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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Symposium Programme
Singing a Song in a Foreign Land a celebration of music by émigré composers Symposium 21-23 February 2014 and The Eranda Foundation Supported by the Culture Programme of the European Union Royal College of Music, London | www.rcm.ac.uk/singingasong Follow the project on the RCM website: www.rcm.ac.uk/singingasong Singing a Song in a Foreign Land: Symposium Schedule FRIDAY 21 FEBRUARY 10.00am Welcome by Colin Lawson, RCM Director Introduction by Norbert Meyn, project curator & Volker Ahmels, coordinator of the EU funded ESTHER project 10.30-11.30am Session 1. Chair: Norbert Meyn (RCM) Singing a Song in a Foreign Land: The cultural impact on Britain of the “Hitler Émigrés” Daniel Snowman (Institute of Historical Research, University of London) 11.30am Tea & Coffee 12.00-1.30pm Session 2. Chair: Amanda Glauert (RCM) From somebody to nobody overnight – Berthold Goldschmidt’s battle for recognition Bernard Keeffe The Shock of Exile: Hans Keller – the re-making of a Viennese musician Alison Garnham (King’s College, London) Keeping Memories Alive: The story of Anita Lasker-Wallfisch and Peter Wallfisch Volker Ahmels (Festival Verfemte Musik Schwerin) talks to Anita Lasker-Wallfisch 1.30pm Lunch 2.30-4.00pm Session 3. Chair: Daniel Snowman Xenophobia and protectionism: attitudes to the arrival of Austro-German refugee musicians in the UK during the 1930s Erik Levi (Royal Holloway) Elena Gerhardt (1883-1961) – the extraordinary emigration of the Lieder-singer from Leipzig Jutta Raab Hansen “Productive as I never was before”: Robert Kahn in England Steffen Fahl 4.00pm Tea & Coffee 4.30-5.30pm Session 4. -
(1; . -;-."':::With, Say, Itzhak ~ ...•
PROKOFIEVViolin concertos nO.1 in D major op.19 & no.2 . in G minor op.63. Sonata in C major for two violins op.56* [ Pavel Berman, Anna find the effect here, especially Tifu* (violin) Orchestra in the Second Concerto, I della Svizzera ltaliana/ initially disorientating. Yet Andrey Boreyko to hear Prokofiev's super- DYNAMIC CD5 676 virtuoso writing emerging Indianapo!is prizewinner wìth such blernishless poìse Pavel Berman brings and unforced eloquence comes freshness and eloquence as a welcome relìef compared to Prokofiev to the claustrophobic intensity of most recorded accounts. When cornpared The Double Violin Sonata is .(1; . -;-."':::with, say, Itzhak also beautìfully played and . ~~~i,-""-.=...• Perlman's EMI record ed, with Prokofiev's - ' recording wìth lyrìcal genius well to the fore, ~ Gennadi JULlAN HAYLOCK Rozhdestvensky or Isaac Stern's Sony classìc with Eugene Orrnandy, the natural perspectives of this new version, where Pavel Berrnan's sweer-toned playing emerges seductively frorn the orchestrai ranks, are such that one couId almost be listening to different pieces. Subtle internai orchestrai detaìl is revealed (particularly in the First Concerto) that usuali)' lies concealed behind the solo image. The passages where Bcrrnan duets engagingl), with solo woodwind instrumenrs or harp feel more 'sinfonia concertante' than concerto proper. The effect, especially rowards the end of the finale, is often magical, as Berman's silvery purity becomes enveloped in a pulsating web of orchestrai sound. Those raised on classi c accounts from David Oistrakh (EMI),Kyung-Wha Chung (Dccca) or Shlorno Mintz (Deutsche Grammophon), in which one can hear and feel the contract ofbow on string or fingers on fingerboard, ma)' AUGUST 2011 THE STRAD 93 Rue St-Pierre 2 - 1003 Lausanne (eH) Te1. -
University Musical Society Oslo Philharmonic
