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Digibooklet Beethoven Complete Works for Piano Trio Vol. IV Swiss
Complete Works for Piano Trio Vol. IV SWISS PIANO TRIO BEETHOVEN Piano Trio No. 4 in B-flat major, Op. 11 ‘Gassenhauer’* I. Allegro con brio 9:02 II. Adagio 4:53 III. Tema. Pria ch’io l’impegno. Allegretto – Var. I–IX – Allegro 7:01 Allegretto in E-flat major for Piano Trio, Hess 48 2:51 Piano Trio in E-flat major, Op. 38 (adapted from the Septet, Op. 20) I. Adagio – Allegro con brio 10:05 II. Adagio cantabile 7:44 III. Tempo di Menuetto 3:14 IV. Tema. Andante con Variazioni 7:26 V. Scherzo. Allegro molto e vivace 3:17 VI. Andante con moto alla Marcia – Presto 7:33 SCHWEIZER KLAVIERTRIO SWISS PIANO TRIO Angela Golubeva, violin • Sébastien Singer, cello* • Sasha Neustroev, cello • Martin Lucas Staub, piano The Complete Works for Piano Trio by Beethoven Following great critical acclaim – as well as numerous awards for their complete recordings of the Piano Trios by Men dels sohn, Tchaikovsky and Robert and Clara Schumann for the audite label – the Swiss Piano Trio have, since January 2015, been working on their most significant recording project to date: that of the complete Beethoven Piano Trios. After the successful release of the first three volumes, they now present the fourth instalment of their five-part series, revealing fascinat ing insights across the entire development of Beethoven’s musical language, from the astonishing three Trios Op. 1 from his early, Classical period, through his middle period, to which the Trios Op. 70 can be attributed, to the Archduke Trio Op. 97, marking the beginning of his late œuvre. -
Boston Symphony Orchestra Concert Programs, Season 30,1910-1911, Trip
J ACADEMY OF MUSIC . BROOKLYN Thirtieth Season, 1910-191 MAX FIEDLER, Conductor flrogratron? of % FIRST CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, NOVEMBER 11 AT 8.15 COPYRIGHT, 1910, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER OPERA AMERICA AND ABROAD Mr. H. WINFRED GOFF Frau CLARA WALLENTHIN- Miss EDITH DE LYS London Covent Garden STRANDBERG Stockholm London Covent Garden two seasons America Savage Grand Opera Royal Opera and Dresden Milan Florence Brussels Rome etc. Mrs. CLARA SEXTON- At present singing in Germany Mr. EARL W. MARSHALL CROWLEY Italy Florence Milan Miss LAURA VAN KURAN Italy Florence etc. Barcelona Now singing in America Italy Florence Now in America Now in Italy Mrs. LOUISE HOMER Mr. MYRON W. WHITNEY Mrs. ALICE KRAFT BENSON France Nantes At present with Aborn Grand Opera Co. New York Paris London Brussels Now with Boston singing in New York Metropolitan Opera Co. Lilian Nordica Concert and Opera Chicago Now Co. Italy - Mme. LENA ABARBANELL Miss FANNY B. LOTT Miss BLANCH FOX (VOLPINI) Austria Hungary Germany etc. Italy Palermo Rimini Pisa etc. Italy Venice Milan Vercelli etc. Metropolitan Opera Co. New York Now singing in Italy American Grand Opera Cos. New Nowsinging "Madam Sherry" N.Y. Miss EDITH FROST STEWART York Chicago San Francisco etc. Mr. HENRY GORRELL To create title role in Victor Her- Miss MARY CARSON (KIDD) Italy Florence Genoa Torino etc. bert's new opera " When Sweet Six- Italy Milan etc. Now singing in Italy teen "now rehearsing in New York Now singing in Italy Mr. FLETCHER NORTON Miss BERNICE FISHER Miss ROSINA SIDNA Now singing in New York With the Boston Opera Co. -
4802170-Ccf435-053479213624.Pdf
