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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. -
Rncm Chamber Music Festival Songs Without Words Rncm Chamber Music Festival Songs Without Words
Friday 04 – Sunday 06 March 2016 RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS WELCOME The RNCM Chamber Music Festival plays an enormous role in the story of the College and is a major event in our calendar. Chamber music is at the core at what we do - the RNCM has a proud tradition of chamber ensemble training and our alumni appear with high profile ensembles such as the Elias, Heath and Navarra String Quartets plus the Gould Piano Trio to name but a few. Every year, the Chamber Music Festival goes from strength to strength, presenting the opportunity to see our wonderful students, internationally renowned staff and special guests perform beautiful music across a jam-packed weekend. This year is no exception, as we explore German Romanticism in Songs Without Words. We focus particularly on the music of Mendelssohn and Schumann and our students will be involved in a major composition project, as they are asked to create responses to Mendelssohn’s Songs Without Words. So the Festival will include works from across the 19th century but will also dip into the 20th century with composers such as Richard Strauss. This year’s line-up features some of the finest musicians performing today including the Talich Quartet, Elias Quartet, Michelangelo Quartet, plus RNCM Junior Fellows the Solem Quartet and our International Artist chamber ensemble the Diverso String Quartet. We also welcome chamber groups from Chetham’s, St Mary’s, Junior RNCM, the Royal Irish Academy of Music and Sheffield Music Academy. So please join us and immerse yourself in this weekend of lush musical landscapes. -
Spring 2014 Commencement Program
TE TA UN S E ST TH AT I F E V A O O E L F A DITAT DEUS N A E R R S I O Z T S O A N Z E I A R I T G R Y A 1912 1885 ARIZONA STATE UNIVERSITY COMMENCEMENT AND CONVOCATION PROGRAM Spring 2014 May 12 - 16, 2014 THE NATIONAL ANTHEM THE STAR SPANGLED BANNER O say can you see, by the dawn’s early light, What so proudly we hailed at the twilight’s last gleaming? Whose broad stripes and bright stars through the perilous fight O’er the ramparts we watched, were so gallantly streaming? And the rockets’ red glare, the bombs bursting in air Gave proof through the night that our flag was still there. O say does that Star-Spangled Banner yet wave O’er the land of the free and the home of the brave? ALMA MATER ARIZONA STATE UNIVERSITY Where the bold saguaros Raise their arms on high, Praying strength for brave tomorrows From the western sky; Where eternal mountains Kneel at sunset’s gate, Here we hail thee, Alma Mater, Arizona State. —Hopkins-Dresskell MAROON AND GOLD Fight, Devils down the field Fight with your might and don’t ever yield Long may our colors outshine all others Echo from the buttes, Give em’ hell Devils! Cheer, cheer for A-S-U! Fight for the old Maroon For it’s Hail! Hail! The gang’s all here And it’s onward to victory! Students whose names appear in this program have completed degree requirements. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
MAHLERFEST XXXIV the RETURN Decadence & Debauchery | Premieres Mahler’S Fifth Symphony | 1920S: ARTISTIC DIRECTOR
