DOCSLIB.ORG

Rafael Kubelík

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rafael Kubelík RAFAEL KUBELÍK THE MUNICH SYMPHONIC RECORDINGS SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS HAYDN MOZART BEETHOVEN BRAHMS DVOŘÁK BRUCKNER BERLIOZ SMETANA JANÁČEK HARTMANN BARTÓK 1 COMPACT DISC 1 .............................................................................................. 72:16 JOSEPH HAYDN (1732-1809) Sinfonie Nr. 99 Es-Dur Hob. I:99 Symphony No. 99 in E fl at major, Hob. I:99 1 I. Adagio - Vivace assai [8:54] 2 II. Adagio [6:04] 3 III. Menuett: Allegretto [5:57] 4 IV. Finale. Vivace [4:25] RAFAEL KUBELÍK WOLFGANG AMADEUS MOZART (1756 -1791) Sinfonie Nr. 25 g-Moll KV 183 THE MUNICH SYMPHONIC RECORDINGS Symphony No. 25 in G minor, K 183 5 I. Allegro con brio [5:42] 6 II. Andante [4:50] SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS 7 III. Menuetto - Trio [3:55] 8 IV. Allegro [3:34] HAYDN MOZART BEETHOVEN BRAHMS DVOŘÁK BRUCKNER Sinfonie Nr. 38 D-Dur KV 504 “Prager” BERLIOZ SMETANA JANÁČEK HARTMANN BARTÓK Symphony No. 38 in D major K 504, “Prague” 9 I. Adagio - Allegro [10:38] 10 II. Andante [12:30] 11 III. Presto [5:47] Aufnahme / Recording: Munich, Herkulessaal, 04.05.1982 (1-4); 09.05.1985 (9-11) Würzburg, Kaisersaal, 22.06.1981 (5-8) Aufnahmeleitung / Recording Supervision: Fritz Welz Toningenieur / Recording Engineer: Wilfried Hauer P+C 1989 Orfeo International Eine Produktion des Bayerischen Rundfunks 2 3 COMPACT DISC 2 ..............................................................................................75:27 COMPACT DISC 3 .............................................................................................. 70:18 WOLFGANG AMADEUS MOZART LUDWIG VAN BEETHOVEN (1770 -1827) Sinfonie Nr. 40 g-Moll KV 550 Sinfonie Nr. 9 d-Moll op. 125 Symphony No. 40 in G minor, K 550 mit dem Schlusschor über Friedrich Schillers “Ode an die Freude” 1 I. Molto allegro [8:37] Symphony No. 9 in D minor, Op. 125 2 II. Andante [12:07] with final chorus from Friedrich Schiller’s “Ode to Joy” 3 III. Menuetto: Allegretto [4:50] 1 I. Allegro ma non troppo, un poco maestoso [16:49] 4 IV. Allegro assai [10:02] 2 II. Molto vivace [11:57] 3 III. Adagio molto e cantabile [15:50] Sinfonie Nr. 41 C-Dur KV 551 “Jupiter” 4 IV. Presto - Allegro assai [25:42] Symphony No. 41 in C major, K 551 “Jupiter” 5 I. Allegro vivace [11:44] HELEN DONATH Sopran / soprano • BRIGITTE FASSBAENDER Alt / alto 6 II. Andante cantabile [11:32] HORST LAUBENTHAL Tenor / tenor • HANS SOTIN Bass / bass 7 III. Menuetto: Allegretto [4:42] CHOR DES BAYERISCHEN RUNDFUNKS 8 IV. Molto Allegro [11:53] Recording: Munich, Herkulessaal, 14.05.1982 Aufnahmeleitung / Recording Supervision: Fritz Welz Aufnahme / Recording: Munich, Herkulessaal, 10.05.1985 Toningenieur / Recording Engineer: Martin Wöhr Aufnahmeleitung / Recording Supervision: Fritz Welz • Toningenieur / Recording Engineer: Martin Wöhr Eine Aufnahme des Bayerischen Rundfunks Digital Remastering: Othmar Eichinger, Gottfried Kraus P C 1989 Orfeo International P+C 1999 Orfeo International + Eine Produktion des Bayerischen Rundfunks COMPACT DISC 4 ...............................................................................................49:17 JOHANNES BRAHMS (1833-1897) Sinfonie Nr. 1 c-Moll, op. 68 Symphony No. 1 in C minor, Op. 68 1 I. Un poco sostenuto - Allegro [17:28] 2 II. Andante sostenuto [9:42] 3 III. Un poco allegretto e grazioso [4:58] 4 IV. Adagio - Più andante - Allegro non troppo, ma con brio [17:09] 4 5 COMPACT DISC 5 ............................................................................................. 