DOCSLIB.ORG

Notes on the Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Notes on the Music Notes on the music What are Brahms? This amusing gaffe may be But whatever your view you will surely see them, familiar but it ironically suggests a plurality and, in the words of the poet William Ritter, as ‘like in the case of the piano music, a panorama of the lustre of golden parks in autumn and the infinite richness and range. At the age of twenty austere black and white of winter walks’: a fitting Brahms introduced himself to Robert and Clara conclusion to an autobiographical journey of Schumann playing his piano sonatas and leaving exultant and reflective glory. them awed and enchanted by the sheer size and grandeur of his talent. For them he was But enough of generality. David Wilde’s richly already ‘fully armed’ and for Clara, in particular, a comprehensive programme opens with a young eagle had spread the wings of his genius. dramatic curtain-raiser – the two Rhapsodies The sonatas are, indeed, heroic utterances, Op 79, a notable return to Brahms’ Sturm und remembering Beethoven yet leaping into new Drang Romanticism. Here the terse opening realms of expression and an altogether novel of the B minor Rhapsody and its pleading, Romantic rhetoric. Such youthful outpouring was, Schumannesque second subject give us Brahms’ however, short-lived; Brahms turned gratefully old rhetorical sense of contrast, with an additional to variation form, finding the genre congenial to surprise in the form of a final dark-hued reworking his ever-growing mastery and imagination. of the central molto dolce expressivo’s chiming, bell-like counterpoints. The G minor Rhapsody is Throughout his life there would be temporary dominated by a powerful, arching melody and a returns to his early boldness, a memory no sombre triplet figure deployed with great ingenuity. doubt of his first confidence and bravura both Brahms may have dismissed his opus 79 as ‘trash’, as composer and pianist. Yet the primary mood but the Rhapsodies’ popularity testifies to his of ‘late’ Brahms is one of a deep introspection return to his early heady ambition with all of his and bittersweet lyricism that form a unique and first ardour and assurance resurrected. elusive part of the keyboard repertoire. How significant, for example, that the Fantasy Pieces The Variations on an Original Theme are the Op 116 should contain three consecutive slow first of two sets of variations published as intermezzi placed beneath more turbulent Brahms’ Op 21. Surprisingly neglected, and capriccios. It is customary to consider those final given short critical shrift even by such committed masterpieces, with their startling resurgences Brahmsians as the late Denis Matthews, they of energy (a case of Dylan Thomas’s ‘Do not go are admittedly uneven. But, like Rachmaninov’s gentle into that good night, / Old age should burn similarly uneven Variations on a theme of and rave at close of day; / Rage, rage against the Chopin, they contain music of a beauty rare dying of the light’), the truest essence of Brahms. even in Brahms. The theme itself is of a haunting breadth and beauty, the immediately lead to a profusion of ideas, developing one following variations of polyphonic and canonic from another with masterful ease and cunning. interest while Variation 6 shows an increase Yet despite such manifest invention the theme’s in momentum before the near-pointillist simple harmonic and periodic structure is wide leaping intervals of Variation 7. There is scrupulously preserved. Although the eight-bar full-blooded Brahmsian virtuoso chording in scheme is held intact throughout the twenty- Variation 8 but it is Variation 11 with its chains of five variations immense variety is provided, trills (a memory of Beethoven’s Op 111 sonata?) paradoxically, by the theme’s seeming limitations. that leads us to a coda glowing with human Few works balance so perfectly a strict adherence warmth, a musical sunset that has surely been to the rules with such luxuriant artistic freedom. underestimated down the ages. As on his previous Delphian disc of music by Liszt Turning from early to late Brahms we come and Busoni, David Wilde’s power and individuality to the three Intermezzi Op 117. The first is make a separation between creator and re-creator prefaced by some lines from a Scottish lullaby, unrealistic. Generous in a truly Brahmsian spirit, and its principal melody is subtly entwined with with all repeats he finds ample opportunity to re- a varied bell-like accompaniment and a gently align voicing and texture, rejecting a more familiar rocking left-hand rhythm, with deeper reflection carbon-copy approach. Again, he sees the simple reserved for the più adagio. The arabesques grace and lyricism favoured by many pianists as of the second piece suggest a variation on a an evasion of a deeper