DOCSLIB.ORG

Leonid Kusmin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leonid Kusmin Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. LEONID KUZMIN Pianista - URSS-USA Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. LEO ID KUZ IN Pianista - URSS-USA Aclamado como "primera clase" por nistas del pasado lo habían llevado a el New York Ti mes con ocas ión de leer en detalle sobre las vidas, carre­ su recital de debut en la Sala Alice ras e inclusive los hábitos de estudio Tully del Lincoln Center, el joven de legendarios intérpretes como Buso­ pianista ruso-americano Leonid Kuz­ ni, Neuhaus y Hofmann- quien dio min muestra todos los indicios de al joven Leonid sus primeras leccio­ establecer una carrera de estatura nes. A la edad de siete años fue internacional. escogido para ingresar a la División Preparatoria del Conservatorio Esta­ A la edad de 25 años, Leonid Kuzmin tal de Música de Minsk, y continuó puede reclamar a su favor los más estudiando allí los siguientes diez impresionantes créditos: Primer Pre­ años con Irina Tsvetaeva. mio en el Concurso Estatal de Piano de Bielorrusia; Primer Premio en el Luego, Leonid Kuzmin y su familia Concurso Internacional de Piano de se trasladaron a los Estados Unidos, Praga, en 1984; Primer Premio en el residenciándose en Nueva York, don­ Concurso Internacional de la Aso­ de continuó sus estudios en la Escue­ ciación Americana de Colegiatura la Manhattan de Música. Su tutora de Música, Primer Premio en el Con­ allí fue la distinguida pedagoga Nina curso Internacional de Piano Pre­ Svetlanova. Tomó parte también y mio Stravinsky, y recientemente, el en forma regular, de una serie de Primer Premio en el Concurso de clases magistrales avanzadas ofre­ Concierto en la Escuela Manhattan cidas cada semestre por el mun­ de Música, en 1986. dialmente conocido pianista John Browning. Nacido en 1964 en Gomel, Bielorru­ sia (Unión Soviética), Leonid Kuz­ Durante el verano de 1988, Leonid min empezó sus estudios de piano Kuzmin realizó su segunda visita al cuando tenía cinco años de edad. Festival Spoleto en Italia por i nvita­ ción del compositor Gian Carla Meno­ Sus padres eran profesores de inglés tti. Su primera aparición en este fes­ y alemán, sin educación formal en tival fue tan exitosa que le valió de música; sin embargo, fue su padre inmediato su segundo compromiso -cuyo interés en los grandes pia- durante el mismo. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. LEONID K ZMI Pianista - URSS-USA pianismo del siglo XX, Abram Cha­ Comentarios de prensa sins, expresó esta frase profética: "iRecuerden el nombre ... y sosten­ "Usted tiene el potencial para con­ gan la respiración!" vertirse en uno de los grandes pia­ Daniel Cariaga, crítico musical. Los nistas de este o cualquier siglo!". Angeles Times, abril 7 de 1988 Críticas elogiosas como esta han Cuando el brillante joven pianista seguido a Leonid Kuzmin alrededor ruso-americano Leonid Kuzmin tocó de los Estados Unidos donde, duran­ su primer recital en la Sala Alice Tully te la temporada de conciertos 1987- en la ciudad de Nueva York, el 24 de 1988, realizó más de 55 recitales noviembre de 1985, un torrente de además de conciertos y presenta­ desenfrenado entusiasmo se desató. ciones de Música de Cámara. Algunas personas de la audiencia Sobre uno de estos recitales so/.is­ resaltaron que la presentación hacía tas, Los Angeles Times afirmó: recordar el histórico debut de Vla­ dimir Horowitz en 1928. "No andemos con rodeos: la inter­ pretación de Kuzmin es espléndida. Siguiendo las presentaciones de Hubo largas líneas, articulación segu­ Kuzmin , el distinguido cronista del ra y triunfo técnico". Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PROGRAMA / \' Sonata en Si menor Franz Liszt (1811-1886) apsodia Húngara No. 12 en Do sostenido menor Franz Liszt / INTERMEDIO /sonata No. 7 en Si bemol mayor, Opus 83 Sergei Prokofiev Allegro inquieto (1891-1953) Andante caloroso Precipitato Hungarische Zigeunerweisen Karl Tausig L (1841-1871 ) Bogotá, 23 de mayo de 1990 e 1/ I CONCIERTO NO. 31 1 1:: I ~ Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. notas al programa Sonata No mucho tiempo antes de su muerte en 1856, Robert en Si menor Schumann dedicó a Franz Liszt su Fantasía en Do mayor Franz Liszt para piano, como contribución al proyecto de Liszt