44:28 COMPACT DISC 7 ..............................................................................................73:22 JOHANNES BRAHMS ANTONÍN DVORˇÁK (1841-1904) Sinfonie Nr. 2 D-Dur, op. 73 Sinfonie Nr. 6 D-Dur, op. 60 Symphony No. 2 in D major, Op. 73 Symphony No. 6 in D major, Op. 60 1 I. Allegro non troppo [20:30] 1 I. Allegro non tanto [12:52] 2 II. Adagio non troppo [9:41] 2 II. Adagio [12:05] 3 III. Allegretto grazioso (quasi Andantino) [5:19] 3 III. Scherzo - Furiant. Presto [8:31] 4 IV. Allegro con spirito [8:58] 4 IV. Finale. Allegro con spirito [12:00] Serenade E-Dur, op. 22 COMPACT DISC 6 ..............................................................................................79:38 Serenade in E major, Op. 22 5 I. Moderato [4:28] JOHANNES BRAHMS 6 II. Tempo di Valse - Trio [6:51] Sinfonie Nr. 3 F-Dur, op. 90 7 III. Scherzo: Vivace [5:22] Symphony No. 3 in F major, Op. 90 8 IV. Larghetto [5:18] 1 I. Allegro con brio [14:10] 9 V. Finale: Allegro vivace [5:55] 2 II. Andante [9:31] Recording: Munich, Herkulessaal, 16.10.1981 (Op. 60) / 25.05.1977 (Op. 22) 3 III. Poco allegretto [6:13] Aufnahmeleitung / Recording Supervision: Werner Kempff (Op. 60); Wilhelm Meister (Op. 22) 4 IV. Allegro [9:18] Toningenieur / Recording Engineer: Wolfgang Karreth (Symph.); Martin Wöhr (Op. 22) Eine Aufnahme des Bayerischen Rundfunks Sinfonie Nr. 4 e-Moll, op. 98 P+C 2001 Orfeo International (Op. 60) Symphony No. 4 in E minor, Op. 98 P+C 2003 Orfeo International (Op. 22) 5 I. Allegro non troppo [12:48] 6 II. Andante moderato [11:00] 7 III. Allegro giocoso - Poco meno presto [6:34] 8 IV. Allegro energico e passionato - Più allegro [10:04] Recording: Munich, Herkulessaal, 26.-29.04.1983 (Symph. 1 & 2); 03.-06.05.1983 (Symph. 3 & 4) Aufnahmeleitung / Recording Supervision: Fritz Welz Toningenieur / Recording Engineer: Martin Wöhr Co-Production Bayerischer Rundfunk München - Orfeo International P+C 1983 Orfeo International 6 7 COMPACT DISC 8 ..............................................................................................62:27 Sinfonie Nr. 9 e-Moll, op. 95 “Aus der Neuen Welt” ˇ Symphony No. 9 in E minor, Op. 95 “From the New World” ANTONÍN DVORÁK 5 I. Adagio - Allegro molto [9:33] Sinfonie Nr. 7 d-Moll, op. 70 6 II. Largo [12:48] Symphony No. 7 in D minor, Op. 70 7 III. Molto vivace [7:56] 1 I. Allegro maestoso [11:06] 8 IV. Allegro con fuoco [12:12] 2 II. Poco adagio [9:26] Aufnahme / Recording: Stadthalle Erlangen, 17.05.1976 (Op. 88) 3 III. Scherzo: Vivace - Poco meno mosso [7:20] Munich, Herkulessaal, 19.