poetic truth, and if he melody as yet unheard. And its gentle regret gives us all of Brahms’ strength in the fugue from collapses into an altogether bleaker mood in the the ‘Handel’ Variations (making nonsense of Hugo third which confirms a disconsolate moment in Wolf’s claim, ‘Brahms cannot exult’), he is no less octaves in the first. Later, a gently cascading responsive to darker nights of the soul (Op 117). contrast shifts from major to minor, clouding Always there is an open invitation to re-appraise the music’s graceful momentum with disquiet. Brahms’ genius, not by a radical reinterpretation, by the determinedly ‘different’ way of, say, Gould Finally, an undisputed masterpiece: the or Pogorelich, but by a probing and enquiring look Variations and Fugue on a theme by Handel. beneath the music’s surface life. David Wilde may Composed in 1861 and first performed by Clara be true to the composer, but he is a pianist to Schumann, the Variations take their theme from make you think again. three ‘lessons’ for the harpsichord which Handel © 2009 Bryce Morrison wrote for the children of his Royal patron, the Bryce Morrison is an internationally famous teacher, critic, Prince of Wales. Neat and dapper beginnings broadcaster and pianist, and is considered among the world’s leading authorities on piano performance. David Wilde ‘Superb performer, Wilde is a passionate teacher, and his pupils magnificent musician’ include Jack Gibbons, Christopher Oakden, – Nadia Boulanger Thomas Hell and Irina Georgieva. Wilde taught at the Hochschule für Musik und Theater in Pianist and composer David Hannover from 1981 to 2000, and was made Wilde was born in Manchester a Professor Emeritus of the State of Lower in 1935. A busy wartime Saxony in 1983. He has given many lectures career as ‘boy pianist’ brought in both English and German, including his him to the attention of the paper on psychology and the meaning of legendary pianist Solomon, who arranged for music, ‘Listening to the Shadows’. His analysis Wilde to study with his pupil and assistant Franz of Liszt’s B minor Sonata, which he read and Reizenstein. Later, from 1949, Wilde studied illustrated at London’s Analytical Psychology composition with Professor Richard Hall at the Club (of which he is an elected life member), Royal Manchester College of Music (precursor was originally written as a contribution to the of the Royal Northern College of Music), of book Analectia Lisztiana, ed. Michael Saffle which he was elected a Fellow in 1953, the (publ. Virginia Tech). same year he was awarded the prestigious Walter Dayas Gold Medal. During the 1990s, having travelled to besieged Sarajevo to support his heroic colleagues there, In 1961 Wilde won a first prize at the Liszt- Wilde composed several works protesting Bartók competition in Budapest. The legendary against human rights abuses in our time, Nadia Boulanger was a jury member, and notably The Cellist of Sarajevo (1992), the Suite invited him to visit her in Paris at any suitable for Violin and Piano, Cry ‘Bosnia Herzegovina’, time, so when in the same year Wilde was the String Quartet (of which the last movement awarded a senior scholarship by the Caird is a ‘Threnody for the Unknown Victim of War Foundation of Dundee he wrote to accept and Oppression’), and the opera London Under her invitation and ask if he might work with Siege, after an idea by Bosnian poet Goran her on a more regular basis. She responded Simic. The Cellist of Sarajevo, dedicated to most encouragingly, and Wilde joined her in Vedran Smailovic, is played the world over and Paris and at the Conservatoire Americain in was recorded by Yo-Yo Ma for Sony Classical, Fontainebleau (of which Boulanger was then and the opera London under Siege was Musical Director) in 1963, and again in 1964 produced by the State Theatre of Lower Saxony and 1968, remaining in close touch with in 1998. The then Governor of Sarajevo travelled ‘Mademoiselle’ for the rest of her long life. to Germany to attend the first performance. Wilde was twice honoured by the Bosnians: recording of his concerto, wrote simply: ‘David in 2003 he was awarded a diploma by the Wilde was first class.’ International Peace Committee of Sarajevo ‘for services to human rights in Bosnia-Herzegovina More recently, Wilde has commissioned a and throughout Europe’, and in 2005 he was sonata from Gabriel Jackson with funds from presented with the ‘Symbol of the Open Door’, the Scottish Arts Council, the Britten-Pears representing honorary Bosnian Citizenship. Trust and the Ralph Vaughan Williams Trust, and premiered it at the Queen’s Hall, Edinburgh Wilde has given many concert tours of the UK in 2007. He gave the European premiere of and played frequently with all the major London this work during a recital in Braunschweig, orchestras, all the BBC orchestras, and the Germany in October 2008.