de (1811-1886) erigir un monumento a la memoria de Beethoven. Poco después, en 1853, Liszt dedicó a Schumann su Sonata en Si menor, publicada un año más tarde. Schumann murió en 1856. Ambas obras quedaron como símbolos muy opuestos de una amistad difícilmente mantenida entre dos genios francamente contrapuestos, el del muy román­ tico cultor de las formas clásicas, prematuramente de­ saparecido, y el del arrebatado pianista y compositor fecundísimo para su instrumento; su Sonata en Si menor ocupa singular situación entre las innumerables compo­ siciones para piano de su creador. En primertérmino podría decirse que la denominación de sonata conviene muy mal a u na obra formada por un solo y muy vasto movimiento, en el que se distinguen catorce episodios o cambios de tiempo, lo que da a la obra un carácter muy libre e improvisatorio dentro de un extraor­ dinario rigor. Podría compararse con varios de los muy libres poemas sinfónicos de Liszt, que hubiera sido transcrito para el piano. Pero justamente un poema sin­ fónico sin programa. A este respecto anota Claude Ros­ tand que "esta obra es una de las raras pág inas de Liszt sin programa, siendo lo que se llama música pura. Cons­ tituye probablemente, por las particularidades de su escritura y de su forma, una de las más altas realizaciones pianísticas de Liszt. Añade Rostand que su forma muy nueva en un solo gran movimiento, hace que en su obra muy apreciable sobre el género sonata, Blanche Selva trate esta obra maestra con cierto menosprecio, como no entrando en el cuadro clásico de este género tradicional. Pero nadie pudo prohibir a Liszt buscar la evolución de una forma que, por otra parte, ya llevaba un siglo de evolución perpetua. En este gran movimiento único se oponen dos temas a los que prontamente vendrán a ag regarse tres motivos secun- Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. notas al programa darios. El análisis minucioso de Rostand concluye en que se trata de "un espléndido y grandioso monumento de arquitectura musical, de invención y audacia extraordi­ narias, cuya unidad orgánica va asegurada por los pilares de las dos ideas temáticas sobre las cuales se articulan todos los desarrollos, y cuyo equilibrio es soberano. Es una de las páginas más considerables de la literatura pianística de todos los tiempos. El carácter o, mejor, el sentimiento general de esta obra, será gustado por cada cual a su sabor, según su imaginación y su sensibilidad particulares, pero ciertamente siempre arrastrado irresis­ tiblemente por este torrente de pasión, de di namismo, de grandeza, a veces de salvajismo". Para citar solamente una voz discordante, anotemos que Harvey F. Phillips observa que esta sonata "siempre ha sido fuente de discusión; se dice que Brahms se quedó dormido oyéndola (al propio Liszt): Hanslick la llamó imposible monstruo musical; para Sacheverell Sitwell es ardua e irritante para los nervios ... ". Rapsodia húngara Nadie mejor que el mismo Liszt para explicarnos lo que No. 12, se propuso al escribir sus diez y nueve Rapsodias en Do sostenido Húngaras, de muy desigual valor y muy variada populari- menor dad. Dijo así el compositor: "Con la palabra Rapsodia Liszt hemos querido designar el elemento fantásticamente épico que hemos creído hallar en ella. Cada una de estas producciones nos ha parecido siempre hacer parte de un ciclo poético. Ciertamente estos fragmentos no narran hechos; pero los oídos que saben escuchar sorprenderán la expresión de ciertos estados de alma en los cuales se resume el ideal de una nación ... Hemos llamado húnga­ ras estas rapsodias porque no hubiera sido justo separar en el porvenir lo que no lo había sido en el pasado". En seguida Liszt establece algunas distinciones entre la música gitana y la propiamente húngara. En verdad él no fue nunca muy exigente consigo mismo a este respecto. En general las Rapsodias Húngaras constan de dos par­ tes, una lenta y otra muy viva, de gran efecto virtuosístico. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. notas al programa Esto es cierto para la No. 12, en Do sostenido menor, una de las más famosas de la serie total. Liszt la dedicó al gran violinista judío-alemán Joseph Joachim. En 1874 el muy notable crítico Eduard Hanslick la reseñó con las siguientes palabras, tras de escucharla al com­ positor: "Esta original obra, que empieza en real estilo gitano, con una libre melancólica improvisación, para desembocar en una orgía en estilo de czardas, parece despertar el espíritu juvenil del autor. El Allegro ofrece muchos sombrosos efectos, exclusivamente asociados con Liszt, como el martilleo con ambas manos en una misma tonalidad, y la característica imitación del cím• balo. La manera como reproduce los efectos sonoros de este básico favorito instrumento húngaro es casi inimi­ table ... Liszt llevó la Rapsodia a su conclusión en una tempestad de octavas". Sonata No. 7 Esta es la penúltima de las ocho sonatas para piano de en Si bemol Serge Prokofiev, quien como admirable pianista supo mayor, aprovecha_r en ellas los recursos y las exigencias del Opus 83 instrumento. La séptima es una de las favoritas de la Prokofiev serie; compuesta entre 1939 y 1942, fue estrenada en (1891-1953 ) 1943 por el gran pianista Sviatoslav Richter.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 42,1922
    PARSONS THEATRE . ,. HARTFORD Monday Evening, November 27, at 8.15 .-# BOSTON SYMPHONY ORCHCSTRS INC. FORTY-SECOND SEASON J922-J923 wW PRSGRsnnc 1 vg LOCAL MANAGEMENT, SEDGWICK & CASEY Steinway & Sons STEINERT JEWETT WOODBURY «. PIANOS w Duo-Art REPRODUCING PIANOS AND PIANOLA PIANOS VICTROLAS VICTOR RECORDS M, STEINERT & SONS 183 CHURCH STREET NEW HAVEN PARSONS THEATRE HARTFORD FORTY-SECOND SEASON 1922-1923 INC. PIERRE MONTEUX, Conductor MONDAY EVENING, NOVEMBER 27, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1922, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager *UHE INSTRUMENT OF THE IMMORTALS QOMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt at his Steinway and convenience a Steinway can be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years.
    [Show full text]
  • The Virtuoso Johann Strauss
    The Virtuoso Johann Strauss Thomas Labé, Piano CD CONTENTS 1. Carnaval de Vienne/Moriz Rosenthal 2. Wahlstimmen/Karl Tausig 3. Symphonic Metamorphosis of Wein, Weib und Gesang (Wine, Woman and Song)/Leopold Godowsky 4. Man lebt nur einmal (One Lives but Once)/Karl Tausig 5. Symphonic Metamorphosis of Die Fledermaus/Leopold Godowsky 6. Valse-Caprice in A Major (Op. Posth.)/Karl Tausig 7. Nachtfalter (The Moth)/Karl Tausig 8. Arabesques on By the Beautiful Blue Danube/Adolf Schulz-Evler LINER NOTES At the end of Johann Strauss’ 1875 operetta Die Fledermaus, all of the characters drink a toast to the real culprit of the story—“Champagner hat's verschuldet”—a fitting conclusion to the most renowned and potent evocation of the carefree life of post-revolution imperial Vienna. Strauss' sparkling score (never mind that the libretto is an amalgam of German and French sources), infused with that most famous of Viennese dances, the waltz, lent eloquent expression to the transitory atmosphere of confidence and prosperity induced by the Hapsburg monarchs. “The Emporer Franz Joseph I,” it would later be said, "only reigned until the death of Johann Strauss." And what could have provided more perfect source material than the music of Strauss, for the pastiche creations of the illustrious composer-pianists who roamed the world in the latter 19th and early 20th centuries, forever seeking vehicles with which to exploit the possibilities of their instrument and display their pianistic prowess? This disc presents a succession of such indulgent enterprises, all fashioned from Strauss’ music, for four notable composer-pianists: Moriz Rosenthal, Karl Tausig, Leopold Godowsky, and Adolf Schulz-Evler.
    [Show full text]
  • Chopin: the Man and His Music 1 Chopin: the Man and His Music
    Chopin: The Man and His Music 1 Chopin: The Man and His Music Project Gutenberg's Chopin: The Man and His Music, by James Huneker Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Chopin: The Man and His Music Author: James Huneker Release Date: Jan, 2004 [EBook #4939] [Yes, we are more than one year ahead of schedule] [This file was first posted on April 1, 2002] Edition: 10 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK CHOPIN: THE MAN AND HIS MUSIC *** This ebook was produced by John Mamoun <[email protected]> with help from Charles Franks and the Online Distributed Proofreaders website. CHOPIN: THE MAN AND HIS MUSIC TABLE OF CONTENTS PART I.--THE MAN. I. POLAND:--YOUTHFUL IDEALS II.