-20.06.1980 (Op. 95) 4 IV. Finale. Allegro [9:45] Aufnahmeleitung / Recording Supervision: Friedrich Welz Toningenieur / Recording Engineer: Marion Dille Serenade d-Moll, op. 44 (Orchesterversion) Eine Aufnahme des Bayerischen Rundfunks Serenade in D minor, Op. 44 (version for orchestra) P+C 2003 Orfeo International 5 I. Moderato, quasi marcia [4:06] 6 II. Minuetto [6:35] COMPACT DISC 10 ............................................................................................73:53 7 III. Andante con moto [8:05] 8 IV. Finale [6:04] ANTON BRUCKNER (1824-1896) Recording: Munich, Herkulessaal, 02.04.1978 (Op. 70); 27.05.1977 (Op. 44) Sinfonie Nr. 8 c-Moll Aufnahmeleitung / Recording Supervision: Friedrich Welz Toningenieur / Recording Engineer: Gerhard von Knobelsdorf (Op. 70); Peter Zelnhöfer (Op. 44) Symphony No. 8 in C minor Eine Aufnahme des Bayerischen Rundfunks 1 I. Allegro moderato [14:39] P+C 2003 Orfeo International 2 II. Scherzo. Allegro moderato [14:24] 3 III. Adagio. Feierlich langsam, doch nicht schleppend [22:36] COMPACT DISC 9 ..............................................................................................79:38 4 IV. Finale: Feierlich, nicht schnell [22:14] ANTONÍN DVORˇÁK Aufnahme / Recording: Munich, Herkulessaal, 08.11.1963 Aufnahmeleitung / Recording Supervision: Dr. Werner Uebele Sinfonie Nr. 8 G-Dur, op. 88 Toningenieur / Recording Engineer: Otto Petzak Symphony No. 8 in G major, Op. 88 Eine Aufnahme des Bayerischen Rundfunks 1 I. Allegro con brio [10:19] P+C 1989 Orfeo International 2 II. Adagio [10:11] 3 III. Allegretto grazioso [6:55] 4 IV. Allegro ma non troppo [9:44] 8 9 COMPACT DISC 11 ........................................................................................... 60:40 COMPACT DISC 13 ............................................................................................ 76:59 ANTON BRUCKNER BEDRˇICH SMETANA (1824-1884) Sinfonie Nr. 9 d-Moll Má vlast Symphony No. 9 in D minor Mein Vaterland • My Country 1 I. Feierlich. Misterioso [23:58] 1 I. Vyšehrad [15:29] 2 II. Scherzo. Bewegt, lebhaft - Trio. Schnell [10:25] 2 II. Vltava (Die Moldau / The Moldavia) [11:47] 3 III. Adagio. Langsam, feierlich [26:17] 3 III. Šárka [9:53] 4 IV. Zcˇeských luhu° a háju° Aufnahme / Recording: Munich, Herkulessaal, 06.06.1985 Aufnahmeleitung / Recording Supervision: Wolfgang Schreiner (Aus Böhmens Hain und Flur / Toningenieur / Recording Engineer: Martin Wöhr From Bohemian Fields and Groves) [13:15] Eine Aufnahme des Bayerischen Rundfunks 5 V. Tábor [12:40] P+C 2001 Orfeo International 6 VI. Blaník [13:55] COMPACT DISC 12 ............................................................................................ 62:35 Aufnahme / Recording: Munich, Herkulessaal, 03.-04.05.1984 Aufnahmeleitung / Recording Supervision: Friedrich Welz HECTOR BERLIOZ (1803-1869) Toningenieur / Recording Engineer: Martin Wöhr Co-Produktion Bayerischer Rundfunk - Orfeo International Symphonie fantastique, op. 14 P+C 1988 Orfeo International Épisodes de la vie d’un artiste 1 I. Rêveries - Passions [15:11] COMPACT DISC 14 ............................................................................................ 52:21 2 II. Un bal [6:29] 3 III. Scènes aux champs [17:00] LEOŠ JANÁCˇ EK (1854-1928) 4 IV. Marche au supplice [4:54] 5 V. Songe d’une nuit de Sabbat [10:34] Sinfonietta 1 I. Allegretto [2:18] 6 Ouverture “Le Corsaire” [8:27] 2 II. Andante [5:44] Aufnahme / Recording: Munich, Herkulessaal, 25.09.1981 (Symphonie); 23.11.1962 (Ouverture) 2 III.