Load more

Recommended publications
  • Homily 2Nd Sunday of Advent
    Homily Bar 5: 1-9 Ps 126: 1-2, 2-3, 4-5, 6 2nd Sunday of Advent – C Phil 1: 4-6, 8-11 Rev. Peter G. Jankowski Lk 3: 1-6 December 8-9, 2018 The story I am about to share with you is entitled, The Cellist of Sarajevo and was written by Paul Sullivan for a periodical called Hope Magazine. This is the story… As a pianist, I was invited to perform with cellist Eugene Friesen at the International Cello Festival in Manchester, England. Every two years a group of the world’s greatest cellists and others devoted to that unassuming instrument – bow makers, collectors, historians – gather for a week of workshops, master classes, seminars, recitals and parties. Each evening the six hundred or so participants assemble for a concert. The opening-night performance at the Royal Northern College of Music consisted of works for unaccompanied cello. There on the stage in the magnificent concert hall was a solitary chair. No piano, no music stand, no conductor’s podium. This was to be cello music in its purest, most intense form. The atmosphere was supercharged with anticipation and concentration. The world-famous cellist Yo-Yo Ma was one of the performers that April night in 1994, and there was a moving story behind the musical composition he would play: On May 27, 1992, in Sarajevo, one of the few bakeries that still had a supply of flour was making and distributing bread to the starving, war-shattered people. At 4:00 p.m. a long line stretched into the street.
    [Show full text]
  • SRCD 2345 Book
    British Piano Concertos Stanford • Vaughan Williams Hoddinott • Williamson Finzi • Foulds • Bridge Rawsthorne • Ireland Busch • Moeran Berkeley • Scott 1 DISC ONE 77’20” The following Scherzo falls into four parts: a fluent and ascending melody; an oppressive dance in 10/6; a return to the first section and finally the culmination of the movement where SIR CHARLES VILLIERS STANFORD (1852-1924) all the previous material collides and reaches a violent apotheosis. Of considerable metrical 1-3 intricacy, this movement derives harmonically and melodically from a four-note motif. 1st Movement: Allegro moderato 15’39” Marked , the slow movement is a set of variations which unfolds in a 2nd Movement: Adagio molto 11’32” flowing 3/2 time. Inward-looking, this is the concerto’s emotional core, its wistful opening 3rd Movement: Allegro molto 10’19” for piano establishing a mood of restrained lamentation whilst the shattering brass Malcolm Binns, piano motifs introduce a more agonized form of grief, close to raging despair. The cadenza brings London Symphony Orchestra, conducted by Nicholas Braithwaite some measure of peace. In the extrovert Finale, the first movement’s orchestration and metres are From SRCD219 ADD c 1985 recalled and the soloist goads the orchestra, with its ebullience restored, towards ever-greater feats of rhythmical dexterity. This typically exultant finale, in modified rondo form, re- GERALD FINZI (1901-1956) affirms the concerto’s tonal centre of E flat. 4 Though technically brilliant, it is the concerto’s unabashed lyricism
    [Show full text]
  • Critical Study of Two Piano Transcriptions by August Stradal And
    CRITICAL STUDY OF TWO PIANO TRANSCRIPTIONS BY AUGUST STRADAL AND THE TRANSCRIPTIONS’ SOURCES: ALTERATIONS TO THE SCORE BASED ON HISTORICAL EVIDENCE AND ARTISTIC JUDGEMENT JUAN GUILLERMO VIZCARRA, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Joseph Banowetz, Major Professor Steven Harlos, Committee Member Pamela Paul, Committee Member Steven Harlos, Chair of Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Vizcarra, Juan Guillermo. Critical Study of Two Piano Transcriptions by August Stradal and the Transcriptions’ Sources: Alterations to the Score Based on Historical Evidence and Artistic Judgment. Doctor of Musical Arts (Performance), May 2015, 35 pp., 15 musical examples, bibliography, 6 