August 24–28, 2021 Boulder, CO Kenneth Woods Artistic Director SAVE THE DATE MAHLERFEST XXXV May 17–22, 2022 * Gustav Mahler Symphony No. 2 in C Minor Boulder Concert Chorale Stacey Rishoi Mezzo-soprano April Fredrick Soprano Richard Wagner Die Walküre (The Valkyrie), Act One Stacey Rishoi Mezzo-soprano Brennen Guillory Tenor Matthew Sharp Bass-baritone * All programming and artists subject to change KENNETH WOODS Mahler’s First | Mahler’s Musical Heirs Symphony | Mahler and Beethoven MAHLERFEST.ORG MAHLERFEST XXXIV THE RETURN Decadence & Debauchery | Premieres Mahler’s Fifth Symphony | 1920s: ARTISTIC DIRECTOR 1 MAHLERFEST XXXIV FESTIVAL WEEK TUESDAY, AUGUST 24, 7 PM | Chamber Concert | Dairy Arts Center, 2590 Walnut Street Page 6 WEDNESDAY, AUGUST 25, 4 PM | Jason Starr Films | Boedecker Theater, Dairy Arts Center Page 9 THURSDAY, AUGUST 26, 4 PM | Chamber Concert | The Academy, 970 Aurora Avenue Page 10 FRIDAY, AUGUST 27, 8 PM | Chamber Orchestra Concert | Boulder Bandshell, 1212 Canyon Boulevard Page 13 SATURDAY, AUGUST 28, 9:30 AM–3:30 PM | Symposium | License No. 1 (under the Hotel Boulderado) Page 16 SATURDAY, AUGUST 28, 7 PM | Orchestral Concert Festival Finale | Macky Auditorium, CU Boulder Page 17 Pre-concert Lecture by Kenneth Woods at 6 PM ALL WEEK | Open Rehearsals, Dinners, and Other Events See full schedule online PRESIDENT’S GREETING elcome to MahlerFest XXXIV – What a year it’s been! We are back and looking to the future with great excitement and hope. I would like to thank our dedicated and gifted MahlerFest orchestra and festival musicians, our generous supporters, and our wonderful audience. I also want to acknowledge the immense contributions of Executive Director Ethan Hecht and Maestro Kenneth Woods that not only make this festival Wpossible but also facilitate its evolution. -
The Olympic Art Competitions Were Performed
he Olympic Art competitions were performed THOMAS, GENZMER and TUUKANEN. And in two Tseven times between 1912 and 1948. From cases even the 'Olympic' compositions are said to 153 possible medals altogether only 124 (i.e. 81%) be available on record: were distributed. The percentages in the differ- ent categories are: Architecture 84%, Literature 1. Rudolf SIMONSEN (1889-1947), ,,Sinfonien 69%, Painting 84%, and Sculpture 84%. In Music - Nr. 2 a-moll, (1921) Hellas, Grondal/Dan. 39 were possible, but there were only 17 medals, ISA DA CORD 3701371" 5 gold, 6 silver and 6 bronze. The percentage in 2. Josef ŠUK "Ins Neue Leben op. 35c Marsch music is 43.5%, by far the worst result within the z.T. Sokolfest": In this case the catalogue five art categories. offers three recordings, two Czech Su- Altogether five medals (two gold, two sil- praphon (Kubelik/Tschech.Philh. Prag ver and one bronze) were distributed in the five KoSup 01911-2/Neumann/Tschech. music competitions in Stockholm 1912, Antwerp Philh. Prag KoSup 00624-4) and one 1920, Paris 1924, Amsterdam 1928 and Los Ange- American (Kunzel/Cincinnati Pops Orch les 1932. Then the situation seemed to improve. InaTe 80122). In Berlin and London 1948 twelve music medals were awarded (three gold, four silver and five The catalogue does, however, not mention the bronze). names of BARTHÉLEMY, MONIER, RIVA, HÖFFER, However, none of these works has left a trace KRICKA, BIANCHI, WEINZWEIG, LAURICELLA, TURSKI in the history of music; none has gained any repu- or BRENE. But there are. available recordings of tation, because their quality was not at all Olym- compositions by Kurt THOMAS (e.g. -
Concerts Conducted by Carl Schuricht Including Music of Anton Bruckner (1912-1965) Original Source