Load more

Recommended publications
  • Rafael Kubelík
    czech music 2 | 2004 quarterly magazine Rafael Kubelík Josef Adamík Societas Incognitorum The Czech Music Fund Music Materials Hire Library A wide range of scores and parts of music by Czech composers, both contemporary authors and classical masters. VISIT THE ELEC- TRONIC CATALOGUE ON THE WEB WWW.MUSICBASE.CZ Contact address: Tel.: +420-251 556 642 or 251 550 609 Radlická 99 Fax: +420-251 553 982 150 00 Prague 5 e-mail: [email protected] Czech Republic internet: www.musicbase.cz czech music 2 | 2004 editorial Contents 2004 Dear Readers, and friends of Czech music. The face of this issue is Rafel Kubelik, one of the greatest personalities of Czech music history. We present here three texts Page 2 Adam Michna of Otradovice and the Societas concerning different aspects of his life and work. Incognitorum We also look deeper into our history in VLADIMÍR MAŇAS an interview with Eduard Tomaštík, 2 leader of ensemble Societas Incognitorum. This ensemble revives Page 5 Rafael Kubelík: We Loved Our Giants forgotten gems of past. JINDŘICH BÁLEK We return to the contemporary music scene with reviews of festival Exposition of New Music and with reports about Page 9 Rafael Kubelík: The Soul Cannot Be Mangled three new chamber operas. by Politics In this issue you will find next of a series PETR KADLEC of supplements called Profiles, designed to mark the Year of Czech Music and introduce some of the composers whose Page 11 Rafel Kubelík: Homeland and World Art jubilees fall in this year. We have chosen PETR KADLEC those who in our view had a major influence on the development of Czech music but who are not always so well Page 13 Josef Adamík: Composer in Disguise known in the rest of the world.
    [Show full text]
  • C K’NAY C (To Her) C (Poem by A
    K ney C k’NAY C (To Her) C (poem by A. Belïy [(A.) BAY-lee] set to music by Sergei Rachmaninoff [sehr-GAYEE rahk-MAH-nyih-nuff]) Kaan C JindÍich z Albestç Kàan C YINND-rshihk z’AHL-bess-too KAHAHN C (known also as Heinrich Kàan-Albest [H¦N-rihh KAHAHN-AHL-besst]) Kabaivanska C Raina Kabaivanska C rah-EE-nah kah-bahih-WAHN-skuh C (known also as Raina Yakimova [yah-KEE-muh-vuh] Kabaivanska) Kabalevsky C Dmitri Kabalevsky C d’MEE-tree kah-bah-LYEFF-skee C (known also as Dmitri Borisovich Kabalevsky [d’MEE-tree bah-REE-suh-vihch kah-bah-LYEFF-skee]) C (the first name is also transliterated as Dmitry) Kabasta C Oswald Kabasta C AWSS-vahlt kah-BAHSS-tah Kabelac C Miloslav Kabelá C MIH-law-slahf KAH-beh-lahahsh Kabos C Ilona Kabós C IH-law-nuh KAH-bohohsh Kacinskas C Jerome Ka inskas C juh-ROHM kah-CHINN-skuss C (known also as Jeronimas Ka inskas [yeh-raw-NEE-mahss kah-CHEEN-skahss]) Kaddish for terezin C Kaddish for Terezin C kahd-DIHSH (for) TEH-reh-zinn C (a Holocaust Requiem [{REH-kôôee-umm} REH-kôôih-emm] by Ronald Senator [RAH-nulld SEH-nuh-tur]) C (Kaddish is a Jewish mourner’s prayer, and Terezin is a Czechoslovakian town converted to a concentration camp by the Nazis during World War II, where more than 15,000 Jewish children perished) Kade C Otto Kade C AWT-toh KAH-duh Kadesh urchatz C Kadesh Ur'chatz C kah-DEHSH o-HAHTSS C (Bless and Wash — a prayer song) Kadosa C Pál Kadosa C PAHAHL KAH-daw-shah Kadosh sanctus C Kadosh, Sanctus C kah-DAWSH, SAHNGK-tawss C (section of the Holocaust Reqiem — Kaddish for Terezin [kahd-DIHSH (for) TEH-reh-zinn]
    [Show full text]
  • Czech Music in Nebraska
    Czech Music in Nebraska Ceska Hudba v Nebrasce OUR COVER PICTURE The Pavlik Band of Verdigre, Nebraska, was organized in 1878 by the five Pavlik brothers: Matej, John, Albert, Charles and Vaclav. Mr. Vaclav Tomek also played in the band. (Photo courtesy of Edward S. Pavlik, Verdigre, Neraska). Editor Vladimir Kucera Co-editor DeLores Kucera Copyright 1980 by Vladimir Kucera DeLores Kucera Published 1980 Bohemians (Czechs) as a whole are extremely fond of dramatic performances. One of their sayings is “The stage is the school of life.” A very large percentage are good musicians, so that wherever even a small group lives, they are sure to have a very good band. Ruzena Rosicka They love their native music, with its pronounced and unusual rhythm especially when