1 Suite for Viola and Piano, Op. 8 - Varvara Gaigerova (1903-1944) 1. I. Allegro agitato 2:36 2. II. Andantino 3:06 3. III. Scherzo: Prest 4:25 4. IV. Moderato 4:47 Two Pieces for Viola and Piano, Op.31 - Alexander Winkler (1865-1935) 5. I. Méditation élégiaque (Andante mesto poco mosso) 4:22 6. II. La toupie: scène d’enfant: Scherzino (Allegro vivace) 2:44 Sonata in D Major for Viola and Piano, Op. 15 - Paul Juon (1872-1940) 7. I. Moderato 7:09 8. II. Adagio assai e molto cantabile 6:13 9. III. Allegro moderato 6:50 Sonata in C minor for Viola and Piano, Op. 10 - Alexander Winkler (1865-1935) 10. Moderato 9:59 11. Allegro agitato 6:28 12. L’istesso tempo ma poco rubato 4:24 Variations sur un air breton 13. Thème: Andante 1:06 14. Variation 1: L’istesso tempo poco rubato 1:39 15. Variation 2: Allegretto 1:06 16. Variation 3: Allegro patetico 1:10 17. Variation 4: Andante molto espressivo 1:23 18. Variation 5: Allegro con fuoco 1:18 19. Variation 6: Andante sostenuto 1:47 1 20. Variation 7: Fuga (Allegro moderato) 1:50 21. Coda: Poco più animato - Maestoso pesante 1:05 Total Time 71:02 In the early 20th century, composers Varvara Gaigerova, Alexander Winkler, and Paul Juon, reflect different aspects of Russian music at this historic time of intense social and political revolution. The Russian Revolution of 1905, the February and October Revolutions of 1917, in concert with the complex dynamics involved in the two great World Wars, created instability and hardship for most. -
SLUB Dresden Erwirbt Korrespondenzen Von Clara Schumann Und Johannes Brahms Mit Ernst Rudorff
Berlin, 24. Juni 2021 SLUB Dresden erwirbt Korrespondenzen von Clara Schumann und Johannes Brahms mit Ernst Rudorff Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB Dresden) erwirbt Korrespondenzen von Clara Schumann (1819-1896) und Johannes Brahms (1833-1897) jeweils mit dem Berliner Dirigenten Ernst Rudorff (1840-1916). Die Korrespondenzen waren bislang für die Wissenschaft unzugänglich. Die Kulturstiftung der Länder fördert den Ankauf mit 42.500 Euro. Dazu Prof. Dr. Markus Hilgert, Generalsekretär der Kulturstiftung der Länder: „Die Botschaft, dass diese mehr als 400 Schriftstücke, die zuvor in Privatbesitz waren, nun erstmals der Öffentlichkeit und der Wissenschaft zugänglich sind – jetzt bereits online verfügbar auf der Webseite der SLUB Dresden –, dürfte zahlreiche Musikwissenschaftlerinnen und Musikwissenschaftler aus der ganzen Welt dorthin locken. Die wertvollen Korrespondenzen sind nicht nur Zeugnisse von Clara Schumanns ausgedehnter Konzerttätigkeit quer durch den Kontinent. Sie sind auch Dokumente einer Musikepoche und bieten Einblicke in die Musikwelt Europas zwischen 1858 und 1896.“ Eigenhändiger Brief Clara Schumann an Ernst Rudorff, Moskau und Petersburg, April/Mai 1864, SLUB Dresden, Mscr.Dresd.App. 3222A,19 u. 20; Foto: © SLUB Dresden/Ramona Ahlers-Bergner Die Korrespondenzen zwischen Clara Schumann und Ernst Rudorff umfassen 215 handschriftliche Briefe der Pianistin und 170 Briefe ihres einstigen Schülers. Der Briefwechsel zwischen Brahms und Rudorff besteht aus 16 Briefen von Brahms und zwölf Gegenbriefen von Rudorff sowie ein Blatt mit Noten, beschrieben von beiden. Beide Briefwechsel wurden in das niedersächsische Verzeichnis national wertvollen Kulturgutes aufgenommen. Rund sechs Jahre (1844-1850) wohnte Clara Schumann gemeinsam mit ihrem Mann in Dresden. Die angekauften Korrespondenzen Schumanns mit Rudorff beginnen 1858 und enden mit bis dahin hoher Regelmäßigkeit im Jahr ihres Todes, 1896. -
CATALOG SUPPLEMENT 2014 Movimentos Edition
CATALOG SUPPLEMENT 2014 Movimentos Edition NEW 2014 Works for Cello and Piano by Richard Strauss, Francis Poulenc, Wolfgang Rihm Benedict Kloeckner, Cello José Gallardo, Piano GEN 14313 Release 2013 Olivier Messiaen: Méditations sur le Mystère de la Sainte Trinité Daniel Beilschmidt, Organ This recording (...) is a program of superlatives in a twofold sense (...) Südwestpresse, May 10, 2013 GEN 13276 Release 2013 Robert Schumann: Fantasiestücke, Op. 12 & Fantasy in C major, Op. 17 Annika Treutler, Piano (...) exceptional musical talent (...) CD tip on hr2-kultur GEN 13272 2 Edition Primavera NEW Tobias Feldmann 2014 Deutscher Musikwettbewerb Award Winner 2012 Tobias Feldmann, Violin Boris Kusnezow, Piano Works by Bartók, Beethoven, Waxman