Concerts conducted by Carl Schuricht including music of Anton Bruckner (1912-1965) Original source : http://carlschuricht.com/concert.htm Important Dates 3 July 1880 : Carl Adolph Schuricht was born at Danzig (Gdansk) into a family of organ-builders. His father, Carl Conrad Schuricht was born on 27 January 1856. He was an organ-builder and worked at his father's factory. He died on 9 June 1880 (3 weeks before his son was born !) when he tried to help an employee fallen into the sea, in the bay of Danzig. His mother, Amanda Ludowika Alwine Wusinowska was a well-known Polish Oratorio singer (1847-1935) . She didn't re-marry after her husband's death. 1886 : Began piano and violin lessons at the age of 6. Studied at the « Friedrichs Realgymnasium » in Berlin. 1891 : Began to compose at the age of 11. 1892 : Studied at the « Königliches Realgymnasium » in Wiesbaden. Written the music and the librettos for 2 Operas. 1895 : Started conducting at the age of 15. 1901-1902 : 1st professional job as « Korrepetitor » at the « Stadttheater » of Mainz. 1902 : Won a composition prize from the Kuszynski Foundation, and awarded a scholarship by Franz von Mendelssohn. Allowed him to continue his studies at the « Berliner Musikhochschule » (« der Königlichten Hochschule für Musik ») under Ernst Rudorff, piano ; Heinrich van Eyken (and not Engelbert Humperdink) , composition ; and, later, Max Reger in Leipzig. His musical compositions were published mostly by Drei-Lilien-Verlag, Berlin. Opus 1 : Piano Sonata in F minor. Opus 2 : « Herbst-Stücke » (Opuscules for autumn) for piano and orchestra. Opus 3 : « Fünf Lieder » (5 Songs) . -
Trio Pacifica
happy months in Vienna in the company of Brahms. They dined together virtually every day. Kahn got to play his compositions for Brahms. Kahn reported that he and Emil Paur played Kahn’s violin sonata for Brahms, who “sat next to me, turned pages, and purred like a tomcat, from the first note to the last. I took this to be a good omen, and indeed, after each movement Brahms said a few cordial words of praise, which pleased me no end.” SCHOOL OF MUSIC AND DANCE Brahms was very solicitous of Kahn. When Kahn was looking for a place to stay in Vienna, Brahms accompanied him on his wanderings through Vienna. Beall Concert Hall Tuesday evening One evening, Brahms and Kahn were discussing Handel’s Israel In Egypt, a work to which Brahms was very partial but which Kahn did not know. The 8:00 p.m. April 15, 2008 following morning, Brahms sent Kahn the score, with a note appended stat- ing, “Good morning, Mr. Kahn.” On another evening, Brahms arrived with a great treasure, Beethoven’s sketches for his piano sonata, opus 106. Brahms wanted to point out certain passages to Kahn that proved some fascinating insights into Beethoven’s creative process. THE FACULTY ARTIST SERIES One of the special highlights of Kahn’s time with Brahms was the afternoon presents when Brahms, the violinist Joseph Joachim, and the cellist Hausmann played Brahms’ piano trio, opus 101, for Clara Schumann, who was then near 70. Kahn was the only other person allowed to be present. Brahms reminded Kahn “of a fixed star, emitting only its own light. -
Ensemble Émigré Grew out of Concerts Given During the ‘Singing a Song in a Foreign Land’ Project at the Royal College of Music in London