titles. The fact that a number of pianists of the past two centuries adapted, embellished, and rearranged piano works for performance, be these original works or transcriptions, has been well documented throughout history. This thought, in addition to the fact that Stradal’s scores needed revision, encouraged me to make alterations to Stradal’s transcriptions and served as a strong incentive to write the current study. In it, I will comment on the alterations performed to segments of Stradal’s piano transcriptions of Wagner’s Schluβ der letzten Aufzuges (End of the last Act) from Siegfried and Trauermusik aus dem letzten Aufzug (Siegfried’s Funeral March) from Götterdämmerung. These changes have the purpose of reflecting in the piano as closely as possible the sonorous reality of the transcriptions’ operatic sources and, by doing so, making Stradal’s arrangements more effective for performance.
    [Show full text]
  • Download New Glass Review 08
    The Corning Museum of Glass NewGlass Review 8 The Corning Museum of Glass Corning, New York 1987 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1986 calendar year. innerhalb des Kalenderjahres 1986 entworfen und gefertigt wurden. For additional copies of New Glass Review Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: Sales Department The Corning Museum of Glass One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1987 Alle Rechtevorbehalten, 1987 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-: 1-116-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Kongref3-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements and Comments/Statements und Kommentar der Jury 4 Artists and Objects/Kunstler und Objekte 9 Doug Anderson's Finders Creepers 30 Bibliography/Bibliographie 33 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 35 Countries RepresentedA/ertretene Lander 68 ch mag die Arbeit von Mark Lorenzi - jedenfalls mag ich das, was Jury Statements Imir das Dia davon wiedergibt. Diese Farben passen auffallend gut zu- sammen, und Hohe und Starke der Mauer scheinen erstaunlich, aber genau richtig fur diesen Durchmesser. Das Objekt kann ebenso gut ein like Mark Lorenzi's piece - at least I like what the slide tells me about it.
    [Show full text]
  • Gabriel Jackson Requiem He Vasari Singers Gave the with People Today
    Oxford Winter 2008 musicnow32 Gabriel Jackson Requiem he Vasari Singers gave the with people today. We worked closely world premiere of Gabriel on the choice of poems and those which TJackson’s Requiem at St Gabriel ultimately selected for musical Martin-in-the-Fields on Tuesday setting reflect our desire to focus on life 11 November. The Vasari Singers, who renewal rather than death. commissioned the work, have a long The result is a unique blend of tradition of performing and commis- the traditional and the refreshingly sioning new music, and remain at the unfamiliar. Gabriel infuses the whole forefront of the contemporary choral with his luminous and ecstatic writing, music scene. producing a sublime work of true Jeremy Backhouse, Music Director of the profundity and vibrancy. Vasari Singers, and Gabriel Jackson reflect JEREMY BACKHOUSE on the Requiem: Photo: KatieVandyck I had long been an admirer of the choral output of Gabriel Jackson, one of the sit comfortably within the context of a leading composers of his generation, and cathedral Evensong, but that the works had been delighted with his anthem Now could also look beyond any constraints I have known, O Lord, written for our of Liturgy or formal religious doctrine 25th Anniversary in 2005. That encour- to embrace a wider, more ecumenical aged me to approach Gabriel to write us audience; something more humanistic a more extended work and thus the idea perhaps, that might connect more of a Requiem was born. relevantly with multi-cultural, multi-faith societies of the world in the twenty-first I wanted the traditional format to century.