UNIVERSITY MUSICAL SOCIETY OSLO PHILHARMONIC ORCHESTRA MARISS JANSONS Music Director and Conductor FRANK PETER ZIMMERMANN, Violinist Sunday Evening, November 17, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM Concerto in E minor for Violin and Orchestra, Op. 64 . Mendelssohn Allegro molto appassionata Andante Allegretto non troppo, allegro molto vivace Frank Peter Zimmermann, Violinist INTERMISSION Symphony No. 7 in C major, Op. 60 ("Leningrad") ..... Shostakovich Allegretto Moderate Adagio, moderate risoluto Allegro non troppo CCC Norsk Hydro is proud to be the exclusive worldwide sponsor IfiBUt of the Oslo Philharmonic Orchestra for the period 1990-93. The Oslo Philharmonic and Frank Peter Zimmermann are represented by Columbia Artists Management Inc., New York City. The Philharmonic records for EMl/Angel, Chandos, and Polygram. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts. Twelfth Concert of the 113th Season 113th Annual Choral Union Series Program Notes Violin Concerto in E minor, Op. 64 root tone G on its lowest note, the flute and FELIX MENDELSSOHN (1809-1847) clarinets in pairs are entrusted with the gentle melody. On the opening G string, the solo uring his short life of 38 years, violin becomes the fundament of this delicate Mendelssohn dominated the passage. The two themes are worked out until musical world of Germany and their development reaches the cadenza, exercised the same influence in which Mendelssohn wrote out in full. The England for more than a gener cadenza, in turn, serves as a transition to the ationD after his death. The reason for this may reprise. -
Yoon-Hee Kim Plays
CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer RPO YELLOW Catalogue No. SP-046 BLACK Job Title Yoon-Hee Kim Page Nos. ‘The profundity of her emotions impresses much more than her technical perfection. Her performance connects virtuosity, energy and passion’ – Rheinische Post, Germany ‘She demonstrates an extraordinary musicality, a strong expression and an absolutely perfect technique’ – Kölner Klassik YOON-HEE KIM PLAYS ‘A sensation … No-one can compete with her extraordinary musicality’ – Adresseavisen , Norway ‘Amazing performance’ – Austria Today KHACHATURIAN & TCHAIKOVSKY VIOLIN CONCERTOS YOON-HEE KIM VIOLIN . BARRY WORDSWORTH CONDUCTOR CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer RPO YELLOW Catalogue No. SP-046 BLACK Job Title Yoon-Hee Kim Page Nos. By the early 1940s Khachaturian was riding on the crest of a wave of popular success. ARAM KHACHATURIAN (1903 –1978) His Piano Concerto (1936) and Violin Concerto (1940) established him, alongside Violin Concerto in D minor (1940) Prokofiev and Shostakovich, as one of Russia’s most celebrated composers. His I. Allegro con fermezza stunning incidental music to Lermontov’s Masquerade appeared in 1941 and the II. Andante sostenuto following year his epic ballet score Gayeneh was written, which included the ever- III. Allegro vivace popular whirlwind ‘Sabre Dance’. ‘I wrote the music as though on a wave of happiness; my whole being was in a state of joy, for I was awaiting the birth of my son. And this feeling, this love of life, was PYOTR TCHAIKOVSKY (1840 –1893) transmitted to the music.’ So saying, Khachaturian set the seal on his gloriously inspired Violin Concerto in D Op.35 (1878) Violin Concerto, composed over two months during the idyllic summer of 1940. -
Multivalent Form in Gustav Mahlerʼs Lied Von Der Erde from the Perspective of Its Performance History
Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History Christian Utz All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 09/10/2017 Accepted: 19/11/2017 Published: 27/02/2018 Last updated: 27/02/2018 How to cite: Christian Utz, “Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History,” Musicologica Austriaca: Journal for Austrian Music Studies (February 27, 2018) Tags: 20th century; Analysis; Bernstein, Leonard; Das Lied von der Erde; Klemperer, Otto; Mahler, Gustav; Performance; Performance history; Rotational form; Sonata form; Strophic form; Walter, Bruno This essay is an expanded version of a paper presented at the symposiumGustav Mahler im Dialog, held at the Gustav Mahler Musikwochen in Toblach/Dobbiaco on July 18, 2017. The research was developed as part of the research project Performing, Experiencing and Theorizing Augmented Listening [PETAL]. Interpretation