played by their somewhat martial bands. A Guide to the Cornhusker State Czechs—A Nation of Musicians An importantCzechoslovakian folklore is music. Song and music at all times used to accompany man from the cradle to the grave and were a necessary accompaniment of all important family events. The most popular of the musical instruments were bagpipes, usually with violin, clarinet and cembalo accompaniment. Typical for pastoral soloist music were different types of fifes and horns, the latter often monstrous contraptions, several feet long. Traditional folk music has been at present superseded by modern forms, but old rural musical instruments and popular tunes have been revived in amateur groups of folklore music or during folklore festivals. ZLATE CESKE VZPOMINKY GOLDEN CZECH MEMORIES There is an old proverb which says that every Czech is born, not with a silver spoon in his mouth, but with a violin under his pillow.
    [Show full text]
  • The Fifteenth-Anniversary Season: the Glorious Violin July 14–August 5, 2017 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
    The Fifteenth-Anniversary Season: The Glorious Violin July 14–August 5, 2017 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, itness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE 4290 Bistro features creative dishes from our Executive Chef and Culinary Team. Our food is a fusion of Asian Flavors using French techniques while sourcing local ingredients. TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo The Glorious Violin the fifteenth-anniversary season July 14–August 5, 2017 DAVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 The Glorious Violin Program Overview 6 Essay: “Violinists: Old Time vs. Modern” by Henry Roth 10 Encounters I–V 13 Concert Programs I–VII Léon-Ernest Drivier (1878–1951). La joie de vivre, 1937. Trocadero, Paris, France. Photo credit: Archive 41 Carte Blanche Concerts I–V Timothy McCarthy/Art Resource, NY 60 Chamber Music Institute 62 Prelude Performances 69 Koret Young Performers Concerts 72 Master Classes 73 Café Conversations 74 The Visual Arts at Music@Menlo 75 Music@Menlo LIVE 76 2017–2018 Winter Series 78 Artist and Faculty Biographies 90 Internship Program 92 Glossary 96 Join Music@Menlo 98 Acknowledgments 103 Ticket and Performance Information 105 Map and Directions 106 Calendar www.musicatmenlo.org 1 2017 Season Dedication Music@Menlo’s ifteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible.
    [Show full text]
  • 3. Jan Kubelík
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra strunných nástrojů Studijní obor Hra na housle Jan Kubelík Bakalářská práce Autor práce: Martina Stachová Vedoucí práce: Doc. MgA. Bohuslav Matoušek Oponent práce: odb. as. Miloš Vacek Brno 2015 Bibliografický záznam STACHOVÁ, Martina. Jan Kubelík [Jan Kubelík]. Brno: Janáčkova akademie múzických umění v Brně, Fakulta hudební, Katedra strunných nástrojů, rok 2015 s. [42] Vedoucí diplomové práce doc. MgA. Bohuslav Matoušek Anotace Bakalářská práce „Jan Kubelík“ je shrnutím dosud známých faktů o životě a díle tohoto českého virtuosa. Po studiu hry na housle u profesora Otakara Ševčíka na Pražské Konzervatoři se stal předním celosvětově známým reprezentantem pražské houslové školy. Prosadil se jako sólový hráč a během své kariéry uskutečnil více než pět tisíc koncertů po celém světě. První a druhá kapitola nastiňují historii houslové školy a původ rodu Kubelíkových. Třetí kapitola upozorňuje na dětství, studia a závažná fakta z života Jana Kubelíka. Ve čtvrté části je provedeno porovnání s N. Paganinim, je shrnuta jeho koncertní a skladatelská činnost a je zmíněno i o pokračovatelích rodu. Závěr patří zhodnocení významu Jana Kubelíka a obrazová příloha. Annotation This Bachelor theses "Jan Kubelík" is till today a summary of well known facts about life and work of this Czech musical virtuoso. After his study with professor Otakar Ševčík at the Prague conservatory, he became a leading worldwide representative of the Prague violin school. He established himself as a soloist and during his career held more than five thousand concerts around the world. The first and the second chapter outlines the history and origins of the Kubelik family.
