Volume 58, Number 06 (June 1940) James Francis Cooke
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January 1946) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1946 Volume 64, Number 01 (January 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 01 (January 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/199 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 7 A . " f ft.S. &. ft. P. deed not Ucende Some Recent Additions Select Your Choruses conceit cuid.iccitzt fotidt&{ to the Catalog of Oliver Ditson Co. NOW PIANO SOLOS—SHEET MUSIC The wide variety of selections listed below, and the complete AND PUBLISHERS in the THE AMERICAN SOCIETY OF COMPOSERS, AUTHORS BMI catalogue of choruses, are especially noted as compo- MYRA ADLER Grade Pr. MAUDE LAFFERTY sitions frequently used by so many nationally famous edu- payment of the performing fee. Christmas Candles .3-4 $0.40 The Ball in the Fountain 4 .40 correspondence below reaffirms its traditional stand regarding ?-3 Happy Summer Day .40 VERNON LANE cators in their Festival Events, Clinics and regular programs. BERENICE BENSON BENTLEY Mexican Poppies 3 .35 The Witching Hour .2-3 .30 CEDRIC W. -
Letter Book Guide
TENDENCIES AND CONTRASTS IN MUSIC OF HENRY BARRAUD 35 it is not the music which is stretched out taut but rather the subject of the drama which is reduced to its fundamental tragic elements. Numance was originally per- formed at the Paris Opera and in view of its success has already been revived there. and final concert was a pot-pourri of twentieth- century English traditionalists, together with LETTER the Suite from Lulu by Berg. THE EDITOR, TEMPO lSthJune, 19S7- Everyone thinks that he can compile an DEAR SIR, anthology better than the next man, and it An event of great importance in the world would be churlish to criticise the L.P.O. for of modern music took place in the early having omitted works that happen to be months of this year with a series of concerts particular favourites of particular people. It entitled " Music of a Century " given in the was clearly never the intention of this series Royal Festival Hall by the London Phil- to be more avant than the avant-garde. harmonic Orchestra. Nevertheless, the total omission (barring the I attended all nine of these concerts, puerile Ballet Mecaniaue by Antheil) of works which, to quote from the handbook issued by native American composers was startling. to cover the series, were "cast in the form 1 would suggest that if concerts of con- of an anthology, with each programme temporary music are to be given to a wide pursuing some particular line of musical public in the Festival Hall, and that if the thought." idea of an anthology is to be persisted with, The first concert, entitled " Retreat from a wider range of works should be considered Wagner," was one of the most rewarding for performance. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
Current Review
Current Review Christian Ferras plays Beethoven and Berg Violin Concertos aud 95.590 EAN: 4022143955906 4022143955906 Fanfare (Robert Maxham - 2012.05.01) Audite’s program of violin concertos by Ludwig van Beethoven and Alban Berg captures two moments in the life of Christian Ferras, the first a studio recording from November 19, 1951, made in the Jesus-Christus-Kirche after the 18-year-old violinist had given a live performance of the work at the Titania Palast and more than a decade before he would record the work with Herbert von Karajan and the same orchestra. The young Ferras sounds both flexible and sprightly in the first movement’s passagework, producing a suave tone that might be described as almost gustatory in its effect as he soars above the orchestra. That tone lacks the sharp edge of Zino Francescatti’s and even the slightly reedy quality of Arthur Grumiaux’s, and he never seems to be deploying it simply for the sheer beauty of it: As sumptuous as it might sound, it always serves his high-minded concept of the work itself. And his playing of Fritz Kreisler’s famous cadenza similarly subordinates virtuosity to musical effect. Karl Böhm sets the mood for a probing exploration of the slow movement, in which Ferras sounds similarly committed; he never allows himself to be diverted into mannerism or eccentricity, as Anne-Sophie Mutter does in her performance with Kurt Masur and the New York Philharmonic (Deutsche Grammophon 289 471 349, Fanfare 26:5 and 26:6). What the young Michael Rabin achieved in the showpieces of Wieniawski and Paganini, Ferras arguably exceeded in the music of Beethoven. -
ARSC Journal