    [Show full text]
  • Sanibel Music Festival Program Notes
    SANIBEL MUSIC FESTIVAL PROGRAM NOTES Manhattan Chamber Players Mark Dover, clarinet ~ Katie Hyun, violin ~ Michael Katz, cello Luke Fleming, viola ~ Francesca dePasquale, violin ~Adam Golka, piano Tuesday, March 3, 2020 ~ PROGRAM ~ Trio for Piano, Violin, and Cello Joseph HAYDN in G Major “Gypsy Rondo,” Hob. XV:25 (1732-1809) Andante Poco Adagio Finale. Rondo all’Ongarese: Presto Quintet for Clarinet, Two Wolfgang Amadeus MOZART Violins, Viola and Cello in A major, K. 581 (1756-1791) Allegro Larghetto Menuetto Allegretto con Variazioni ~ INTERMISSION ~ Quintet for Piano, Two Violins, Viola, Johannes BRAHMS and Cello in F minor, Op. 34 (1833-1897) Allegro non troppo Andante, un poco adagio Scherzo: Allegro Finale: Poco sostenuto — Allegro non troppo About Manhattan Chamber Players The Manhattan Chamber Players is a collective of New York-based musicians who share the common aim of performing the greatest works in the chamber repertory at the highest level. Formed in 2015 by Artistic Director Luke Fleming, MCP comprises an impressive roster of musicians who all come from the tradition of great music making at the Marlboro Music Festival, Steans Institute at Ravinia, Music@Menlo, Yellow Barn Chamber Music Festival, and Perlman Music Program, and are former students of the Curtis Institute, Juilliard School, Colburn School, New England Conservatory, and Yale School of Music. MCP was recently praised in Strings Magazine for “a fascinating program concept…. It felt refreshingly like an auditory version of a vertical wine tasting.” The article went on to applaud MCP for “an intensely wrought and burnished performance…. Overall, I wished I could put them on repeat.” At the core of MCP’s inspiration is its members’ joy in playing this richly varied repertory with longtime friends and colleagues with whom they have since they were students.
    [Show full text]
  • FRÉDÉRIC CHOPIN the 1981 Baldwin Recordings
    Abbey Simon, Jorge Bolet and Earl Wild c.1979 FRÉDÉRIC CHOPIN The 1981= Baldwin Recordings With the exception of three pieces–the Fantasie, the Ballade, and the Andante Spianato and Grand Polonaise Brillante–this recording features rel- atively brief works, some of them remarkably so, demonstrating to a refined degree the extent to which Frédéric Chopin was a master of the small form. This may be a function of the fact that, though he performed in public con- cert halls, Chopin most often performed for friends in intimate salons. Fantasie in F minor, Op. 49 (1841) The heroic Fantasie in F minor is one of Chopin’s largest and most epic works for solo piano. If its scale and scope are unusual for him, so is its form, being loose, extended, and improvisatory, and having numerous melodies. Unlike many romantics, Chopin’s music is generally not narrative or programmatic, and while it is personal, it remains pure art. Nevertheless, a story has been associated with the Fantasie. The composer and pianist Franz Liszt relates: The year is 1841 and Chopin is seated at the Pleyel grand piano in Madame George Sand’s salon in Nohant, France, where they spent – 2 – their summers. A knock is heard at the door and Madame Sand enters. With her are Liszt, Camille Pleyel, the wife of the piano manufacturer, and one or two other friends, perhaps the cellist Franchomme and the singer Pauline Viardot-Garcia. Some quarreling ensues, and then reconciliation. If Liszt’s tale is correct, this scene led to Chopin’s composition of the Fantasie.
