DENON/PCM Digital Recordings GENERAL CATALOGUE
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Jan Panenka – Český Pianista a Pedagog
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra klavírní interpretace Hra na klavír Jan Panenka – český pianista a pedagog Diplomová práce Autor práce: BcA. Zuzana Bouřilová Vedoucí práce: doc. MgA. Vladimír Hollý Oponent práce: odb. as. Mgr. Helena Weiser Brno 2014 Bibliografický záznam BOUŘILOVÁ, Zuzana. Jan Panenka – český pianista a pedagog [Jan Panenka – Czech pianist and pedagogue]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra klavírní interpretace, rok. 2014. Vedoucí diplomové práce doc. MgA. Vladimír Hollý. Anotace Diplomová práce Jan Panenka – český pianista a pedagog pojednává o významném českém pianistovi, který se značně podílel na propagaci české hudby, připomínal opomíjené nebo méně hrané skladatele u nás i v zahraničí a stal se předním interpretem Beethovenových klavírních skladeb. Po mnoho let byl sólistou České filharmonie a působil v jednom z předních komorních těles, Sukovu triu. V neposlední řadě se také zabýval pedagogickou činností. Práce obsahuje podrobný chronologický přehled jeho uměleckých aktivit, popis jeho interpretačních vlastností a pedagogických postupů, řadu dobových recenzí a rozhovorů. Annotation The thesis Jan Panenka - Czech pianist and pedagogue discusses the significant Czech pianist who greatly contributed to the promotion of Czech music, like a neglected composer or less played both at home and abroad and became a leading interpreter of Beethoven's piano pieces. For many years he was a soloist of the Czech Philharmonic Orchestra and worked in one of the leading chamber music ensembles, Suk Trio. Finally, he also dealt with the teaching activities. The work includes a detailed chronological overview of his artistic activities, a description of its properties interpretive and educational practices, a number of contemporary reviews and interviews. -
Discography Updates (Updated May, 2021)
Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard. -
Mise En Page 1
Cover and back cover: YELLOW MAGENTA CYAN BLACK Booklet_Martinu_ODE_1158:Livret Philadelphia 10/09/09 16:38 Page 1 marti n˚u robert kolinsky , piano vladimir ashkIesnmaozy Eskelinen sinfonieorchester basel Booklet_Martinu_ODE_1158:Livret Philadelphia 10/09/09 16:38 Page 2 Bohuslav Martin u˚ in Paris (1932) Booklet_Martinu_ODE_1158:Livret Philadelphia 10/09/09 16:38 Page 3 BOHUSLAV MARTI NU˚ (1890–1959) 1 Overture , H. 345 (1953) 6’30 Concerto for piano and orchestra No. 2 , H. 237 (1934) 21’13 2 I. Allegro moderato 8’22 3 II. Poco andante 6’31 4 III. Poco allegro 6’21 Les Fresques de Piero della Francesca , H. 352 (1955) 19’05 5 I. Andante poco moderato 7’40 6 II. Adagio 6’06 7 III. Poco allegro 5’19 Concerto for piano and Orchestra No. 4 “Incantation” , H. 358 (1956) 18’33 8 I. Poco allegro 8’56 9 II. Poco moderato 9’37 3 [65’54] ROBERT KOLINSKY , piano (2–4, 8–9) Sinfonieorchester Basel VLADIMIR ASHKENAZY Produced in association with Internationale Musikfesttage B. Martin u˚, Basel Publishers: Éditions Max Eschig (Overture), Panton International (Piano Concerto No. 2), Universal Edition (Les Fresques), Edition Bärenreiter (Piano Concerto No. 4) Recordings: Musiksaal Stadtcasino Basel, 29 & 30 October 2005 (live; 1–7) & 23 January 2007 (8–9) Executive Producer: Reijo Kiilunen Recording Producer: Andreas Werner Recording Engineer: Jakob Händel Digital Mastering: Enno Mäemets Piano Technician: Heinz Becker P 2009 Ondine Inc., Helsinki © 2009 Ondine Inc., Helsinki Booklet Editor: Jean-Christophe Hausmann Cover Photo: Alberto Venzago (Vladimir Ashkenazy, Robert Kolinsky) Photos of Bohuslav Martin u˚ reproduced with the kind permission of the Bohuslav Martin u˚ Centre/ Poli cˇka Cover Design and Booklet Layout: Eduardo Nestor Gomez Booklet_Martinu_ODE_1158:Livret Philadelphia 10/09/09 16:38 Page 4 n November 1953, within just five days, Bohuslav Martin u˚ (1890 Poli cˇka, Bohemia – 1959 Liestal, Switzerland) composed the Overture H. -
Czech Music Culture in London and Post-1989 Developments in Czechoslovakia at the Time