LEONARD BERNSTEIN, A COMPOSER DISCOGRAPHY" Compiled by J. F. Weber Sonata for clarinet and piano (1941-42; first performed 4-21-42) David Oppenheim, Leonard Bernstein (recorded 1945) (78: Hargail set MW 501, 3ss.) Herbert Tichman, Ruth Budnevich (rec. c.1953} Concert Hall Limited Editions H 18 William Willett, James Staples (timing, 9:35) Mark MRS 32638 (released 12-70, Schwann) Stanley Drucker, Leonid Hambro (rec. 4-70) (10:54) Odyssey Y 30492 (rel. 5-71) (7) Anniversaries (for piano) (1942-43) (2,5,7) Leonard Bernstein (o.v.) (rec. 1945) (78: Hargail set MW 501, ls.) (1,2,3) Leonard Bernstein (rec. c.1949) (4:57) (78: RCA Victor 12 0683 in set DM 1278, ls.) Camden CAL 214 (rel. 5-55, del. 2-58) (4,5) Leonard Bernstein (rec. c.1949) (3:32) (78: RCA Victor 12 0228 in set DM 1209, ls.) (vinyl 78: RCA Victor 18 0114 in set DV 15, ls.) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 (6,7) Leonard Bernstein (rec. c.1949) (2:18) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 Jeremiah symphony (1941-44; f.p. 1-28-44) Nan Merriman, St. Louis SO--Leonard Bernstein (rec. 12-1-45) ( 23: 30) (78: RCA Victor 11 8971-3 in set DM 1026, 6ss.) Camden CAL 196 (rel. 2-55, del. 6-60) "Single songs from tpe Broadway shows and arrangements for band, piano, etc., are omitted. Thanks to Jane Friedmann, CBS; Peter Dellheim, RCA; Paul de Rueck, Amberson Productions; George Sponhaltz, Capitol; James Smart, Library of Congress; Richard Warren, Jr., Yael Historical Sound Recordings; Derek Lewis, BBC. -
111318-19 Bk Jschmidt EU 10/15/07 2:47 PM Page 8
111318-19 bk JSchmidt EU 10/15/07 2:47 PM Page 8 8.111318-19 CD 1: CD 2: GREAT SINGERS • SCHMIDT Tracks 1, 2, 5 and 9: Tracks 1, 5 and 16: ADD Berlin State Opera Orchestra • Selmar Meyrowitz Orchestra • Felix Günther Tracks 3 and 4: Tracks 2, 6-9, 20-23: Vienna Parlophon Orchestra • Felix Günther Berlin State Opera Orchestra Selmar Meyrowitz Joseph Track 6: Berlin State Opera Orchestra • Clemens Schmalstich Tracks 3, 4, and 13: Berlin State Opera Orchestra SCHMIDT Tracks 7 and 8: Frieder Weissmann Berlin Philharmonic Orchestra • Selmar Meyrowitz Tracks 10-12, 14, 15, 18, and 19: Track 10: Orchestra • Otto Dobrindt With Max Saal, harp Arias and Songs Track 17: Track 11: Orchestra • Clemens Schmalstich Orchestra and Chorus • Clemens Schmalstich (1929-1936 recordings) Tracks 12 and 13: Languages: Berlin Symphony Orchestra • Frieder Weissmann CD 1: MOZART Tracks 14, 15, 17, 18 and 24: Tracks 1, 3-6, 9-13, 16-18, 21-24 sung in German Orchestra of the Staatsoper Berlin Tracks 2, 7, 8, 14, 15, 19, 20 sung in Italian Frieder Weissmann DONIZETTI CD 2: Track 16: Tracks 1-16 sung in German MEYERBEER Orchestra • Leo Blech Track 17 sung in Spanish Tracks 18-23 sung in Italian Tracks 19 and 20: FLOTOW Orchestra • Walter Goehr Tracks 21-23: VERDI Orchestra • Otto Dobrindt MASSENET PUCCINI J. STRAUSS II 2 CDs 8.111318-19 8 111318-19 bk JSchmidt EU 10/15/07 2:47 PM Page 2 Joseph Schmidt (1904-1942) LEHAR: Das Land des Lächelns: MAY: Ein Lied geht um die Welt: 8 Von Apfelblüten eine Kranz (Act I) 3:43 ^ Wenn du jung bist, gehört dir die Welt 3:09 Arias and Songs (1929-1936 recordings) Recorded on 24th October 1929; Recorded in January 1934; Joseph Schmidt’s short-lived career was like that of a 1924 he decided to take the plunge into a secular Mat. -
Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr. -
Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca". Nam Yeung Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1997 Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca". Nam Yeung Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Yeung, Nam, "Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca"." (1997). LSU Historical Dissertations and Theses. 6648. https://digitalcommons.lsu.edu/gradschool_disstheses/6648 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Toccata Classics TOCC0024 Notes
P JULIUS RÖNTGEN, CHAMBER MUSIC, VOLUME ONE – WORKS FOR VIOLIN AND PIANO I by Malcolm MacDonald Considering his prominence in the development of Dutch concert music, and that he was considered by many of his most distinguished contemporaries to possess a compositional talent bordering on genius, the neglect that enveloped the huge output of Julius Röntgen for nearly seventy years after his death seems well-nigh inexplicable, or explicable only to the kind of aesthetic view that had heard of him as stylistically conservative, and equated conservatism as uninteresting and therefore not worth investigating. The recent revival of interest in his works has revealed a much more complex picture, which may be further filled in by the contents of the present CD. A distant relative of the physicist Conrad Röntgen,1 the discoverer of X-rays, Röntgen was born in 1855 into a highly musical family in Leipzig, a city with a musical tradition that stretched back to J. S. Bach himself in the first half of the eighteenth century, and that had