Nos. 473–475 ‘Jeanne Suite’ (1943) ROBERT KAHN 1865–1951 11 No.473a in G: Moderato 1.30 1 Romanze in F minor 4.30 12 No.473b in G: Poco allegretto 0.57 13 No.473c in G: Allegretto vivace 0.45 No.1 from 3 Stücke for cello and piano Op.25 14 No.474 in E minor: Andante sostenuto 1.52 2 ’s ist ein so stiller heil’ger Tag 1.48 15 No.475 in G: Vivace 0.46 No.2 from 7 Gesänge Op.27 9 Lieder nach Gedichten von Christian Morgenstern Op.31 3 Novemberfeier 1.18 16 No.2 Liebesbrief 1.38 No.2 from 6 Lieder und Gesänge Op.20 17 No.8 Die Unke 2.14 4 Idyll No.1 from 6 Lieder Op.52 2.44 18 Feuerbestattung No.5 from 5 Lieder Op.38 2.07 5 Liebestrost No.10 from 10 Lieder Op.42 2.20 19 Gebet No.9 from 9 Lieder im Volkston Op.47 1.36 Tagebuch in Tönen (Leaves from the Tree of Life) Quintet in C minor Op.54* for piano, violin, cello, clarinet and horn (1911) 6 No.500 (Variations on No.1) in A flat: Andante (1943) 6.25 20 I. Allegro non troppo 5.30 7 No.3 in C sharp minor: Allegretto non troppo (1935) 1.18 21 II. Presto assai 3.30 8 No.4 in C sharp minor: 22 III. Andante sostenuto 6.56 Andantino con moto ‘quasi improvisato’ (1935) 1.58 23 IV. Allegro agitato 5.42 9 No.5 in F minor: Assai sostenuto ed espressivo (1935) 2.33 10 No.53 in E: Allegretto con moto (1936) 1.28 * World-premiere recording Total timing: 61.45 ENSEMBLEENSEMBLE ÉÉMIGRÉMIGRÉ Danny Driver piano · Christopher Gould piano Gemma Rosefield cello · Emily Sun violin Ingrid Pearson clarinet · Flora Bain horn Norbert Meyn tenor & director Ensemble Émigré grew out of concerts given during the ‘Singing a Song in a Foreign Land’ project at the Royal College of Music in London. -
The CLEVELAND CHAMBER MUSIC SOCIETY
The CLEVELAND CHAMBER MUSIC SOCIETY presents IN ITS FINAL CONCERT OF THE CURRENT SEASON WILLIAM PRIMROSE, violist Program: W. F. Bach, Beethoven, Hindemith, Brahms 8:30 P. M., TUESDAY, APRIL 12, 1955 ALLEN MEDICAL LIBRARY Tickets: $2.50—Severance Hall, Burrows ★ ★ ★ Announcing The Society’s 1955-1956 Season of Seven Tuesday Evening Concerts SERIES A SERIES B $8.75 $8.75 Oct. 25: Mannes-Gimpel-Silva Nov. 25: George Szell, piano and (Piano) Trio Arthur Grumiaux, violin Feb. 21: Budapest String Quartet with Jan. 10: Curtis String Quartet with . Abraham Skernick, assisting Marc Lifschey, assisting oboist violist *March 20: Virtuosi di Roma Feb. 14: Hungarian String Quartet April 3: Pasquier String Trio ♦March 20: Virtuosi di Roma ^Included in both series SEASON SUBSCRIPTION (7 CONCERTS) $13.75 ★ ★ ★ Tickets for the season and Series A or B may be ordered now at Severance Hall Box Office. THE CLEVELAND CHAMBER MUSIC SOCIETY THE CLEVELAND ORCHESTRA GEORGE SZELL, Conductor FIRST PROGRAM Thursday Evening, March 31, 1955, at 8:30 O’clock Funeral Music, K. 477 Mozart In Memoriam CARL J. VOSBURGH Manager of the Cleveland Orchestra 1933-1955 Symphony No. 5 in E minor, Op. 64 Andante ; Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale : Andante maestoso ; Allegro vivace INTERMISSION > Tchaikovsky Concerto for Piano and Orchestra No. 1 in B flat minor, Op. 23 Allegro non troppo e molto maestoso ; Allegro con spirito Andantino semplice Allegro con fuoco Assisting Artist: ARTUR RUBINSTEIN STEINWAY PIANO COLUMBIA RECORDS Notice to Thursday Evening Concert-Goers: Remaining Tickets for the Saturday Evening Concert will be Available at the Box Office During the Intermission at Tonight’s Concert. -
Joseph Haydn - Heute Mit Vorangehendem Symposion "Der Historische Haydn- Heute"