and Analysis of Macroform in Cyclic Musical Works (Austrian Science Fund (FWF): P 30058-G26; 2017–2020). I am grateful for advice received from Federico Celestini, Peter Revers, Thomas Glaser, and Laurence Willis. Files for download: Tables and Diagrams, Video examples 1-2, Video examples 3-4, Video examples 5-8, Video examples 9-10 Best Paper Award 2017 Abstract The challenge of reconstructing Gustav Mahlerʼs aesthetics and style of performance, which incorporated expressive and structuralist principles, as well as problematic implications of a post- Mahlerian structuralist performance style (most prominently developed by the Schoenberg School) are taken in this article as the background for a discussion of the performance history of Mahlerʼs Lied von der Erde with the aim of probing the model of “performance as analysis in real time” (Robert Hill). -
The Ethics of Orchestral Conducting
Theory of Conducting – Chapter 1 The Ethics of Orchestral Conducting In a changing culture and a society that adopts and discards values (or anti-values) with a speed similar to that of fashion as related to dressing or speech, each profession must find out the roots and principles that provide an unchanging point of reference, those principles to which we are obliged to go back again and again in order to maintain an adequate direction and, by carrying them out, allow oneself to be fulfilled. Orchestral Conducting is not an exception. For that reason, some ideas arise once and again all along this work. Since their immutability guarantees their continuance. It is known that Music, as an art of performance, causally interlinks three persons: first and closely interlocked: the composer and the performer; then, eventually, the listener. The composer and his piece of work require the performer and make him come into existence. When the performer plays the piece, that is to say when he makes it real, perceptive existence is granted and offers it to the comprehension and even gives the listener the possibility of enjoying it. The composer needs the performer so that, by executing the piece, his work means something for the listener. Therefore, the performer has no self-existence but he is performer due to the previous existence of the piece and the composer, to whom he owes to be a performer. There exist a communication process between the composer and the performer that, as all those processes involves a sender, a message and a receiver. -
Mariss Jansons Symphonieorchester Des Bayerischen Rundfunks ANTON BRUCKNER 1824–1896 Symphonie Nr
BRUCKNER SYMPHONIE NR. 3 Mariss Jansons Symphonieorchester des Bayerischen Rundfunks ANTON BRUCKNER 1824–1896 Symphonie Nr. 3 d-Moll, WAB 103 (3. Fassung von 1889) 01 Mehr langsam, misterioso 22:06 02 Adagio, bewegt, quasi Andante 13:51 03 Ziemlich schnell – Trio 7:13 04 Allegro 13:09 Total time: 56:19 Symphonieorchester des Bayerischen Rundfunks Mariss Jansons Dirigent / conductor Live-Aufnahme / live recording: München, Philharmonie im Gasteig, 20./21.01.2005 Tonmeister / Recording Producer: Wilhelm Meister Toningenieur / Recording Engineer: Klemens Kamp Schnitt / Editing: Elisabeth Panzer, Susanne Wocker Remastering: Marie-Josefin Melchior Mastering Engineer: Christoph Stickel Verlag / Publisher: Musikwissenschaftlicher Verlag Wien, vertreten durch Alkor-Edition Kassel Photos: C Peter Meisel Design / Artwork: [ec:ko] communications Editorial: Thomas Becker · Lektorat: Dr. Vera Baur Eine CD-Produktion der BRmedia Service GmbH. P 2005 C 2019 BRmedia Service GmbH MARISS JANSONS SYMPHONIEORCHESTER _ DES BAYERISCHEN RUNDFUNKS Mariss Jansons wurde 1943 in Riga als Sohn des Dirigenten Arvıds Jansons geboren. Er studierte am Leningrader Konservatorium die Fächer Violine, Klavier Schon bald nach seiner Gründung 1949 entwickelte sich das Symphonieorchester und Dirigieren und vervollständigte seine Ausbildung bei Hans Swarowsky in Wien des Bayerischen Rundfunks zu einem international renommierten Orchester. und Herbert von Karajan in Salzburg. 1971 wurde er Preisträger beim Karajan- Besonders die Pflege der Neuen Musik hat eine lange Tradition, so gehören die Wettbewerb in Berlin und begann seine enge Zusammenarbeit mit den heutigen Auftritte im Rahmen der 1945 von Karl Amadeus Hartmann gegründeten musica St. Petersburger Philharmonikern, zunächst als Assistent von Jewgenij Mrawinskij, viva von Beginn an zu den zentralen Aufgaben des Orchesters. -