and Ysaÿe GEN 14316 NEW Wassily & Nicolai Gerassimez 2014 Free Fall Deutscher Musikwettbewerb Award Winner 2012 Wassily Gerassimez, Cello Nicolai Gerassimez, Piano Works for Cello and Piano by Mendelssohn Bartholdy, Shostakovich, W. Gerassimez & F. Say GEN 14304 Release 2013 Rie Koyama Deutscher Musikwettbewerb Winner 2010 Rie Koyama, Bassoon Südwestdeutsches Kammerorchester Pforzheim Sebastian Tewinkel, Conductor Bassoon Concertos by Antonio Vivaldi, Wolfgang Amadeus Mozart, André Jolivet and Paul-Agricole Génin A top flight listening experience. It is sheer pleasure to listen to GEN 13288 the soloist’s performance. CD tip on NDR Kultur Release 2013 Miao Huang Deutscher Musikwettbewerb Award Winner 2011 Miao Huang, Piano Works by Frédéric Chopin and Maurice Ravel (...) yet this is world-class piano playing -
Ernst Rudorff
Ernst Rudorff (b. Berlin, 18. January 1840 – d. Berlin, 31. December 1916) Symphony no. 2 in G minor, op. 40 Born in Berlin, Ernst Friedrich Karl Rudorff was a German conductor, composer, pianist and teacher whose mother knew Mendelssohn and studied with Karl Friedrich Zelter (notable for founding the Berlin Singakademie, amongst other achievements), while his father was a professor of law. Rudorff’s parents’ home was often visited by German Romantic composers of the day, and he numbered Johann Friedrich Reichardt and Ludwig Tieck among his ancestors. From 1850 he studied piano and composition with Woldemar Bargiel (1828–1897), Clara Schumann’s half-brother, who, having studied at the Leipzig Conservatory prior to Rudorff, became a noted teacher and composer emulating though not copying Robert Schumann’s musical style. From 1852 to 1854 Rudorff studied violin with Louis Ries (1830- 1913), a member of the Ries family of musicians, who settled in London in 1853, and he studied piano for a short while with Clara Schumann in 1858, who added him to her list of lifelong musical friends, a list which included Mendelssohn, Joseph Joachim and Brahms. Subsequently, from 1859 to 1860, Rudorff studied history and theology at the universities of Berlin and Leipzig and music at Leipzig Conservatory from 1859 to 1861, where Ignaz Moscheles (for piano) and Julius Rietz (for composition) were his teachers. He then (from 1861 to 1862) studied privately with Carl Reinecke (1824-1910) – who was in his time well connected to Mendelssohn, the Schumanns and -
Woldemar Bargiel (B. Berlin, 3 October 1828 - D
Woldemar Bargiel (b. Berlin, 3 October 1828 - d. Berlin, 23 February 1897) Adagio Op. 38 Preface Woldemar Bargiel enjoyed considerable renown as a composer, conductor, and teacher during his lifetime. Born in Berlin on 3 October 1828, Bargiel benefitted from being a member of a gifted musical family. His father, Adolph Bargiel, was a highly respected piano and voice teacher who taught his son piano, violin, and harmony. Bargiel’s mother, Marianne (née Tromlitz) Wieck, who had divorced Friedrich Wieck in 1824, was the mother of Clara Schumann (née Wieck). In addition to the musical training he received from his parents Bargiel also studied theory with Siegfried Wilhelm Dehn, an eminent teacher, theorist, editor, and librarian. Initial success Bargiel experienced was due in part to Clara. Being nine years older than Bargiel and enjoying a lucrative career as an exceptional concert pianist, Clara’s network of foremost European musicians furthered her brother’s educa- tion and career. Introductions to Felix Mendelssohn and especially to Robert Schumann, who eventually became Bargiel’s brother-in-law, proved crucial. Taking Robert’s advice to enroll at the Leipzig Conservatory in 1846 at the tender age of 16, Bargiel began his extraordinary training. There he studied piano with Ignaz Moscheles and Louis Plaidy; violin with Ferdinand David and Joseph Joachim; and theory and composition with Moritz Hauptmann, Ernst Friedrich Richter, Julius Rietz, and Niels Gade. Upon completion of his studies Bargiel returned to Berlin in 1850. Having quickly developed a favorable reputation as a teacher and composer, some of Bargiel’s early compositions - most notably his first piano trio - were published under the auspices of Clara and Robert Schumann. -