International Journal of Arts and Commerce ISSN 1929-7106 www.ijac.org.uk CZECH MUSIC CULTURE IN LONDON AND POST-1989 DEVELOPMENTS IN CZECHOSLOVAKIA AT THE TIME Markéta Koutná Univerzita Palackého v Olomouci, Filozofická Fakulta, Katedra muzikologie Czech Republic E-mail: [email protected] Abstract: The study deals with Czech-London musical relations, particularly Czech music culture in London within the context of cultural, social and political change in 1989. An analysis of the opera, chamber music, and symphonic production of Czech music in London between 1984 and 1994 identifies how and whether the Czechoslovak Velvet Revolution affected the firm position that Czech music culture had held in the capital of the United Kingdom. Key words: Czech musical culture, London, emigration, composers, the Velvet Revolution, 1989 The musical relations between the Czechs and London represent an important current issue. As the capital of the United Kingdom, London naturally takes the lead within the British cultural scene. With its population, budget, and institutional capacities, it is one of the world’s major social and cultural centres, and thanks to the high interest of London-based institutions in Czech music, it is also one of the world's top producers of Czech music. The current research examines how, if at all, the events of November 1989 influenced the position of Czech musical culture in London and the relationship between Czech and London musicians. I became interested in this issue while researching data for my dissertation on Czech musical culture in London.1 Using the specific example of interpretations of Czech opera, chamber music and 1 The study is a part of the student grant project IGA_FF_2015_024 Influence of the Velvet Revolution on Czech Musical Culture in London and all the data used in the study draw on the author’s research for her dissertation Czech Musical Culture in London Between 1984 and 1994. -
The 2017 NEA Jazz Masters Tribute Concert Honoring the 2017 National Endowment for the Arts Jazz Masters
4-3 NEA JAZZ.qxp_WPAS 3/24/17 8:41 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN, Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 3, 2017 at 7:30 The Kennedy Center and the National Endowment for the Arts present The 2017 NEA Jazz Masters Tribute Concert Honoring the 2017 National Endowment for the Arts Jazz Masters DEE DEE BRIDGEWATER IRA GITLER DAVE HOLLAND DICK HYMAN DR. LONNIE SMITH Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-3 NEA JAZZ.qxp_WPAS 3/24/17 8:41 AM Page 2 THE 2017 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts KENNY BARRON, NEA Jazz Master DAN MORGENSTERN, NEA Jazz Master GARY GIDDINS, jazz and film critic JESSYE NORMAN, Kennedy Center Honoree and recipient, National Medal of Arts The 2017 NEA JAzz MASTERS Performances by PAQUITO D’RIVERA, saxophone LEE KONITz, alto saxophone Special Guests Bill Charlap, piano Sherrie Maricle and the Theo Croker, trumpet DIVA Jazz Orchestra Aaron Diehl, piano Sherrie Maricle, leader and drummer Robin Eubanks, trombone Tomoko Ohno, piano James Genus, bass Noriko Ueda, bass Donald Harrison, saxophone Jennifer Krupa , lead trombonist Booker T. -
Dee Dee Bridgewater
B.H. Hopper Management Stievestr. 9 - D-80638 München - Tel. +49 (0)89-177031 - Fax. +49 (0)89-177067 email: [email protected] - http://www.hopper-management.com DEE DEE BRIDGEWATER Biography Today Dee Dee is a sparkling ambassador for jazz, but she bathed in its music before she could walk: her mother played the greatest albums of Ella Fitzgerald for her, and her father was a trumpeter who taught music - to Booker Little, Charles Lloyd and George Coleman, amongst others - and who also played in the summer with Dinah Washington. It's the kind of background that leaves its mark on an adolescent, especially one who appeared solo and with a trio as soon as she was able. Dee Dee's other vocation, that of a globetrotter, reared its head when she toured the Soviet Union, in 1969, with the University of Illinois Big Band. A year later, she followed her then husband, Cecil Bridgewater, to New York. Cecil was playing with pianist Horace Silver, and Dee Dee's dream was to sing Horace's compositions one day... Love and Peace, (Verve), her irresistible 1994 album, was that same dream come true. The young singer made an earth-shattering debut in New York; for four years she was the lead vocalist with the band led by Thad Jones and Mel Lewis, an early career marked by concerts and recordings with such authentic giants as Sonny Rollins, Dizzy Gillespie, Dexter Gordon, Max Roach, Roland Kirk... and also rich experiences with Norman Connors, Stanley Clarke, and Frank Foster's "Loud Minority". -