Vinyl Theory
Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3. -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. -
Josef Suk's Asrael Re-Envisioned Via Schoenberg
A STUDY IN CLARITY: JOSEF SUK’S ASRAEL RE-ENVISIONED VIA SCHOENBERG Volume I of II IVAN ARION KARST School of Arts and Media College of Arts and Social Sciences University of Salford, Salford, UK Submitted in Fulfilment of the Requirements of the Degree of Doctor of Philosophy, October 2020 i Contents Table of Figures ........................................................................................................................... 4 Acknowledgements..................................................................................................................... 7 Abstract: ‘A Study in Clarity: Suk Re-envisioned via Schoenberg’ ................................................. 8 Chapter 1: Introduction ............................................................................................................... 1 Thesis Methodology ................................................................................................................. 1 A Study in Clarity: Literature Review ......................................................................................... 4 Chapter 2: Historical Context .................................................................................................... 10 Schoenberg: Transcription and the Verein .............................................................................. 10 Chapter 3: Analysis.................................................................................................................... 12 Transcription Techniques of the Verein ................................................................................. -
EDGAR MOREAU, Cellist
EDGAR MOREAU, cellist “Mr. Moreau immediately began to display his musical flair and his distinctive persona. His incredibly beautiful tone spoke directly to the heart and soul. Mr. Moreau established his credentials as a player of remarkable caliber. His intriguing presence, marvelously messy hair, and expressive face were all reflections of the inner poet.” —OBERON’S GROVE (NY) “This cello prodigy belongs in the family of the greatest artists of all time. The audience gave him an enthusiastic ovation in recognition of a divinely magical evening.” —LA PROVENCE ”He is just 20 years old, but for the past five years, this young musketeer of the bow has been captivating all of his audiences. He is the rising star of the French cello.” —LE FIGARO “Edgar Moreau captivates all those who hear him. Behind his boyish looks lies a performer of rare maturity. He is equally at ease in a chamber ensemble, as a soloist with orchestra or in recital, and his facility and pose are simply astounding.” —DIAPASON (Debut CD: “Play” ) European Concert Hall Organization’s 2016-2017 Rising Star 2015 Arthur Waser Foundation Award, in association with the Lucerne Symphony (Switzerland) 2015 Solo Instrumentalist of the Year, Victoires de la Musique Tchaikovsky Competition, 2011, Second Prize and Prize for Best Performance of the Commissioned Work First Prize, 2014 Young Concert Artists International Auditions Florence Gould Foundation Fellowship The Embassy Series Prize (Washington, DC) • The Friends of Music Concerts Prize (NY) The Harriman-Jewell Series Prize (MO) • The Saint Vincent College Concert Series Prize (PA) Chamber Orchestra of the Triangle Prize (NC) • University of Florida Performing Arts Prize The Candlelight Concert Society Prize (MD) YOUNG CONCERT ARTISTS, INC.