The Interpretation of Unusual Dynamic Markings in Beethoven's String
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5 Music Cruises 2019 E.Pub
“The music is not in the notes, but in the silence between.” Wolfgang Amadeus Mozart RHINE 2019 DUDOK QUARTET Aer compleng their studies with disncon at the Dutch String Quartet Academy in 20 3, the Quartet started to have success at internaonal compeons and to be recognized as one of the most promising young European string quartets of the year. In 20 4, they were awarded the Kersjes ,rize for their e-ceponal talent in the Dutch chamber music scene. .he Quartet was also laureate and winner of two special prizes during the 7th Internaonal String Quartet 0ompeon 20 3 1 2ordeau- and won st place at both the st Internaonal String Quartet 0ompeon 20 in 3adom 4,oland5 and the 27th 0harles 6ennen Internaonal 0hamber Music 0ompe7 on 20 2. In 20 2, they received 2nd place at the 8th 9oseph 9oachim Internaonal 0hamber Music 0ompeon in Weimar 4:ermany5. .he members of the quartet ;rst met in the Dutch street sym7 phony orchestra “3iccio=”. From 2009 unl 20 , they stu7 died with the Alban 2erg Quartet at the School of Music in 0ologne, then to study with Marc Danel at the Dutch String Quartet Academy. During the same period, the quartet was coached intensively by Eberhard Feltz, ,eter 0ropper 4Aindsay Quartet5, Auc7Marie Aguera 4Quatuor BsaCe5 and Stefan Metz. Many well7Dnown contemporary classical composers such as Kaija Saariaho, MarD7Anthony .urnage, 0alliope .sou7 paDi and Ma- Knigge also worDed with the quartet. In 20 4, the Quartet signed on for several recordings with 3esonus 0lassics, the worldEs ;rst solely digital classical music label. -
Symposium Programme
Singing a Song in a Foreign Land a celebration of music by émigré composers Symposium 21-23 February 2014 and The Eranda Foundation Supported by the Culture Programme of the European Union Royal College of Music, London | www.rcm.ac.uk/singingasong Follow the project on the RCM website: www.rcm.ac.uk/singingasong Singing a Song in a Foreign Land: Symposium Schedule FRIDAY 21 FEBRUARY 10.00am Welcome by Colin Lawson, RCM Director Introduction by Norbert Meyn, project curator & Volker Ahmels, coordinator of the EU funded ESTHER project 10.30-11.30am Session 1. Chair: Norbert Meyn (RCM) Singing a Song in a Foreign Land: The cultural impact on Britain of the “Hitler Émigrés” Daniel Snowman (Institute of Historical Research, University of London) 11.30am Tea & Coffee 12.00-1.30pm Session 2. Chair: Amanda Glauert (RCM) From somebody to nobody overnight – Berthold Goldschmidt’s battle for recognition Bernard Keeffe The Shock of Exile: Hans Keller – the re-making of a Viennese musician Alison Garnham (King’s College, London) Keeping Memories Alive: The story of Anita Lasker-Wallfisch and Peter Wallfisch Volker Ahmels (Festival Verfemte Musik Schwerin) talks to Anita Lasker-Wallfisch 1.30pm Lunch 2.30-4.00pm Session 3. Chair: Daniel Snowman Xenophobia and protectionism: attitudes to the arrival of Austro-German refugee musicians in the UK during the 1930s Erik Levi (Royal Holloway) Elena Gerhardt (1883-1961) – the extraordinary emigration of the Lieder-singer from Leipzig Jutta Raab Hansen “Productive as I never was before”: Robert Kahn in England Steffen Fahl 4.00pm Tea & Coffee 4.30-5.30pm Session 4. -
EW Hollywood Orchestra Opus Edition User Manual
USER MANUAL 1.0.6 < CONTENTS HOLLYWOOD ORCHESTRA OPUS EDITION INFORMATION The information in this document is subject to change without notice and does not represent a commitment on the part of East West Sounds, Inc. The software and sounds described in this document are subject to License Agreements and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by East West Sounds, Inc. All product and company names are ™ or ® trademarks of their respective owners. Solid State Logic (SSL) Channel Strip, Transient Shaper, and Stereo Compressor licensed from Solid State Logic. SSL and Solid State Logic are registered trademarks of Red Lion 49 Ltd. © East West Sounds, Inc., 2021. All rights reserved. East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA 1-323-957-6969 voice 1-323-957-6966 fax For questions about licensing of products: [email protected] For more general information about products: [email protected] For technical support for products: http://www.soundsonline.com/Support < CONTENTS HOLLYWOOD ORCHESTRA OPUS EDITION CREDITS PRODUCERS Doug Rogers, Nick Phoenix, Thomas Bergersen SOUND ENGINEER Shawn Murphy ENGINEERING ASSISTANCE Jeremy Miller, Ken Sluiter, Bo Bodnar PRODUCTION COORDINATORS Doug Rogers, Blake Rogers, Rhys Moody PROGRAMMING / SOUND DESIGN Justin Harris, Jason Coffman, Doug Rogers, Nick Phoenix SCRIPTING Wolfgang Schneider, Thomas Bergersen, Klaus Voltmer, Patrick Stinson -