    [Show full text]
  • Franz Liszt's Early Weimar Period Piano Waltzes
    Franz Liszt’s Early Weimar Period Piano Waltzes A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Performance Studies Division Of the College-Conservatory of Music 2017 by Wei-Ting Yin B.A., National Taiwan Normal University, 2004 M.M., National Taiwan Normal University, 2006 Abstract The piano concert waltz genre had already been established by Carl Maria von Weber, who had expanded the traditional waltz by combining several sequential dances, adding an introduction and coda, and using the first waltz as a refrain to create a rondo-like form. Weber therefore elevated the waltz genre to a concert piece and influenced later composers like Chopin and Liszt. Liszt’s waltzes from the early 1850s are either based on the concert waltz type innovated by Weber or draw on previous compositions by Liszt and other composers. Franz Liszt published Soirées de Vienne, Valse-Impromptu, and Trois Caprices-Valses during the years 1850–53. Among these waltzes, Valse-Impromptu and Trois Caprices-Valses are based on previous versions composed from 1836–43. This document discusses Liszt’s compositional style in the waltzes from the early 1850s through an analysis of their formal structure, tonality, harmony, tempo changes, and virtuosic writing. It also includes the history of the piano waltz, the waltz style of Schubert, Weber, and Chopin, and the historical background of piano waltzes by Liszt from the early 1850s. In the end, my document will shed some light on the understanding of the stylistic diversity of Liszt’s piano waltzes from his early Weimar years.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers Q-Z PRIAULX RAINIER (1903-1986) Born in Howick, Natal, South Africa. She sudied violin at the South African College of Music in Capetown and later in London at the Royal Academy of Music. At the latter school she also studied composition with John McEwen and subsequently joined its staff as a professor of composition. In Paris she was also taught by Nadia Boulanger. Among her other orchestral works are a Sinfonia da Camera, Violin Concerto and a Dance Concerto "Phala-Phala." Cello Concerto (1963-4) Jacqueline du Pré (cello)/Norman del Mar/BBC Symphony Orchestra (rec. 1964) ( + Elgar: Cello Concerto and Rubbra: Cello Sonata) BBC LEGENDS BBCL 42442 (2008) THOMAS RAJNA (b. 1928) Born in Budapest. He studied at the Franz Liszt Academy under Zoltan Kódaly, Sándor Veress and Leó Weiner. He went to London in 1947 where he studied at the Royal College of Music with Herbert Howells and later on had teaching position at the Guildhall School of Music and the University of Surrey. In 1970 he relocated to South Africa to accept a position at the University of Cape Town. He became a well- known concert pianist and composed for orchestra, chamber groups and voice. For orchestra there is also a Clarinet Rhapsody and a Suite for Strings. Piano Concerto No. 1 (1960-2) Thomas Rajna (piano)/Edgar Cree/South African Broadcasting Corporation Symphony Orchestra (rec. 1974) ( + 11 Preludes and Capriccio) AMARANTHA RECORDS 014 (2001) (original LP release: CLAREMONT GSE 602) (1985) Piano Concerto No.