CUMULATIVE INDEX: SECTION (A): ARTICLES
CUMULATIVE INDEX to Czech Music and Other Society Journals: 1974-1994 Abstracted by Richard Beith Issue 2 July 1995 INTRODUCTION The Dvořák Society has always published a journal since the Society was founded in 1974. In the early years, the format and title changed frequently, but the name Czech Music has been used since 1978 and the familiar A5 format has been in use since 1980. Journal size has varied from the first issue, a single sheet of foolscap, printed on both sides, to the latest issue with 192 A5 size pages. Up until the Autumn 1987 issue, Czech Music also contained the “current information” listing concert dates, latest record news and forthcoming Society events. Since 1988 the entirely separate Newsletter has been published to cover such “current information”. Ephemeral items such as crosswords, concert announcements and new record issue news are omitted from the index, particularly such information appearing in the Journals prior to 1988, i.e. before the introduction of the separate Newsletter. The titles of articles, as printed, have occasionally been expanded by additional explanations in parenthesis. For example, “Music to Dismember” referring to cuts in live performances of Dvořák’s works now has the added comment: (Performance Cuts). Titles of musical works have generally been left in the language of the original articles, Czech, English or Slovak as appropriate. As the journals have not been given continuous pagination within one volume, i.e., as every separate issue starts with a page 1, a very full reference is given, egg: “March 74 1:1:1” = March 1974 issue, Volume 1, No 1, article starting on page 1; Summer 1993 18:1:87 = Summer 1993 issue, Volume 18, No 1, article starting on page 87. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Mediation, Improvisations, and All That Jazz
Journal of Dispute Resolution Volume 2007 Issue 2 Article 1 2007 Mediation, Improvisations, and All That Jazz John W. Cooley Follow this and additional works at: https://scholarship.law.missouri.edu/jdr Part of the Dispute Resolution and Arbitration Commons Recommended Citation John W. Cooley, Mediation, Improvisations, and All That Jazz, 2007 J. Disp. Resol. (2007) Available at: https://scholarship.law.missouri.edu/jdr/vol2007/iss2/1 This Article is brought to you for free and open access by the Law Journals at University of Missouri School of Law Scholarship Repository. It has been accepted for inclusion in Journal of Dispute Resolution by an authorized editor of University of Missouri School of Law Scholarship Repository. For more information, please contact [email protected]. Cooley: Cooley: Mediation, Improvisations, and All That Jazz JOURNAL OF DISPUTE RESOLUTION VOLUME 2007 NUMBER 2 ARTICLES Mediation, Improvisation, and All That Jazz John W Cooley* I. INTRODUCTION ................................................................................................ 327 II. IMPROVISATION-GENERAL ...................................................... ........ 329 A. Improvisation in the PerformanceArts ................................................... 329 1. Improvisation in Theater Performance-Improvisation as Problem Solving and Playing the Game............................................................ 329 2. Improvisation in Dance Performance ................................................. 331 3. Improvisation in Comedy Performance.............................................. -
Supraphon Classical Music Catalogue 2019
s cla ssical music cat alogue 2020 Pavel Haas Quarte t 2 # Gramophone Award, 2007 # BBC Music Magazine Award, 2007 # BBC Radio 3 Disc of the Week, 2006 # Supersonic Award of Pizzicato, 2006 SU 3877-2 # BBC Music Magazine Chamber Choice, 2008 # BBC Radio 3 Disc of the Week, 2007 # Gramophone Editor’s Choice, 2008 # Cannes Classical Award, MIDEM 2009 SU 3922-2 # Gramophone Disc of the Month, 2010 # BBC Radio 3 Disc of the Week, 2010 # Caecilia, 2010 # Diapason d’Or de l’Année, 2010 # Choc de Classica, 2011 SU 3957-2 # Gramophone Award, Recording of the Year, 2011 # BBC Music Magazine Disc of the Month, 2010 # Sunday Times Album of the Week, 2010 # ClassicsToday Disc of the