R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research. -
Inhaltsverzeichnis
Inhaltsverzeichnis Band 1: Geleitwort 6 Vorwort 7 Abkürzungen 10 I. Mariane Tromlitz und ihre Ehe mit Friedrich Wieck in Leipzig (1816 - 1825) 11 II. Marianes zweite Ehe mit Adolph Bargiel (1825 -1841) 20 III. Bargiels und Clara Wieck bis zu ihrer Hochzeit mit Robert Schumann (1825 - 1840) 26 IV. Gedankenaustausch zwischen Mariane Bargiel und ihren Kindern in Berlin und dem Ehepaar Schumann in Leipzig und später in Dresden (1841 -1845) 41 V. Woldemar Bargiels Jugend in Berlin (1828-1846) 62 VI. Woldemar Bargiels Studium am Konservatorium in Leipzig (1846 - 1850). Seine Studienfreunde Robert Radecke, Albert Dietrich, Heinrich von Sahr und Ludvig Norman 67 VII. Woldemar Bargiel als Lehrer und Komponist in Berlin bis zum Ausbruch von Robert Schumanns Krankheit (1850 -1854) 123 VIII. Schumanns Krankheit und Tod; Bargiels in Berlin bis zu Woldemar Bargiels Berufung nach Köln (1854 - 1859). Ernst Rudorff 198 IX. Woldemar Bargiel als Lehrer am Konservatorium in Köln (1859 - 1865) Mariane Bargiel und ihre Töchter Cäcilie und Clementine in Berlin und England 271 Woldemar Bargiel und Adolph Behrens 394 Bibliografische Informationen digitalisiert durch http://d-nb.info/987831755 gescannt durch Band 2: X. Woldemar Bargiel in Rotterdam (1865-1874) 405 Woldemar Bargiel und seine Schüler in Rotterdam 605 XI. Woldemar Bargiel in Berlin (1874-1897) 617 XII Woldemar Bargiel und seine Schüler in Berlin (Waldemar von Baußnern, Jeanne Becker, Artur Egidi, Martin Graben, Eugene d'Harcourt, Alexander von üjinsky, Paul Juon, Tividar Nachez, Margarethe Quidde, Peter Raabe) 720 XIII. Woldemar Bargiel in seinen Beziehungen zu Joseph Joachim und den Familien Grimm und von Arnim 742 XIV. Woldemar Bargiel im Briefwechsel mit Freunden und Kollegen (Otto von Königslöw, Franz Wüllner, Georg Vierling, Hermann Levi, J.J.H. -
Juon Tchaikovsky
BOULANGER TRIO TCHAIKOVSKY JUON Piano Trios PIANO TRIOS PAUL JUON (1872-1940) 1 Litaniae, Tondichtung für Klavier, Violine und Violoncell / Tone Poem for Piano, Violin and Cello Op. 70 (1918/1928) Allegro moderato · Scherzando · Largo · Finale: Allegro moderato 18:01 PJOTR ILYICH TCHAIKOVSKY (1840-1893) Trio für Violine, Violoncello und Klavier a-Moll / Trio for Violin, Cello and Piano in A Minor, Op. 50 (1881/82) “A la mémoire d’un grand artriste” 2 I Pezzo elegiaco: Moderato assai – Allegro giusto 18:39 3 II A Tema con variazioni 31:09 Variazione I Andante con moto · Var. II Più mosso · Var. III Allegro moderato Var. IV L’istesso tempo (Allegro moderato) · Var. V L’istesso tempo Var. VI Tempo di Valse · Var. VII Allegro moderato · Var. VIII Fuga (Allegro moderato) Var. IX Andante flebile, ma non tanto · Var. X Tempo di Mazurka · Var. XI Moderato B Variazione Finale e Coda Allegro risoluto e con fuoco · Andante con moto · Lugubre / l’stesso tempo Total Time 67:49 Recording: X 2017, Deutschlandfunk Kammermusiksaal, Köln Executive Producer: Christoph Schmitz Recording Producer, Editing & Mastering: Stephan Schmidt Recording Engineer: Günther Rose · Recording Technician: Caro Thon Piano Technician: Christian Schoke Publishers: F. E. C. Leuckart Musikverlag (Juon); C.F. Peters (Tchaikovsky) g 2017 & P 2018 Deutschlandradio / Avi-Service for music, Cologne/Germany All rights reserved · LC 15080 · STEREO · DDD · Made in Germany 42 6008553916 1 · www.avi-music.de · Design: www.BABELgum.de Translations: Stanley Hanks · Fotos: © Steven Haberland www.boulangertrio.de www.deutschlandfunk.de · A Co-production with BOULANGER TRIO KARLA HALTENWANGER Piano · BIRGIT ERZ Violin · ILONA KINDT Cello KLAVIERTRIOS VON PAUL JUON UND PETER TSCHAIKOWSKY Zurückhaltend, bescheiden, wenig zur Selbstvermarktung tauglich: So tritt der Komponist PAUL JUON sprechenden Titeln à la Schumann: Silhouetten, Weiße Nächte, Satyr und Nymphen. -