    [Show full text]
  • Recommended Music Teachers
    Recommended Music Teachers Mr Kristof Kovacs - Piano Email: [email protected] Mr Kovacs is a graduate of the Franz Liszt Academy of Music. After being offered a scholarship, he spent three years at Illinois State Uni- versity where he received his Masters diploma. Following this he spent one year at Michigan State University participating in the doc- torate program. During his time studying he won the concerto com- petition at both universities. Kristof has extensive teaching experi- ence in the US and in Hungary. Ms Fanni Sárközy- Piano Email: [email protected] Ms. Sárközy is an internationally recognised , highly trained pianist, singer and music educator who is equally proficient in jazz and classical music. She graduated with honours at the Liszt Academy of Music in Budapest, Hungary, with a major in piano in 2004. Whilst teaching piano at the Academy’s jazz faculty since 2007, Fanni also achieved international recognition as keyboard/vocalist and songwriter of the group Mizar. This is her first year teaching at BISB. Mrs Andrea Borzsey - Piano Email: [email protected] Mrs Borzsey is a graduate from the Liszt Academy of Music and has also studied with David Wilde in the UK. She used to play concerts as a soloist and accompa- nist. Whilst living in Algeria she played at French Culture Centers and for the English Societies in Annaba. She is the principal teacher at the Solti Music School and also teaches French. She has been teaching at BISB since 2006. Mr István Jászberényi - Guitar Email: [email protected] http://www.myspace.com/jaszbi Mr Jászberényi obtained his degree at the Music College of Debrecen Universi- ty, Hungary.
    [Show full text]
  • A Transcription for Wind Ensemble of Suite I
    A TRANSCRIPTION FOR WIND ENSEMBLE OF SUITE I FROM JOHANN HERMANN SCHEIN’S BANCHETTO MUSICALE (1617) A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY BRUCE E. MCFARLAND DISSERTATION ADVISORS: DR. JODY NAGEL AND DR. THOMAS CANEVA BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2018 A TRANSCRIPTION FOR WIND ENSEMBLE OF SUITE I FROM JOHANN HERMANN SCHEIN’S BANCHETTO MUSICALE (1617) A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY BRUCE E. MCFARLAND DISSERTATION ADVISORS: DR. JODY NAGEL AND DR. THOMAS CANEVA APPROVED BY: _______________________________________ ____________ Dr. Jody Nagel, Committee Co-Chair Date _______________________________________ ____________ Dr. Thomas Caneva, Committee Co-Chair Date _______________________________________ ____________ Dr. Caroline Hand, Committee Member Date _______________________________________ ____________ Dr. Chris Van Hof, Committee Member Date _______________________________________ ____________ Dr. Eric Hedin, Committee Member Date _______________________________________ ____________ Dean of Graduate School Date BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2018 CONTENTS TABLE OF FIGURES ................................................................................................................... iii ACKNOWLEDGEMENTS ........................................................................................................... iv ABSTRACT ...................................................................................................................................
    [Show full text]
  • British and Commonwealth Symphonies from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH SYMPHONIES FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs and LPs Prepared by Michael Herman Composers A-G KATY ABBOTT (b. 1971) She studied composition with Brenton Broadstock and Linda Kouvaras at the University of Melbourne where she received her Masters and PhD. In addition to composing, she teaches post-graduate composition as an onorary Fellow at University of Melbourne.Her body of work includes orchestral, chamber and vocal pieces. A Wind Symphony, Jumeirah Jane was written in 2008. Symphony No. 1 "Souls of Fire" (2004) Robert Ian Winstin//Kiev Philharmonic Orchestra (included in collection: "Masterworks of the New Era- Volume 12") ERM MEDIA 6827 (4 CDs) (2008) MURRAY ADASKIN (1905-2002) Born in Toronto. After extensive training on the violin he studied composition with John Weinzweig, Darius Milhaud and Charles Jones. He taught at the University of Saskatchewan where he was also composer-in-residence. His musical output was extensive ranging from opera to solo instrument pieces. He wrote an Algonquin Symphony in 1958, a Concerto for Orchestra and other works for orchestra. Algonquin Symphony (1958) Victor Feldbrill/Toronto Symphony Orchestra ( + G. Ridout: Fall Fair, Champagne: Damse Villageoise, K. Jomes: The Jones Boys from "Mirimachi Ballad", Chotem: North Country, Weinzweig: Barn Dance from "Red Ear of Corn" and E. Macmillan: À Saint-Malo) CITADEL CT-601 (LP) (1976) Ballet Symphony (1951) Geoffrey Waddington/Toronto Symphony Orchestra (included in collection: “Anthology Of Canadian Music – Murray Adaskin”) RADIO CANADA INTERNATIONAL ACM 23 (5 CDs) (1986) (original LP release: RADIO CANADA INTERNATIONAL RCI 71 (1950s) THOMAS ADÈS (b.