Month, 2011 SU 4038-2/1 # Gramophone Award, 2014 SU 4110-2 # Gramophone Award, 2015 # BBC Music Magazine Award, 2016 # Presto Classical Recordings of the Year, 2016 # Sinfini Best Chamber Album of the Year, 2015 # BBC Radio 3 Disc of the Week, 2015 # MusicWeb International Recording of the Month, 2015 SU 4172-2/1 SU 3877-2 SU 3922-2 SU 3957-2 SU 4038-2/1 # Gramophone Award, 2018 # Presto Classical Recordings of the Year, 2017 # Gramophone Editor’s Choice, 2017 # BBC Music Magazine Disc of the Month, 2017 # Sunday Times Album of the Week, 2017 # Diapason d’Or, 2018 SU 4195-2/1 # Presto Classical Recording of the Week, 2019 # Europadisc Disc of the Week, 2019 # The Times 100 Best Records of the Year, 2019 SU 4110-2 SU 4172-2/1 SU 4195-2/1 SU 4271-2 SU 4271-2 tomáš NetoPil co ndu ctor 3 You hear everything and yet not a single note obtrudes. -
Dee Dee Bridgewater <I Class="Fa Fa-Qrcode" Title="Мероприятие COVID-FREE" Style="Color
МЕРОПРИЯТИЕ COVID-FREE • Обязательно предъявление QR-кода и документа, удостоверяющего личность; • Прохождение термометрии; • Наличие защитной маски при входе. Подробнее Ди Ди Бриджуотер — одна из лучших вокалисток современного джазового мэйнстрима, суперзвезда, умеющая с первых минут появления на сцене покорить самую взыскательную публику и критику. Она выступала и записывалась с лучшими джазовыми музыкантами, среди которых — Рей Чарльз, Джордж Бенсон, Сонни Роллинз, Диззи Гиллеспи, Декстер Гордон, Макс Роуч. Для полной реализации своего таланта Бриджуотер в 30 лет решилась на смелый шаг: она покинула Родину, переехала в Париж и начала там музыкальную карьеру с чистого листа. Именно Франция по-настоящему раскрыла ее талант величайшей джазовой певицы и театральной актрисы. Здесь она создала свой джаз-бэнд и получила признание. Ди Ди Бриджуотер работала в телешоу с великим Шарлем Азновуром. Благодаря своей общественной активности она стала первой американкой, вошедшей в состав Высшего совета франкофонии — государственного органа защиты и развития культуры Франции. В 2005 году Ди Ди Бриджуотер выбрали Послом ООН по вопросам продовольствия и сельского хозяйства. В этом качестве она объездила десятки стран, в том числе на Африканском континенте, внося посильный вклад в решение проблемы недоедания и голода. Ди Ди Бриджуотер родилась в Мемфисе 27 мая 1950 года. Росла под пение Эллы Фицджералд, чьи пластинки без конца слушала мать, и звуки трубы, на которой играл отец — не только первоклассный трубач и педагог, среди учеников которого были саксофонисты Чарлз Ллойд и Джордж Коулман, но и ди-джей на WDIA, ведущей радиостанции в Мемфисе. В ансамбле, где играл её отец, девочка получила свой первый профессиональный опыт. Начав петь в университетском биг-бэнде (с которым, кстати, приезжала в СССР в 1969 г.), она познакомилась с трубачом Сесилом Бриджуотером, за которого вышла замуж и переехала в Нью-Йорк. -
BENNY GOLSON NEA Jazz Master (1996)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BENNY GOLSON NEA Jazz Master (1996) Interviewee: Benny Golson (January 25, 1929 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: January 8-9, 2009 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 119 pp. Brown: Today is January 8th, 2009. My name is Anthony Brown, and with Ken Kimery we are conducting the Smithsonian National Endowment for the Arts Oral History Program interview with Mr. Benny Golson, arranger, composer, elder statesman, tenor saxophonist. I should say probably the sterling example of integrity. How else can I preface my remarks about one of my heroes in this music, Benny Golson, in his house in Los Angeles? Good afternoon, Mr. Benny Golson. How are you today? Golson: Good afternoon. Brown: We’d like to start – this is the oral history interview that we will attempt to capture your life and music. As an oral history, we’re going to begin from the very beginning. So if you could start by telling us your first – your full name (given at birth), your birthplace, and birthdate. Golson: My full name is Benny Golson, Jr. Born in Philadelphia, Pennsylvania. The year is 1929. Brown: Did you want to give the exact date? Golson: January 25th. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Brown: That date has been – I’ve seen several different references. Even the Grove Dictionary of Jazz had a disclaimer saying, we originally published it as January 26th.