Journal of the American Viola Society Volume 28 No. 2, Fall 2012
JournalVolume 28 Number of 2 the American Viola Society Journal of the American Viola Society A publication of the American Viola Society Fall 2012 Volume 28 Number 2 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: Announcements ~ AVS Minutes Feature Articles p. 17 Eastman’s Encore: IVC 2012 in Review: After thirty-five years, the IVC returned to the Eastman School of Music; read highlights from the blockbuster event p. 25 The Viola Music of Louise Lincoln Kerr: Carolyn Waters Broe introduces Kerr’s Southwestern- infused viola compositions p. 33 Paul Hindemith’s Der Schwanendreher: A Biographical Landmark: Louise Lansdown analyzes key documents and sources for Hindemith’s most famous viola concerto Departments p. 53 The Eclectic Violist: Get introduced to the world of looping p. 59 Student Life: Learn essential networking and entrepreneurship skills from Jessica Meyer p. 65 With Viola in Hand: Meet the violists of “The President’s Own” United States Marine Chamber Orchestra p. 69 New Music Reviews p. 71 Recording Reviews p. 77 At the Grassroots On the Cover: Beverly Claridge Viola Pizzicato Artist pencil on MiTientes. 35 x 45 cm (approx. 14 x 18 inches) Beverly Claridge, an American now living in New Zealand, writes about her work: “As one engaged in a life-long attempt to do justice to the viola and an admirer of those who very much do, my aim was to feature the per- spective from that of the player. Months of drawing and studying violists, principally my daughter and my stand mate playing, helped me consider the unique perspective. -
Clara Schumann Jubiläumsprogramm Zum 200
Clara Schumann Jubiläumsprogramm zum 200. Geburtstag September bis Dezember 2019 200. GEBURTSTAG VON CLARA SCHUMANN Clara Schumann, geb. Wieck 1819 (Leipzig) – 1896 (Frankfurt am Main) 1996 gedachte man des 100. Todestages von Clara Schumann – damals war sie sogar auf dem 100-DM-Schein und auf der 80-Pfennig-Briefmarke zu sehen, was einer breiteren Öffentlichkeit meist entging. 2019, 200 Jahre nach ihrer Geburt, hat es sich we- nigstens teilweise herumgesprochen: Sie war nicht nur die Ehefrau, Helfe rin, Trösterin und Muse ihres genialen Ehemanns Robert Schumann, der ohne Clara Wieck sie sein beeindruckendes Lebenswerk kaum ge- schaffen hätte, sondern auch Mutter von acht Kin- dern, von denen sie sieben ohne ihren Mann, den sie um 40 Jahre überlebte, großziehen musste und konnte. Clara Schumann, die von 1863 bis 1873 (in einem eigenen Haus!) in Baden- Baden lebte, konzertier- te und unterrichtete, war zudem die bedeutends- te und erfolgreichste Pianistin des 19. Jahrhun- derts und wirkte stilbildend und erziehend, indem sie durch ihren unermüdlichen Einsatz in ganz Europa, besonders auch in England, das klassi- sche Repertoire der Klaviermusik von Bach über Mozart, Beethoven, Weber, Mendelssohn, Chopin und Schumann bis zu ihrem Freund und künst- Clara Schumann lerischen Weggefährten Johannes Brahms im Bewusstsein eines Publikums verankerte, das Klavierspiel zuvor nur als nette Unterhaltung oder stau nenerregende Tastenakrobatik kannte und schätzte. Schließlich ist ihr schmales kompositorisches Schaffen endlich in seiner herausragenden Be- deutung erkannt worden; Teile davon, z. B. die Kammermusik, einige ihrer brillanten Klavierwerke und ihre wunderschönen Lieder haben sogar Ein- gang ins Standard repertoire gefunden. 2 JUBILÄUMSPROGRAMM VERANSTALTUNG ZUR ERÖFFNUNG Konzert „Clara Schumann und ihre Familie“ Teil I „Lied der Braut“ Sonntag, 15.