20Th-Century Repertory
Mikrokosmos List 665. - 2 - January 2021 ....20TH-CENTURY REPERTORY 1 Adam, Claus: Vcl Con/ Barber: Die Natali - Kates vcl, cond.Mester 1975 S LOUISVILLE LS 745 A 12 2 Adams, John: Shaker Loops, Phrygian Gates - McCray pno, Ridge SQ, etc 1979 S 1750 ARCH S 1784 A 10 3 Baaren, Kees van: Musica per orchestra; Musica per organo/Brons, Carel: Prisms DONEMUS 72732 A 8 (organ) - Wolff organ, cond.Haitink , (score enclosed) S 4 Badings: Con for Orch/H.Andriessen: Kuhnau Var/Brahms: Sym 4 - Regionaal 2 x REGIONAAL JBTG A 15 Jeugd Orkest, cond.Sevenhuijsen live, 1982, 1984 S 7118401 5 Bax: Sym 3, The Happy Forest - London SO, cond.Downes (UK) (p.1969) S RCA SB 6806 A 8 6 Bernstein, Elmer: Summer and Smoke (sound track) - cond.comp S ENTRACTE ERS 6519 A 8 7 Bernstein, Elmer: The Magnificent Seven - cond.comp S LIBERTY EG 260581 A 8 8 Bernstein, Elmer: To Kill a Mockingbird (film music) - Royal PO, cond.E.Bernstein FILMMUSIC FMC 7 A 25 1976 S 9 Bernstein, Elmer: Walk on the Wild Side (soundtrack) - cond.comp S CHOREO AS 4 A 8 10 Bernstein, Ermler: Paris Swings (soundtrack) S CAPITOL ST 1288 A 8 11 Bolling: The Awakening (soundtrack) S ENTRACTE ERS 6520 A 8 12 Bretan, Nicolae: Ady Lieder - comp.pno & vocal (one song only), L.Konya bar, MHS 3779 A 8 F.Weiss, M.Berkofsky pno S 13 Castelnuovo-Tedesco: The Well-Tempered Guitars - Batendo Guitar Duo (gatefold) 2 x ETCETERA ETC 2009 A 15 (p.1986) S 14 Casterede, Jacques: Suite a danser - Hewitt Orch (light music) 10" DISCOPHILE SD 5 B+ 10 15 Dandara, Liviu: Timpul Suspendat, Affectus, Quadriforium III -
1 Making the Clarinet Sing
Making the Clarinet Sing: Enhancing Clarinet Tone, Breathing, and Phrase Nuance through Voice Pedagogy D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Alyssa Rose Powell, M.M. Graduate Program in Music The Ohio State University 2020 D.M.A. Document Committee Dr. Caroline A. Hartig, Advisor Dr. Scott McCoy Dr. Eugenia Costa-Giomi Professor Katherine Borst Jones 1 Copyrighted by Alyssa Rose Powell 2020 2 Abstract The clarinet has been favorably compared to the human singing voice since its invention and continues to be sought after for its expressive, singing qualities. How is the clarinet like the human singing voice? What facets of singing do clarinetists strive to imitate? Can voice pedagogy inform clarinet playing to improve technique and artistry? This study begins with a brief historical investigation into the origins of modern voice technique, bel canto, and highlights the way it influenced the development of the clarinet. Bel canto set the standards for tone, expression, and pedagogy in classical western singing which was reflected in the clarinet tradition a hundred years later. Present day clarinetists still use bel canto principles, implying the potential relevance of other facets of modern voice pedagogy. Singing techniques for breathing, tone conceptualization, registration, and timbral nuance are explored along with their possible relevance to clarinet performance. The singer ‘in action’ is presented through an analysis of the phrasing used by Maria Callas in a portion of ‘Donde lieta’ from Puccini’s La Bohème. This demonstrates the influence of text on interpretation for singers. -
A Chronology of All Artists' Appearances with the Chamber
75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 Season, 1938 – 1939 Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 Season, 1939 – 1940 The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 Season, 1940 – 1941 Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian PianoString Quartet The Coolidge Quartet th 4 Season, 1941 – 1942 The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 Season, 1942 – 1943 The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 Season, 1943 – 1944 The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 Season, 1944 – 1945 The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 Season, 1945 – 1946 The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 Season, 1946 – 1947 The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 Season, 1947 – 1948 Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 Season, 1948 – 1949 The Alma Trio -