    [Show full text]
  • Musical Map of Prague On
    Prague and music are closely intertwined. On our site you’ll fi nd everything you Vignettes (CVs) Church of Sts. Simon and Jude, U Milosrdných 1, Prague 1 Concert halls Palác Akropolis, Kubelíkova 27, Prague 3, T: +420 296 330 913, might be interested in about music and Prague - personalities, monuments, festivals The church is famous for its Baroque music concerts and its well-preserved mas- www.palacakropolis.cz and attractions. Be inspired and listen while browsing through Prague... Ema Destinnová (1878 Prague - 1930 České Budějovice) terpiece organs that, according to legend, both Mozart and Joseph Haydn played, Spanish Hall of Prague Castle (second courtyard), Prague 1, T: +420 224 371 111, Legendary Žižkov club and alternative art centre. (D4) World-famous Czech opera singer who celebrated considerable success as the star a distinction which saved their pipes from confi scation for the war in 1917. (B3) www.hrad.cz Also try our interactive musical map of Prague on www.musicinprague.com. of the Berlin State Opera and London‘s Covent Garden. In New York‘s Metropolitan The largest ceremonial hall at Prague Castle, the venue for important ceremonies Rock Café, Národní 20, Prague 1, T: +420 224 933 947, www.rockcafe.cz Opera she shone alongside Enrico Caruso as his singing partner. Loreto, Loretánské náměstí 7, Prague 1 and concerts. (A3) Prague‘s iconic club to support young musicians. (B4) Not for sale for Not This church features a unique carillon. In addition, its organ is one of the most valu- edition First Antonín Dvořák (1841 Nelahozeves - 1904 Prague) able monuments of Baroque organmaking.
    [Show full text]
  • Violin Concerto No. 8 Recorded at EMI Abbey Road Studio No
    8.111371 bk Heifetz_EU:8.111371 bk Heifetz_EU 23-06-2011 8:37 Pagina 4 GREAT VIOLINISTS • JASCHA HEIFETZ Max BRUCH (1838-1920): BRUCH: Violin Concertos Nos. 1 and 2 Violin Concerto No. 1 in G minor, Op. 26 22:01 1 I Vorspiel: Allegro moderato 7:36 BEETHOVEN: Two Romances 2 II Adagio 7:53 3 III Finale: Allegro energico 6:32 London Symphony Orchestra • Sir Malcolm Sargent SPOHR: Violin Concerto No. 8 Recorded at EMI Abbey Road Studio No. 1, London, 18th May 1951 HE Matrix nos.: 2EA 15603-3, 15604-3, 15605-1, 15606-1, 15607-3 and 15608-1 CHA IFE First issued on RCA Victor LM-9007 S T JA Z Violin Concerto No. 2 in D minor, Op. 44 23:34 4 I Adagio ma non troppo 11:37 5 II Recitative: Allegro moderato 3:40 6 III Finale: Allegro molto 8:17 RCA Victor Symphony Orchestra • Izler Solomon Recorded at Sound Stage 9, Republic Pictures Studios, Hollywood, 2nd November 1954 Matrix nos.: E4-RC-0544 through 0546 • First issued on RCA Victor LM-1931 Ludwig van BEETHOVEN (1770-1827): 7 Romance No. 1 in G major, Op. 40 7:03 8 Romance No. 2 in F major, Op. 50 8:06 RCA Victor Symphony Orchestra • William Steinberg Recorded at Sound Stage 9, Republic Pictures Studios, Hollywood, 15th June 1951 19 gs 51 din Matrix nos.: E1-RC-2414-2 and 2415-1; E1-RC-2416-1 and 2417-1 • First issued on RCA Victor LM-9014 - 1954 Recor Louis SPOHR (1784-1859): Violin Concerto No.