~..... 1 . t"'t ~A,fL ' Q,.. ~;;; !! r~ ~" ~ 1'~· ~ """' !"\ l' ·. I I KASSEL- ..... <6 M ~~ i< Kasseler Musiktage 1980 Joseph Haydn - heute mit vorangehendem Symposion "Der historische Haydn- heute" Veranstaltet vom Internationalen Arbeitskreis für Musik e.V. mit Unterstützung des Hassischen Kultusministers des Magistrats der Stadt Kassel der Stadtsparkasse Kassel und von Dr. Dr. h. c. Günter Henle (t) Gesamtleitung: Dr. Wolfgang Rehm Freitag, 31. Oktober bis Sonntag, 2. November (Symposion: Donnerstag, 30. Oktober bis Freitag, 31. Oktober) Kasseler Musiktage 1981 17. bis 20. September Musik in der Natur - Natur in der Musik Programmausschuß: Leo Karl Gerhartz Walter Gieseler Franzpeter Goebels Wolfgang Rehm Helmut Rösing Kasseler Musiktage 1982 1. bis 3. Oktober Franz Schubert Jahre der Krise 1818-1823 Veranstaltet in Verbindung mit der Internationalen Schubert-Gesellschaft Programmausschuß: Walther Dürr Arnold Feil Dietrich Fiseher-Dieskau Wolfgang Rehm Wir danken dem Herrn Bundesminister des lnnern für eine Sonderzuwendung, die es dem Internationalen Arbeitskreis für Musik ermöglichte, ausländische Freunde seiner Arbeit einzuladen, ferner der Deutschen Forschungsgemeinschaft Sonn-Bad Godesberg, die die aktive Teilnahme ausländischer Wissenschaftler am Symposion ermöglicht hat. Titelentwurf: Karl August Lehmann unter Verwendung einer Fotografie der Skulptur "Orpheus" von Ossip Zadkine (Rotterdam, Museum Boymans-van-Beuningen) und der ersten auto graphen Partiturseite von Haydns Schöpfungsmesse (München, Bayerische Staatsbibliothek) Anzeigenverwaltung: Neuwerk-Anzeigen-Expedition Kassel Bären reiter-Druck Inhalt Zeittafel ....................... 4 Lage der Räume und Verkehrsverbindungen 5 Zur Beachtung . .... 6 Die Mitwirkenden .. 8 Joseph Haydn - heute Programmausschuß und Vorbemerkungen 11 1 Konzertante Musik . 12 2 Der englische Haydn 14 3 Kammermusik .... 21 4 Geistliches Konzert . 23 Evangelischer Gottesdienst 29 Katholischer Gottesdienst 29 5 Divertimento 30 6 Oper .... -
The Recorded Heritage of Willem Mengelberg and Its Aesthetic Relevance
Copyright 2014 Samir Ghiocel Golescu THE RECORDED HERITAGE OF WILLEM MENGELBERG AND ITS AESTHETIC RELEVANCE BY SAMIR GHIOCEL GOLESCU DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor William Kinderman, Chair Professor Ian Hobson Associate Professor Sherban Lupu Assistant Professor Katherine Syer ABSTRACT This dissertation explores the art and interpretative aesthetics of the Dutch conductor Willem Mengelberg (1871-1951), as preserved in his sound recordings and, subsidiarily, in his writings. Emphasis is given to issues pertaining to 19th century performance practice, as well as to historical connections between Mengelberg and compositional/interpretative trends in Europe at the time. Mengelberg’s impact on musical life in Amsterdam, New York, and beyond will be considered. The relevance of Mengelberg’s recordings is assessed from both a documentary and aesthetic point of view. The quasi-entirety of Mengelberg’s rich body of recordings has been consulted, yet a few dozens of them have been chosen for an in-depth study meant to illuminate both their historical context and their contemporary relevance. ii ACKNOWLEDGMENTS It is with gratitude that I acknowledge the help and support of the committee members, particularly long-time University of Illinois mentors Ian Hobson and William Kinderman, as well as previous mentors and close musical friends such as Florica Nitzulescu, Ioan Welt, Elena Andriescu, Isabelle Belance-Zank, Hubert Wendel, and Sergei Pavlov. I am indebted to Ingrid Ilinca for her help and support.