Cds by Composer/Performer
CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H. -
Beethoven Op. 131 Manuscript Markings NK 20170701.Pages
A paper by Nicholas Kitchen about manuscript markings in Beethoven in general and in particular about their use in Op. 131, expanded from a paper presented for the Boston University Beethoven Institute in April 2017 I am honored to share with you today some of the exciting surprises that have come from rehearsing and performing directly from pdf files of Beethoven's manuscripts. The Beethoven editions I first encountered (at least for quartets) were the Joachim- Moser editions, which I now see as lovingly mauled editorial efforts. Regardless of any editions, I heard beautiful performances of Beethoven's music, treasures in my memory that continually inspire my current endeavors to try to bring the beauty of his compositions to life. But the particular beauty of Beethoven quickly demands from us the realization that the details of our interface with the markings in his music DO matter a great deal, and that they mattered a great deal to Beethoven himself. Studying at Curtis, I witnessed the transition to Henle Urtext as the trusted source of learning about Beethoven. My single most inspiring class was one led by my teacher Szymon Goldberg, where all of his students had our Henle piano scores of all ten Beethoven Sonatas (we also consulted Joachim's solutions to certain issues) and all together we went through all ten sonatas multiple times, with all of us taking turns performing different Sonatas. Mr. Goldberg made vivid to us the concept that !1 of 92! Beethoven's markings were living instructions from one virtuoso performer to another, and he had a nice saying: "The composer wants the performance to succeed even MORE than you do". -
The Amadeus Quartet
The Uuive ·cal Society The Presents The Amadeus Quartet NORBERT BRAININ, Violinist PETER SCHIDLOF, Violist SIEGMUND NISSEL, Violinist MARTIN LOVETT, Cellist THURSDAY EVENING, APRIL 6, 1978, AT 8:30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Quartet in B-flat major, K. 458 ("Hunting") MOZART Allegro vivace assai Menuetto: moderato Adagio Allegro assai Quartet No.2 in C major, Op. 36 BRITTEN Allegro colmo senza rigore Vivace Chacony: sostenuto, molto piu andante, molto piu adagio INTERMISSION Quartet in F major, Op. 96 ("American") DVORAK Allegro rna non troppo Lento Molto vivace Vivace rna non troppo Deutsche Grammophon, Angel, and Westminster Records. Watch for alLnlJ"ltliCement next week of the new 1978-1979 Chamber Arts Series, part of next season's International Presentations marking the 100th year of the University Musical Society. Eighth Concert Fifteenth Annual Chamber Arts Series Complete Programs 4121 About the Artists England's internationally famous Amadeus Quartet has become one of America's favorite chamber music ensembles since its United States debut in 1952. Although their home base is in London, only one member of the Quartet, Martin Lovett, is a native Englishman. His colleagues, Norbert Brainin, Siegmund Nissel, and Peter Schidlof, are Austrian-born and received their early training in Vienna. To escape the oppressive Nazi regime, the families moved to England in 1938. In spite of such parallel events, they did not meet until 1941 when all four boys, employed in various war factories, were pursuing their music studies under Max Rostal. Thus began the association which led to the iormation of a permanent quartet, with their first public appearance in 1948. -
Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano
Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano by Maria Payan, M.M., B.M. A Thesis In Music Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved Dr. Lisa Garner Santa Chair of Committee Dr. Keith Dye Dr. David Shea Dominick Casadonte Interim Dean of the Graduate School May 2013 Copyright 2013, Maria Payan Texas Tech University, Maria Payan, May 2013 ACKNOWLEDGEMENTS This project could not have started without the extraordinary help and encouragement of Dr. Lisa Garner Santa. The education, time, and support she gave me during my studies at Texas Tech University convey her devotion to her job. I have no words to express my gratitude towards her. In addition, this project could not have been finished without the immense help and patience of Dr. Keith Dye. For his generosity in helping me organize and edit this project, I thank him greatly. Finally, I would like to give my dearest gratitude to Donna Hogan. Without her endless advice and editing, this project would not have been at the level it is today. ii Texas Tech University, Maria Payan, May 2013 TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................. ii LIST OF FIGURES .............................................................................................. v 1. INTRODUCTION ............................................................................................ -
The Juilliard Journal
FACULTY PORTRAIT Paul Neubauer Viola Faculty March 2017 After graduating from Juilliard, Paul Neubauer (BM '82, MM '83) became, at age 21, the youngest string principal ever to join the New York Philharmonic, where he spent six years before leaving in 1990 to pursue solo and chamber work. Along the way he joined the Juilliard faculty and the Chamber Music Society of Lincoln Center, in 1989. Appointed last spring as artistic director of the Mostly Music series in New Jersey, he'll make his Chicago Symphony debut in 2018. Why did you become a violist? It truly was my destiny. My godfather was the Viennese-born violist Paul Doktor (faculty 1971–89), and he was a major influence in my musical and personal evolution from a very early age. I also studied with him during my teenage summers and at Juilliard. On top of this, my older siblings played the violin and cello, so viola was the perfect choice since this would complete a string trio. Unfortunately that string trio lasted about 10 minutes since my siblings were not as committed to a life in classical music. And you're still part of a musical family … Yes, my wife, Kerry McDermott, is a violinist with the New York Philharmonic, and our children, Oliver and Clara, both play the violin and attend the Juilliard Pre-College program. I have told my children countless times that the viola is a superior instrument to the violin, but they unfortunately have not taken my advice as of yet. On occasion, we enjoy playing four-violin quartets with three violins and a viola. -
Everything Essential
Everythi ng Essen tial HOW A SMALL CONSERVATORY BECAME AN INCUBATOR FOR GREAT AMERICAN QUARTET PLAYERS BY MATTHEW BARKER 10 OVer tONeS Fall 2014 “There’s something about the quartet form. albert einstein once Felix Galimir “had the best said, ‘everything should be as simple as possible, but not simpler.’ that’s the essence of the string quartet,” says arnold Steinhardt, longtime first violinist of the Guarneri Quartet. ears I’ve been around and “It has everything that is essential for great music.” the best way to get students From Haydn, Mozart, Beethoven, and Schubert through the romantics, the Second Viennese School, Debussy, ravel, Bartók, the avant-garde, and up to the present, the leading so immersed in the act of composers of each generation reserved their most intimate expression and genius for that basic ensemble of two violins, a viola, and a cello. music making,” says Steven Over the past century america’s great music schools have placed an increasing emphasis tenenbom. “He was old on the highly specialized and rigorous discipline of quartet playing. among them, Curtis holds a special place despite its small size. In the last several decades alone, among the world and new world.” majority of important touring quartets in america at least one chair—and in some cases four—has been filled by a Curtis-trained musician. (Mr. Steinhardt, also a longtime member of the Curtis faculty, is one.) looking back, the current golden age of string quartets can be traced to a mission statement issued almost 90 years ago by early Curtis director Josef Hofmann: “to hand down through contemporary masters the great traditions of the past; to teach students to build on this heritage for the future.” Mary louise Curtis Bok created a haven for both teachers and students to immerse themselves in music at the highest levels without financial burden.