    [Show full text]
  • 3. Pablo De Sarasate 76 3.1 a Short Biography 77
    City Research Online City, University of London Institutional Repository Citation: Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7937/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] EARLY RECORDED VIOLINISTS CIHAT AS KIN 1996 EARLY RECORDED VIOLINISTS Cihat Askin Thesis submitted in partial fulfilment of the requirements for the degree of Doctorate of Musical Arts City University Music Department April 1996 2 CONTENTS Acknowledgements 25 Abstract 26 Preface 27 Introduction 29 Abbreviations & Symbols 32 1. Joseph Joachim 33 1.1 A Short Biography 34 1.2 Joachim: Beethoven and Brahms Concertos 35 1.3 Joachim as Performer 39 1.4 Joachim as Teacher 40 1.5 Analysis of Joachim's Recordings 43 1.5.1 Bach Adagio and Tempo di Borea 44 1.5.2 Vibrato 60 1.5.3 Chords 61 1.5.4 Perfect Rubato 62 1.5.5 Agogic Accents 62 1.5.6 Intonation 63 1.6 Conclusion 66 2.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season
    FRIDAY- SATURDAY 20 1970-1971 NINETIETH ANNIVERSARY SEASON .•••. && ADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO., INC. Richard P. Nyquist, President Charles G. Carleton, Vice President 147 Milk Street Boston, Massachusetts 02109 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETIETH ANNIVERSARY SEASON 1970-1971 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President FRANCIS W, HATCH PHILIP K. ALLEN Vice-President HAROLD D. HODGKINSON ROBERT H. GARDINER Vice-President E, MORTON JENNINGS JR JOHN L. THORNDIKE Treasurer EDWARD M. KENNEDY ALLEN G. BARRY HENRY A. LAUGHLIN RICHARD P. CHAPMAN EDWARD G. MURRAY ABRAM T. COLLIER JOHN T. NOONAN MRS HARRIS FAHNESTOCK MRS JAMES H. PERKINS THEODORE P. FERRIS IRVING W. RABB SIDNEY STONEMAN TRUSTEES EMERITUS HENRY B. CABOT EDWARD A. TAFT PALFREY PERKINS RAYMOND S. WILKINS ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D.
    [Show full text]
  • Gioconda De Vito G
    GIOCONDA DE VITO G. L. JOCHUM • M. RAUCHEISEN live in Berlin, 1954* Beethoven: Violin Concerto, Op. 61* Berlin, 1951 Brahms: Violin Sonata, Op. 100 • Vitali: Chaconne Ludwig van Beethoven: recording date / location: Brahms + Vitali: October 7, 1951 – studio recording, mono Konzert für Violine & Orchester RIAS Funkhaus, Berlin – Studio 7 D-Dur op. 61 Beethoven: October 3, 1954 – live recording, mono Berlin, Hochschule für Musik, Großer Saal recording producer: Salomon (1951), Martin Fouqué (1954) recording engineer: Peter Burkowitz (1951) Johannes Brahms: Sonate für Violine & Klavier Eine Aufnahme von RIAS Berlin A-Dur op. 100 (lizenziert durch Deutschlandradio) recording: P 1951+1954 Deutschlandradio research: Rüdiger Albrecht remastering: P Ludger Böckenhoff, 2015 Tomaso Antonio Vitali: rights: audite claims all rights arising from copyright law and competition law in relation to research, compilation and re-mastering of the original audio tapes, Chaconne g-Moll as well as the publication of this CD. Violations will be prosecuted. The historical publications at audite are based, without exception, on the original tapes from broadcasting archives. In general these are the original analogue tapes, MASTERst RELEASE which attain an astonishingly high quality, even measured by today‘s standards, with their tape speed of up to 76 cm/sec. The remastering – professionally competent and sensitively applied – also uncovers previously hidden details of the interpreta- tions. Thus, a sound of superior quality results. CD publications based on private Gioconda de Vito, Violine 1 recordings from broadcasts cannot be compared with these. photo: IMAGNO/Ullstein Michael Raucheisen, Klavier art direction and design: AB•Design RIAS-Symphonie-Orchester Georg Ludwig Jochum, Dirigent e-mail: [email protected] • http: //www.audite.de © 2015 Ludger Böckenhoff Romantisch mit Herz und Seele Lehrer zu üben und verblüffte sofort mit Wien auch international im Rampenlicht.