    [Show full text]
  • Brahms the Prismatic July 26
    Concert Program II: Brahms the Prismatic July 26 Tuesday, July 26 JOHANN SEBASTIAN Bach (1685–1750) 8:00 p.m., The Center for Performing Arts at Menlo-Atherton Cello Suite no. 2 in d minor, BWV 1008 (ca. 1720) S Prelude Allemande PROgram OVERVIEW Courante AM Just as the music of his forebears was his guiding light, so Sarabande did Brahms serve as the artistic conscience for several com- Menuet 1 and 2 posers of the twentieth century. While he insatiably absorbed Gigue the canon from Haydn, Mozart, and Beethoven to the early Laurence Lesser, cello Romantics, Brahms revered Johann Sebastian Bach above SERGEI RachMANINOV (1873–1943) all. Brahms obsessively pored over Bach’s manuscripts Vocalise, op. 34, no. 14 (1912, rev. 1915) and was keenly aware of the Baroque master’s cello suites when composing his own forward-looking cello sonatas. In Alessio Bax, piano; Ian Swensen, violin the twentieth century, Rachmaninov’s impassioned Vocal- ARNOLD SCHOENBERG (1874–1951) ERT PROGR ERT ise would echo the Romantic lyricism of Brahms’s lieder, Phantasy for Violin and Piano, op. 47 (1949) C while the structural rigor of Schoenberg’s Opus 47 Phan- Lucille Chung, piano; Ian Swensen, violin tasy extends the impeccable craftsmanship of Brahms’s finest scores. The f minor Sonata for Two Pianos—a blue- (B. 1938) ON JOHN HarbISON print for Brahms’s seminal Opus 34 Piano Quintet—exhibits Piano Quintet (1981) C the composer’s methodical perfectionism in crystalline form, Overtura achieving between two keyboards the quintet’s symphonic Capriccio Intermezzo breadth. The program also includes contemporary American Burletta composer John Harbison’s own Piano Quintet, a work audi- Elegia bly haunted by Brahms’s Opus 34.
    [Show full text]
  • Frédéric Chopin (1810–1849) PIANO SONATA NO.1 in C MINOR OP.4 1
    Frédéric Chopin (1810–1849) PIANO SONATA NO.1 IN C MINOR OP.4 1. I Allegro maestoso 8.27 2. II Minuetto & Trio: Allegretto 4.13 3. III Larghetto 4.03 4. IV Finale: Presto 6.10 PIANO SONATA NO.2 IN B FLAT MINOR OP.35 5. I Grave – Doppio movimento 7.14 6. II Scherzo 6.47 7. III Marche funèbre: Lento 10.06 8. IV Finale: Presto 1.27 PIANO SONATA NO.3 IN B MINOR OP.58 9. I Allegro maestoso 12.17 10. II Scherzo: Molto vivace 2.26 11. III Largo 8.54 12. IV Finale: Presto non tanto 4.51 Total timing: 77.10 Joseph Moog CHOPIN Also cast in four movements, the Sonata No.2 in B flat minor, op.35 is, by contrast, one Sonata No.1 in C minor, op.4 of the piano’s most beloved works. It has been in the repertoire of almost every major pianist Sonata No.2 in B flat minor, op.35 since its publication. The first, second and fourth movements were written in 1840 during Sonata No.3 in B minor, op.58 Chopin’s first rapturous summer at Nohant, George Sand’s estate, after their disastrous stay – Joseph Moog – on Majorca. Yet the Sonata’s origins date from two years earlier – on 28 November 1837, to be precise, when Chopin wrote into the album of an unidentified friend a fragment of the Chopin composed four sonatas: three for solo piano and one for cello and piano. They span march now known as the ‘Funeral March’.
    [Show full text]
  • Featuring Chizuko Asada, Shun-Lin Chou, Valentina Gottlieb, Craig Richey, Mark Uranker, Althea Waites and Selected Keyboard Studies Students
    MULTI-PIANO EXTRAVAGANZA FEATURING CHIZUKO ASADA, SHUN-LIN CHOU, VALENTINA GOTTLIEB, CRAIG RICHEY, MARK URANKER, ALTHEA WAITES AND SELECTED KEYBOARD STUDIES STUDENTS SATURDAY, APRIL 12, 2014 4:00PM GERALD R. DANIEL RECITAL HALL PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. PROGRAM Sonata in D Major, Op. 6 ........................................................................................................................................................Ludwig van Beethoven Allegro molto (1770-1827) Rondo: Moderato Chizuko Asada, Shun-Lin Chou Jota Aragonesa “Caprice espagnol” .................................................................................................................................... Louis Moreau Gottschalk (1829-1869) Valentina Gottlieb, Chizuko Asada Waltz from Suite No. 1, Op. 15 ...........................................................................................................................................................................Anton Arensky (1861-1906) Chris Maldonado, Danielle Yi Bacchanale from Samson and Delilah ........................................................................................................................................... Camille Saint-Saëns (1835-1921) Craig Richey, Valentina Gottlieb Sonata in F Minor, Op. 34-bis ...............................................................................................................................................................................Johannes Brahms Allegro non troppo (1833-1897) Althea Waites, Mark Uranker
    [Show full text]
  • Die Meistersinger Von Nürnberg on Stage in the Weimar Republic
    This is a repository copy of Displacement, repetition and repression : Die Meistersinger von Nürnberg on stage in the Weimar Republic. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/122212/ Version: Accepted Version Article: Sheil, Aine Catherine orcid.org/0000-0001-6890-3204 (2018) Displacement, repetition and repression : Die Meistersinger von Nürnberg on stage in the Weimar Republic. Cambridge Opera Journal. pp. 117-151. ISSN 0954-5867 https://doi.org/10.1017/S095458671700012X Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Displacement, repetition and repression: Die Meistersinger von Nürnberg on stage in the Weimar Republic Áine Sheil Abstract Relatively little scholarly attention has been paid to the performance and reception history of Die Meistersinger von Nürnberg during the Weimar Republic (1919-33), but as this article will demonstrate, the opera played an indispensable role in the repertories of Weimar opera houses. Despite an evident desire on the part of some Weimar directors and designers of Die Meistersinger to draw on staging innovations of the time, productions of the work from this period are characterised by scenic conservatism and repetition of familiar naturalistic imagery.
