Show full text]