ALASSIO) 4: IV Lento — SIR MARK ELDER Allegro
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Two Letters by Anton Bruckner
Two Letters by Anton Bruckner Jürgen Thym Bruckner ALS, 13.XI.1883 Lieber Freund! Auf Gerathewohl schreibe ich; denn Ihr Brief ist versteckt. Weiß weder Ihre Adresse noch sonstigen Charakter von Ihnen. Danke sehr für Ihr liebes Schreiben. Omnes amici mei dereliquerunt me! In diesen Worten haben Sie die ganze Situation. Hans Richter nennt mich jetzt musik [alischen] Narren weil ich zu wenig kürzen wollte; (wie er sagt;) führt natürlich gar nichts auf; ich stehe gegenwärtig ganz allein da. Wünsche, daß es Ihnen besser ergehen möge, und Sie bald oben hinauf kommen mögen! Dann werden Sie gewiß meiner nicht vergessen. Glück auf! Ihr A. Bruckner Wien, 13. Nov. 1883 Dear Friend: I take the risk or writing to you, even though I cannot find your letter and know neither your address nor title. Thank you very much for your nice letter. All my friends have abandoned me! These words tell you the whole situation. Hans Richter calls me now a musical fool, because I did not want to make enough cuts (as he puts it). And, of course, he does not perform anything at all; I stand alone at the moment. I hope that things will be better for you and that you will soon succeed then you will surely not forget me. Good luck! Your A. Bruckner Vienna, November 13, 1883 Bruckner, ALS, 27.II.1885 Hochgeborener Herr Baron! Schon wieder muß ich zur Last fallen. Da die Sinfonie am 10. März aufgeführt wird, so komme ich schon Sonntag den 8. März früh nach München und werde wieder bei den vier Jahreszeiten Quartier nehmen. -
Programme Scores 180627Da
Symposium Richard Wagner and his successors in the Austro-German conducting tradition Friday/Saturday, 2/3 November 2018 Bern University of the Arts, Papiermühlestr. 13a/d A symposium of the Research Area Interpretation – Bern University of the Arts, in collaboration with the Royal Academy of Music, London www.hkb-interpretation.ch/annotated-scores Richard Wagner published the first major treatise on conducting and interpretation in 1869. His ideas on how to interpret the core Classical and early Romantic orchestral repertoire were declared the benchmark by subsequent generations of conductors, making him the originator of a conducting tradition by which those who came after him defined their art – starting with Wagner’s student Hans von Bülow and progressing from him to Arthur Nikisch, Felix Weingartner, Gustav Mahler, Richard Strauss, Wilhelm Furtwängler and beyond. This conference will bring together leading experts in the research field in question. A workshop and concert with an orchestra with students of the Bern University of the Arts, the Hochschule Luzern – Music and the Royal Academy of Music London, directed by Prof. Ray Holden from the project partner, the Royal Academy of Music, will offer a practical perspective on the interpretation history of the Classical repertoire. A symposium of the Research Area Interpretation – Bern University of the Arts, in collaboration with the Royal Academy of Music, London Head Research Area Interpretation: Martin Skamletz Responsible for the conference: Chris Walton Scientific collaborator: Daniel Allenbach Administration: Sabine Jud www.hkb.bfh.ch/interpretation www.hkb-interpretation.ch Funded by the Swiss National Science Foundation SNSF Media partner Symposium Richard Wagner and his successors Friday, 2 November 2018 HKB, Kammermusiksaal, Papiermühlestr. -
Download American Friends Leaflet
≥ HANDS ACROSS THE WATER AMERICAN FRIENDS www.halle.co.uk @the_halle | thehalle | TheHalleOfficial | @the_halle Sir Charles Hallé The Hallé is the only major orchestra in the world named after its founder An Introduction to the Hallé There are three Hallé American Friend levels to choose from and in APPLICATION FORM recognition of your gift, the Hallé offers the following: The Hallé Orchestra (which is a registered charity) was founded in Name: Manchester in the North of England in 1858 in the middle of the industrial Barbirolli, from $1,500 per annum ($1,450 tax deductable) Address: revolution. As one of Europe’s oldest orchestras the Hallé was founded Exclusive access to Archive Newsletter and website pages • City & State: on the basis that the highest quality music should be accessible to all and • Opportunity to explore Hallé archive with personal support from the Archive this remains one of the organizations key principles to this day. Sir Mark Department for research and/or visits to the Archive in Manchester Zip Code: Elder became Music Director of the Halle in 2000 and has deepened and • Season Brochures (annually) and Member’s Newsletter mailing (3 annually) Telephone: extended the orchestra’s reputation as a world class ensemble with an • Acknowledgement of support in Hallé print including concert programmes and on enviable recording profile. The orchestra performs across the UK and the website Email: world and is resident at the internationally renowned Bridgewater Hall in • First press of each new Hallé CD release Company or Foundation (if applicable): • Advanced notice for any performance featuring Sir Mark taking place in US. -
BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973) -
Vienna Philharmonic Orchestra Probably No Individual Composer Has Ever En- Gether, “I Was Leader of the Second Violins
CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, February 25, 2011, 8pm Franz Schubert (1797–1828) anything else, he learned it all from God him- Zellerbach Hall Symphony No. 2 in B-flat major, D. 125 self”) and the famed Antonio Salieri (“You can do everything, you are a genius”), but also by his Composed in 1815. fellow students. Josef von Spaun, who became a lifelong friend, wrote of their school days to- Vienna Philharmonic Orchestra Probably no individual composer has ever en- gether, “I was leader of the second violins. Little gendered such an avalanche of new music as Schubert stood behind me and fiddled. [Many Semyon Bychkov, conductor flowed from Franz Schubert’s pen in 1815. There orchestras, except for the cellists, performed are almost 200 separate works from that one standing until the mid-19th century.] Very soon, year: the Second and Third Symphonies, a string I noticed that the little musician far surpassed quartet, two piano sonatas and four other large me in rhythmic surety. This aroused my interest PROGRAM piano works, two Masses, four choral composi- and made me realize with what animation the tions, five operas and 146 songs, eight coming in lad, who seemed otherwise quiet and indifferent, a single day in May. Schubert capped the year’s gave himself up to the impression of the beauti- Franz Schubert (1797–1828) Symphony No. 2 in B-flat major, D. 125 (1815) activities by producing Der Erlkönig on New ful symphonies which we played.” The school or- Year’s Eve. He was 18. chestra tackled works by Haydn, Mozart (“You Largo — Allegro vivace A year earlier, in the autumn of 1814, could hear the angels sing,” Schubert wrote of Andante Schubert had been exempted from compul- the G minor Symphony) and early Beethoven, Menuetto: Allegro vivace sory 13-year (!) military service because of his as well as such lesser masters as Krommer, Presto vivace short stature (barely five feet) and terrible eye- Kozeluch, Méhul and Weigl. -
Honorary Members, Rings of Honour, the Nicolai Medal and the “Yellow” List)
Oliver Rathkolb Honours and Awards (Honorary Members, Rings of Honour, the Nicolai Medal and the “Yellow” List) A compilation of the bearers of rings of honour was produced in preparation for the Vienna Philharmonic's centennial celebrations.1 It can not currently be reconstructed when exactly the first rings were awarded. In the archive of the Vienna Philharmonic, there are clues to a ring from 19282, and it follows from an undated index “Ehrenmitglieder, Träger des Ehrenrings, Nicolai Medaillen“3 that the second ring bearer, the Kammersänger Richard Mayr, had received the ring in 1929. Below the list of the first ring bearers: (Dates of the bestowal are not explicitly noted in the original) Dr. Felix von Weingartner (honorary member) Richard Mayr (Kammersänger, honorary member) Staatsrat Dr. Wilhelm Furtwängler (honorary member) Medizinalrat Dr. Josef Neubauer (honorary member) Lotte Lehmann (Kammersängerin) Elisabeth Schumann (Kammersängerin) Generalmusikdirektor Prof. Hans Knappertsbusch (March 12, 1938 on the occasion of his 50th birthday) In the Nazi era, for the first time (apart from Medizinalrat Dr. Josef Neubauer) not only artists were distinguished, but also Gen. Feldmarschall Wilhelm List (unclear when the ring was presented), Baldur von Schirach (March 30, 1942), Dr. Arthur Seyß-Inquart (March 30, 1942). 1 Archive of the Vienna Philharmonic, Depot State Opera, folder on the centennial celebrations 1942, list of the honorary members. 2 Information Dr. Silvia Kargl, AdWPh 3 This undated booklet was discovered in the Archive of the Vienna Philharmonic during its investigation by Dr. Silvia Kargl for possibly new documents for this project in February 2013. 1 Especially the presentation of the ring to Schirach in the context of the centennial celebration was openly propagated in the newspapers. -