    [Show full text]
  • BRAHMS Variations " Schumann" "Handel" " Paganini" Idil Biret, Piano
    - *ma- BRAHMS Variations " Schumann" "Handel" " Paganini" Idil Biret, Piano 1 1989 Recording I Playing Time :70'32" 1 Johannes Brahms (1833 - 1897) Variations & Fugue on a Theme of Handel, Op. 24 Variations on a Theme of Robert Schumann, Op. 9 Variations on a Theme by Paganini, Op. 35 Johannes Brahms was born on 7th May 1833 in the Gangeviertel district of Hamburg, the son of Johann Jakob Brahms, a double-bass player, and his wife, a seamstress seventeen years his senior. As was natural, he was at first taught music by his father, the violin and cello, with the intention that the boy should follow his father's trade, but his obvious interest in the piano led to lessons on the instrument from an inspiring teacher and his first modest appearance on the concert platform at the age of ten. From this time onwards he became a pupil of Eduard Marxsen, who gave him a firm grounding in classical technique, while he earned money for his family by playing the piano in establishments of doubtful reputation in the St. Pauli district of the port, frequented largely by sailors and others in search of amusement. By the age of fifteen he had given his first solo concert as a pianist. In 1853 Brahms embarked on a concert tour with the Hungarian violinist Eduard RemBnyi, during the course of which he visited Liszt in Weimar, to no effect, and struck up a friendship with the violinist Joseph Joachim, through whose agency he met the Schumanns, then established in Dusseldorf. The connection was an important one.
    [Show full text]
  • 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.
    [Show full text]
  • A Study of the Personality of Franz Liszt with Special
    · ~ I (; A STUDY OF THE PERSONALITY OF FRANZ LISZT WITH SPECIAL REFERENCE TO THE CONTRADICTIONS IN HIS NATURE Submitted for the Degree of MASTER OF MUSIC Rhodes University by BERYL EILEEN ENSOR-SMITH January 1984 (ii} CONTENTS Chapter I Background Page 1 CAREER CONFLICTS Chapter II Pianist/Composer Page 17 Chapter III Showman/Serious Musician Page 33 PERSONALITY CONFLICTS Chapter IV Ambiguity in Liszt's Relationships - Personal and Spiritual Page 77 Chapter V Finally- Resignation ... Dogged Perseverance . .. Hopeful Optimism Page 116 ----oooOooo---- (iii) ILLUSTRATIONS Liszt, the Child At the end of Chapter I Liszt, the Young Man At the end of Chapter II Liszt, the performer At the end of Chapter III Liszt, Strength or Arrogance? At the end of Chapter IV L'Abbe Liszt Liszt, Growing Older Liszt, the Old Man At the end of Chapter V Liszt, from the last photographs Liszt . .. The End ----oooOooo---- A STUDY OF THE PERSONALITY OF FRANZ LISZT WITH SPECIAL r~FERENCE TO THE CONTRADICTIONS IN HIS NATURE Chapter I BACKGROUND "The man who appears unable to find peace there can be no doubt that we have here to deal with the extraordinary, multiply-moved mind as well as with a mind influencing others. His own life is to be found in his music." (Robert Schumann 19.4) Even the birth of Franz Liszt was one of duality - he was a child of the borderline between Austria and Hungary. His birthplace, even though near Vienna, was on the confines of the civilized world and not far removed from the dominions of the Turk.
    [Show full text]