    [Show full text]
  • Newsletter24-Discography-1.Pdf
    of the DELIUS SOC!ErY (President: Eric Fenby, OoB.E.) Hon. Secretary: Miss Estelle Palmley Hon. Treasurer: Miss Ann Todd Editor: John White No. 24 September, 1969. This Newsletter ls devoted to one purpose: the distribution of the Sooiety's first publication, the long awaited Delius disoography, which is circulated in complete form, and not in sections, as discussed at our last Annual General Meet+ng. I must apologise to the Membership, and especially to Mr. Stuarl UptOD and Mr. Malcolm 'Walker, the authors, for delaying the despatch of the booklets still fUrtherJ they were received in July but illness prevented me from taking any earlier action. I am sure all members will wish to join me in thanking Mr. UptOD and Mr. Walker for ·their devoted \r1Ork on this project, now brought to such a successful conclusion. Mr. Upton has breught my attention to· certain printing errore- and· -to one addition which should be noted in the text and these are given below. Delius DiSCOgraphy ERRATA Page 11 For "Painoforte" read "Pianoforte" Page 23 For IIHQS 1126/8)11 read "HQS 1126(S)" Page 37 For "Grief" read "Grieg" Page 38 For "P'Nelll" read "O'Neill" Page 39 Underline "Albert Sazmnons" Page 40 For IIRhide" read "Rhine" ADDITION !'YE Four Centuries of Harpsichord Music GSGC 14113(S) This record contains Denee for llarpsiehord (DELIUS) Peter Cooper - Harpsichord. FREDERICK DELIUS -, .• A DISCOGRAPHY STUART UPTON & MALCOLM WALKER THE RECORDED WORKS OF FREDERICK DELIUS (1862 - 1934) The following Index covers all commercial gramophone records issued to the Public over a period of almost fifty years.
    [Show full text]
  • Musical Borrowings in the Music for Double Bass by Giovanni Bottesini: a Reconsideration Beyond the Operatic Paraphrases
    Musical Borrowings in the Music for Double Bass by Giovanni Bottesini: A Reconsideration Beyond the Operatic Paraphrases A document submitted to the The Graduate School of the University of Cincinnati In partial fulfillment of the requirements of the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2007 by Jaime Ramírez-Castilla B.M., Javeriana University, Bogotá-Colombia, 1999 M.M., University of Cincinnati, 2004 Committee Chair: Dr. Robert Zierolf ABSTRACT Giovanni Bottesini is commonly considered one of the most outstanding and influential nineteenth-century composers for the double bass. His compositional output expanded the technical and expressive possibilities of his instrument beyond the boundaries expected by both composers and audiences. Nowadays, a large portion of Bottesini’s compositions forms part of the required repertoire in school syllabi, orchestral auditions, solo competitions, and recital programs. Among the traditional interpretations of Bottesini’s music for the double bass there has been a strong reliance on his influence from Italian opera. Although Italian opera played a fundamental role in the musical culture of the nineteenth century, it is also very important to consider other influences that affected Bottesini’s compositional style. Through the study of the musical borrowings present in Bottesini’s output it is possible to expand understanding of his compositional style and the different influences he received from other musical traditions. In this document I propose to reconsider Bottesini’s output by cross-relating his techniques of musical borrowing with those used by other composers and also with the different sources of the musical material that was borrowed.
    [Show full text]