CHAN 6652 BOOK.Qxd 22/5/07 4:33 Pm Page 2
CHAN 6652 Cover.qxd 22/5/07 4:31 pm Page 1 CHAN 6652 CHAN 6652 BOOK.qxd 22/5/07 4:33 pm Page 2 Sir Edward Elgar (1857–1934) Elgar: Overtures 1 Froissart, Op. 19 13:48 Concert Overture In his essay on Elgar’s In the South, Donald end of his life, Elgar retained an affection for Tovey, Reid Professor at Edinburgh University Froissart, his first orchestral work of real 2 Cockaigne (In London Town), Op. 40 14:18 and as canny a practical musician as he was a significance. ‘It is difficult to believe that I Concert Overture theorist, writes of conducting the overture wrote it in 1890!’ he exclaimed with typical with a student orchestra: ingenuousness to Fred Gaisberg of His 3 In the South (Alassio), Op. 50 20:32 I shall not easily forget my impression when, on Master’s Voice after recording the overture in Concert Overture first attacking [it] with considerable fear and February 1933, ‘it sounds so brilliant and expectation of its being as difficult as it is fresh.’ Incentive to write it had come in the George Frideric Handel (1685–1759) – brilliant, I found that it simply carried the form of a commission from the Worcester orchestra away with it, and seemed to play itself Festival – a faintly ironic stroke of luck, since Sir Edward Elgar at the first rehearsal. On inquiry, I found that one Elgar, born in Broadheath, had recently settled single member of the orchestra was not reading it in London. Things had at last started to look 4 Overture in D minor (1923) 5:13 at sight… I and my students had never had a up for this son of a local piano tuner. -
Vol. 13, No.2 July 2003
Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Ga Salut d'Amour • Mot d'AmourElgar • Bizarrerie Society • O Happy Eyes • My Dwelt in a Northern Land • Froissart • Spanish Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • T Snow • Fly, Singing Birdournal • From the Bavarian Highlands • The of Life • King Olaf • Imperial March • The Banner of St George Deum and Benedictus • Caractacus • Variations on an Origina Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson Matin • Three Characteristic Pieces • The Dream of Gerontius Serenade Lyrique • Pomp and Circumstance • Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May S Dream Children • Coronation Ode • Weary Wind of the West • • Offertoire • The Apostles • In The South (Alassio) • Introduct and Allegro • Evening Scene • In Smyrna • The Kingdom • Wan Youth • How Calmly the Evening • Pleading • Go, Song of Mine Elegy • Violin Concerto in B minor • Romance • Symphony No Hearken Thou • Coronation March • Crown of India • Great is t Lord • Cantique • The Music Makers • Falstaff • Carissima • So The Birthright • The Windlass • Death on the Hills • Give Unto Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlig Express • Le Drapeau Belge • The Spirit of England • The Fring the Fleet • The Sanguine Fan • ViolinJULY Sonata 2003 Vol.13, in E minor No.2 • Strin Quartet in E minor • Piano Quintet in A minor • Cello Concerto -
Wagner 1900 (Oxford, 9-11 Apr 18)
Wagner 1900 (Oxford, 9-11 Apr 18) Faculty of Music and Jesus College, University of Oxford, Apr 9–11, 2018 Registration deadline: Mar 18, 2018 Merel van Tilburg Wagner 1900. An interdisciplinary conference featuring two performances Registration is now open for ‘Wagner 1900’, an interdisciplinary conference hosted by Jesus Col- lege and the Faculty of Music at the University of Oxford on 9-11 April 2018. With a rich academic programme, Wagner 1900 will investigate the impact of Richard Wagner on fin-de-siècle Vienna in music, history, politics, the visual arts, theatre and German culture. The conference features two performances: Kokoschka’s Doll/The Art of Love (2017), Holywell Music Room, 10 April Kokoschka’s Doll, commissioned from John Casken by the ensemble Counterpoise, investigates the tempestuous love affair between Alma Mahler and Oskar Kokoschka. The singer/narrator will be the distinguished bass Sir John Tomlinson. The first half of the programme sets the scene with a sequence of music and text featuring the work of Gustav and Alma Mahler, Wagner and Zemlinsky, under the title The Art of Love: Alma Mahler’s Life and Music. The sequence, per- formed by the mezzo-soprano Rozanna Madylus, incorporates an unpublished song by Alma previ- ously unperformed in the UK. Isolde (1903/2018), Sheldonian Theatre, 11 April Isolde combines a historical perspective on the landmark Mahler/Roller production of Tristan und Isolde in Vienna (1903) with a bold new interpretation of the opera, performed in an intimate cham- ber reduction, focusing on the character of Isolde. The performance will be conducted by John Warner and directed by Cecilia Stinton, with Kirstin Sharpin (Isolde) and Mae Heydorn (Brangäne). -