been a byword for musical excellence and eminence, both in performance and training, since Mendelssohn’s directorship of the Gewandhaus Orchestra and the Leipzig Conservatoire in the 1830s and ’40s. Röntgen’s violinist father Engelbert, originally from Deventer in the Netherlands, was a member of the Gewandhaus Orchestra and its concert-master from 1873. Julius’ German mother was the pianist Pauline Klengel, sister of the composer Julius Klengel (father of the cellist-composer of the same name), who became his nephew’s principal tutor; the whole family belonged to the circle around the composer and conductor Heinrich von Herzogenberg and his wife Elisabet, whose twin passions were the revival of works by Bach and the music of their close friend Johannes Brahms. -
Chopin: Poet of the Piano
GOING BEHIND THE NOTES: EXPLORING THE GREAT PIANO COMPOSERS AN 8-PART LECTURE CONCERT SERIES CHOPIN: POET OF THE PIANO Dr. George Fee www.dersnah-fee.com Performance: Nocturne in E Minor, Op. 72, No. 1 (Op. Posth.) Introduction Early Life Performance: Polonaise in G minor (1817) Paris and the Polish Community in Paris Performance: Mazurkas in G-sharp Minor and B Minor, Op. 33, Nos. 1 and 4 Scherzo in C-sharp Minor, Op. 39 The Man Chopin (1810-1849) Parisian Society and Chopin as Teacher Chopin’s Performing and More on his Personality Performance: Waltz in A-flat Major, Op. 42 10 MINUTE BREAK Chopin’s Playing Performance: Nocturne in D-flat Major, Op. 27, No. 2 Chopin’s Music Performance: Mazurka in C-sharp Minor, Op. 50, No. 3 Chopin’s Teaching and Playing Chopin Today Chopin’s Relationship with Aurore Dupin (George Sand) Final Years Performance: Mazurka in F Minor, Op .68 No.4 Polonaise in A-flat Major Op. 53 READING ON CHOPIN Atwood, William G. The Parisian Worlds of Frédéric Chopin. Yale University Press, 1999. Eigeldinger, Jean-Jacques. Chopin: pianist and teacher as seen by his pupils. Cambridge University Press, 1986. Marek, George R. Chopin. Harper and Row, 1978. Methuen-Campbell, James. Chopin Playing: From the Composer to the Present Day. Taplinger Publishing Co., 1981. Siepmann, Jeremy. Chopin: The Reluctant Romanic. Victor Gollancz, 1995. Szulc, Tad. Chopin in Paris: The Life and Times of the Romantic Composer. Da Capo Press, 1998. Walker, Alan. Fryderyk Chopin: A Life and Times. Farrar, Straus and Giroux, 2018. -
TORRANCE HERALD 52 Issues J 3 with Regular Workouts on the School in 1B12 Thoy Imprlsonort Hlghhar Will Make the Muscles a Hornod Toad in It
THUB9PAV. Motorist Churns Big Circus Opens Local Theatre Station Gravel Sept. 1J for HAWTHORNE, CALIF Some motorist "1th n per 5 Days in L. A. Managers Giving T.liphon. 299 verted hr Vriemlly Fnmlly Tin sense of fun frped The Big Show Rlngllng Bros, around and around the Fnxl id Barmim & Bailey moving War Bulletins Hanson service station »t Car- Thursday. Vrlrtny. Sutimli<>- on four long railroad trains and turn and Arlington avenue at n carrying 1600 people, 60 ele Want to keep up on the war JACK BENNY high rate of speed early last phants, 1009 menagerie animals, bulletins and still enjoy a mo DOROTHY LAMOUR I "richly morning. tion picture show? .nd ROCHESTER in hundreds of horses and Gar- Hansen discovered that the antua the Great, world's largest Then attend the Torrancc or "MAN ABOUT (Travel snrroundinic the tiUrloti captive gorilla, now displayed Orand theatres where Managers had been widely scattered for close-up views in the men Jack Dabbs and Lou Recso arr TOWN" from the churning wheel*. AUSO agerie, will exhibit at Crenghaw giving the newm from European JOHN HOWARD and boulevard and Exposition, Los war fronts as It comes oyer the HEATHER ANGEL in No. IS lAicky For Seed* Angeles, five days commencing radio and press wires every WINS LOWS MILLS, Mo. Sept. 13, with Its huge big top evening. "BULLDOG (U.P.I Thirteen apparently Is a air conditioned and rcstyled ii They precede their reports DRUMMOND'S lucky number for William Qup- rainbow hues. with a brief summary of the BRIDE** tlll. -
Proquest Dissertations
The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb Item Type text; Dissertation-Reproduction (electronic) Authors Lin, Shuennchin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 08:04:22 Link to Item http://hdl.handle.net/10150/288715 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fice, whfle others may be from any type of computer primer. The qaality^ of this rqirodnctioii is dependent upon the quality of the copy sabmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and hnproper alignmem can adverse^ affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., nu^s, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing fi'om left to right m equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.