    [Show full text]
  • An Excursion to Changing Romantic Aesthetics
    An Excursion to Changing Romantic Aesthetics Presentation paper at the 42nd International Viola Congress 2014, Porto, Portugal Markus Sarantola Principal Viola of the Lappeenranta Orchestra, Finland Vice President of the Finnish Viola Society I think the only possible way to start a lecture at a viola congress is to quote William Primrose. Or what do you think? This seems to be the way everybody does these things. 50 per cent of lectures like this have something to do with Primrose... I found an interesting article from the Strad magazine January 1998. Yizhak Schotten - one of America’s finest viola players - was a young student when he met William Primrose for the first time. During the previous years Schotten had been so influenced by Primrose’s playing that he had listened to all his records. Schotten relates: “I brought the Hindemith Sonata op.11 no.4 to a lesson and played it with all my heart - and all my slides. Mr Primrose asked: ”What are you doing that for?” I said: ”I’ve been listening to your recording.” And he replied: ”People don’t play like this any more.” Primrose knew well what was old-fashioned. And for some reason he did not like this style any more. The question is: What is meant here by old-fashioned? I think it is an interesting question. In 1980, it was not very popular to ask such questions, but nowadays we have to be much more aware of the historical ways of interpreting music. Attitudes have changed considerably. Modern musicians have started to play in ways that are historically informed.
    [Show full text]
  • Progrsnne HIGH OPINIONS REGARDING the PIANOFORTES
    PRoGRsnnE HIGH OPINIONS REGARDING THE PIANOFORTES *' In my opinion, they rank with the best pianos made." Wm. Mason. " I beheve your pianos to be of the very first -rank." Arthur Nikisch. Dr. Wm. riason. Arthur Nikisch. Harold Bauer. " In my opinion, no finer instrument exists than the Mason & Hamhn of to-day." Harold Bauer. " It is, I beheve, an instru- ment of the very first rank." MORITZ MOSZKOWSKI. " It is unsurpassed, so far as I know." Emil Paur. Moritz rioszkowski. Emil Paur. NEW ENGLAND REPRESENTATIVES M. STEINERT & SONS COMPANY 162 BOYLSTON STREET Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. Office, ( Ticket 1492 ) „ . ^,, „ . ,, TELEPHONE, } )- BACK BAY. Administration Offices, 1471 ) TWENTY-FIRST SEASON, J90J-J902. WILHELM GERICKE, CONDUCTOR. PROGRAMME OF THE FOURTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE ji jt Jt jX FRIDAY AFTERNOON, NOVEMBER 15, AT 2.30 aCLOCK. SATURDAY EVENING, NOVEMBER 16, AT 8.00 O'CLOCK. PUBLISHED BY C. A. ELLIS, MANAGER. (153) S^UARTEGRANDR t AHIS instrument, which we I JL have just produced, defines an epoch in the history of piano- n forte making and is the only success- ful very small grand ever made. ^ Beautiful quality of tone and delightful touch ^taking but little more space than an upright, it sur- passes it in all the qualities desired in a pianoforte. CHICKERING & Sons IPlanoforte fiPal^ers 7p/ TREMONT STREET BOSTON, U.S.A. (154 TWENTY-FIRST SEASON, J90I-I902. Fourth Rehearsal and Concert* FRIDAY AFTERNOON, NOVEMBER J5, at 2.30 o'clock. SATURDAY EVENING, NOVEMBER J 6, at 8.00 o'clock.
    [Show full text]