Vol. 18, No 3 December 2013
Journal December 2013 Vol.18, No. 3 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] December 2013 Vol. 18, No. 3 Editorial The Severn Suite: Manuscripts, Music and Myths 4 President Robert Kay Julian Lloyd Webber FRCM Imperial propaganda and Caractacus: The woodlands and Elgar’s love of country 30 Bryson Mortensen Vice-Presidents Elgar’s Religious Beliefs 42 Sir David Willcocks, CBE, MC Peter Sutton Diana McVeagh Michael Kennedy, CBE Elgar’s Music for Powick Asylum 53 Michael Pope Barry Collett Dame Janet Baker, CH, DBE Music reviews 55 Leonard Slatkin Julian Rushton Sir Andrew Davis, CBE Donald Hunt, OBE Book reviews 59 Christopher Robinson, CVO, CBE Martin Bird, David Bury, Diana McVeagh, Carl Newton, John Norris Andrew Neill Sir Mark Elder, CBE CD reviews 71 Martin Bird, Ruth Hellen, Richard Wiley DVD reviews 74 Chairman Martin Bird Steven Halls Letters 76 Tony Jones, Christopher Morley, Carl Newton, Robin Self, Alan Tongue Vice-Chairman Stuart Freed Recording notes 79 Michael Plant Treasurer Clive Weeks 100 Years Ago 80 Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: First recording of The Severn Suite. A 78 of excerpts by the winning band, recorded the day after the Festival (Collection of Michael Plant). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. -
Edward ELGAR Symphony No. 1 • Falstaff
8.111256 bk ElgarSymp01_EU 11/28/08 2:00 PM Page 4 Edward Elgar conducts Edward Elgar 8.111256 Symphony No. 1 in A flat, Op. 55 46:28 Elgar conducts Elgar 1 Andante: nobilmente e semplice – Allegro 17:14 AAD 2 Allegro molto – 7:38 3 Adagio 10:16 4 Lento – Allegro 11:20 Recorded 20th – 22nd November, 1930 in Kingsway Hall, London Matrix nos.: Cc 20675-1, 20676-1, 20677-2, 20682-2, 20683-2, 20684-2, 20685-2, 20686-2, 20687-1, 20688-2 Edward and 20689-1 First issued on HMV D 1944 through 1949 ELGAR Falstaff – Symphonic Study in C minor, Op. 68 33:07 5 I. Falstaff and Prince Henry 8:56 6 II. Eastcheap – Gadshill – The Boar’s Head, revelry and sleep 7:02 Symphony No. 1 • Falstaff 7 Dream Interlude: ‘Jack Falstaff, now Sir John, a boy, and page to Thomas Mowbray, Duke of Norfolk’ 2:28 London Symphony Orchestra 8 III. Falstaff’s march – The return through Gloucestershire – The new king – The hurried ride to London 3:57 Edward Elgar 9 Interlude: Gloucestershire, Shallow’s orchard 2:26 0 IV. King Henry V’s progress – The repudiation of Falstaff, and his death 8:18 (Recorded 1930-1932) Recorded 11th and 12th November, 1931 and 4 February, 1932 in EMI Abbey Road Studio No. 1, London Matrix nos.: 2B 2011-1, 2012-2, 2013-2, 2014-1, 2017-1, 2018-1, 2019-1 and 2020-1 First issued on HMV DB 1621 through 1624 London Symphony Orchestra • Edward Elgar Producer and Audio Restoration Engineer: Mark Obert-Thorn Special thanks to Nathan Brown and Charles Niss for providing source material Producer’s Note The present transfers were made using the best portions of two 78 rpm pressing copies for each set. -
The Arthur Olaf Andersen Manuscripts and Personal Papers an Inventory of Holdings at the American Music Research Center
The Arthur Olaf Andersen Manuscripts and Personal Papers An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The Arthur Olaf Andersen Manuscripts and Personal Papers Descriptive summary Title The Arthur Olaf Andersen Manuscripts and Personal Papers Date(s) Creator(s) Andersen, Arthur Olaf, 1880-1958 Andersen, Helen Somerville Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 38 linear feet Scope and Contents Manuscripts and personal papers of Arthur Olaf Andersen (1880-1958), music educator, theorist, and composer, professor at the American Conservatory of Music (1908-1929), Chicago Musical College (1929-1934) and University of Arizona, including manuscript musical compositions, essays, articles, fictional writings, correspondence, photographs, family memorabilia, and compositions by Andersen's wife, Helen Somerville Andersen (1892-1968). Administrative Information Arrangement Collection is arranged by musical works and genre, writings, personal papers, oversize and pencil manuscripts. Access The collection is open for research. Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the American Music Research Center. Preferred Citation [Identification of item], Arthur Olaf Andersen, University of Colorado, Boulder - Page 2 - The Arthur Olaf Andersen Manuscripts and Personal