Der Kinematograph (July 1929)
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Walton - a List of Works & Discography
SIR WILLIAM WALTON - A LIST OF WORKS & DISCOGRAPHY Compiled by Martin Rutherford, Penang 2009 See end for sources and legend. Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Catalogue No F'mat St Rel A BIRTHDAY FANFARE Description For Seven Trumpets and Percussion Completion 1981, Ischia Dedication For Karl-Friedrich Still, a neighbour on Ischia, on his 70th birthday First Performances Type Date Orchestra Conductor Performers Recklinghausen First 10-Oct-81 Westphalia SO Karl Rickenbacher Royal Albert Hall L'don 7-Jun-82 Kneller Hall G E Evans A LITANY - ORIGINAL VERSION Description For Unaccompanied Mixed Voices Completion Easter, 1916 Oxford First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.03 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - FIRST REVISION Description First revision by the Composer Completion 1917 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.14 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - SECOND REVISION Description Second revision by the Composer Completion 1930 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel St Johns, Cambridge ? Jan-62 George Guest St Johns, Cambridge 01a ARG ZRG -
Emigremusicianspdf.Pdf
Short biographies and sources for further information About the sources: Extensive biographies and information about compositions, recordings, careers and families of émigré musicians can be found in German in the excellent LexM online encyclopedia of musicians persecuted by the Nazis, hosted by the University of Hamburg. English-language information about many émigrés can be found on Wikipedia. I am indebted for many details to Jutta Raab Hansen, author of NS-verfolgte Musiker in England (Hamburg: Bockel Verlag, 1996), who interviewed many émigré musicians in London during the 1990s and published nearly 300 short biographies in her book. Norbert Meyn Bing, Rudolf Born 9.1.1902 in Vienna, died 2.9.1997 in New York From 1928 opera manager Darmstadt, then Städtische Oper Berlin 1930-33 Emigration to UK in 1934 1936-1949 general manager of Glyndebourne opera Founding director of the Edinburgh Festival 1947 General manager of Metropolitain Opera New York 1950-1972 Raab Hansen, p. 397 Brainin, Norbert Born 12.3.1923 in Vienna, died April 10, 2005 in London Emigration to UK in 1938 Violin studies with Carl Flesch and Max Rostal in London 1940 internment Isle of Man concerts with Ferdinand Rauter and Paul Hamburger Work as a metal worker duringt he war 1948-1987 1st violin in Amadeus Quartet with Sigmund Nissel, Peter Schidlof (both also émigrés) and Marin Lovett, over 4000 concerts http://www.lexm.uni-hamburg.de/object/lexm_lexmperson_00002549 http://www.youtube.com/watch?v=l06wDJIjQ2M Raab Hansen, p. 399 Busch, Fritz Born 13.3.1890 in Siegen, died 14.9.1951 in London Started as opera conductor in Riga, Aachen and Stuttgart 1922-1934 music director of Dresden Opera Nazi persecution for political reasons, Busch was not Jewish 1934-1939 music director of Glyndebourne Festival Opera, international conducting career, Teatro Colon Buenos Aires, Metropolitain Opera New York, Chicago, Copenhagen, Stockholm http://www.lexm.uni-hamburg.de/object/lexm_lexmperson_00001742 Raab Hansen, p. -
20Th-Century Repertory
Mikrokosmos List 585. - 2 - April 2014 ....20TH-CENTURY REPERTORY 1 Absil, Jean: Piano Works (Impromptus, Esquisse, Les Echecs) - P.Stevens pno ALPHA DB 57 A 10 2 Adams, John: Grand Pianola Music/Reich: 8 Lines, Vermont Counterpoint - Solisti EMI EL 270291 A 12 New York, cond.& fl R.Wilson S 3 Amemiya, Yasukazu: Summer Prayer, Monochrome Sea/Morton Feldman: The RCA RVC 2154 A 12 King of Denmark - Y.Amemiya percussions (Japanese issue) (1977) S 4 Amy, Gilbert: Cahiers d'epigrammes/Boucourechliev: 6 Etudes d'apres HARMONIA M HMC 5172 A 25 piranese/Manoury: Cryptophonos/Xenakis: Mists - Helffer pno (gatefold) 1985 S 5 Andriessen, Hendrik: Philomela/Pijper: Halewijn/Sem Dresden: Francois 8 x RADIO NEDE RN 475 A 50 Villon/Badings: Martin Korda operas excs - cond.Otterloo, Eichmann, de Nobel 10" 6 Anhalt, Istvan: Foci (ms, instr ens), Cento (choir) - Mailing ms, cond.comp S CBC 357 A 10 7 Ansermet: 7 Chansons/Stravinsky: Chansons Plaisantes, Berceuse du chat/J.Binet: GALLO 30214 A 12 Chansons - Retchistzka, Huttenlocher, cond.Dunand S 8 Antheil: Vln Son (I.Baker vln, Yaltah Menuhin pno)/E.Goossens: Vln Sonata Op.21 MUSIC LIBR MLR. 7006 A 12 (Michaelian vln, V.L.Hagopian pno) (plain jacket) 9 Bakikhanov: 3 Sonatas for Vla & Pno - Aslanov, Abdullaev 1988 S MELODIYA C10 29869 A 15 10 Bardos, Lajos: Mass 1, 3; Motets, Hymns - cond.A.Vinczeffy (1989) (gatefold) S RADIUS HUN BP 137 A 12 11 Barraine, Elsa: L'Homme sur Terre, Premier Mai/Kosma, Joseph: Si nous mourons; REM 10899 A 10 Chanson pour les enfants l'hiver; Parade des Cocqueleux, Les Canuts -
CUL Keller Archive Catalogue
HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles. -
Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet -
100 Anos De Max Rostal
100 anos de Max Rostal Paulo Bosisio (Uni-Rio) Resumo: Este artigo celebra o centenário de nascimento de Max Rostal, um dos maiores pedagogos e violinistas do século XX. Após um breve histórico de sua vida e de sua obra, é apresentada uma transcrição parcial da palestra O que aconteceu depois de Flesch?, realizada na Holanda em 1980 por Berta Volmer, durante a reunião anual da ESTA – Associação Européia de Professores de Cordas. Volmer, ex-assistente de Rostal em Colônia (Alemanha), analisa a contribuição pedagógica de Rostal, que dá seguimento ao trabalho realizado por Flesch e aperfeiçoa sua abordagem musical e técnica. Em seguida, é apresentado um comentário sobre esta palestra, detalhando e complementando alguns de seus tópicos mais relevantes. Palavras chave: Max Rostal, pedagogia do violino, técnica do violino 100 years of Max Rostal Abstract: This article celebrates the 100th birthday of Max Rostal, one of the leading pedagogues and violinists of the twentieth century. A brief history of his life and work is followed by the transcription of part of a lecture titled: “What happened after Flesch?”, given in 1980 during ESTA (European String Teachers Association)’s annual meeting in Holland by Berta Volmer. Volmer, a former assistant of Rostal in Cologne (Germany), analyses his pedagogical contribution in continuing and perfecting Flesch’s approach to music and violin technique. It includes comments about the lecture with the most important topics analyzed in more details. Keyworkds: Max Rostal, violin pedagogy, violin technique I - Histórico Max Rostal, um dos mais proeminentes pedagogos e violinistas do século XX, nasceu em 1905 em Teschen, cidade do então Império Austro-Húngaro, que em 1920 seria dividida entre a Tchecoslováquia (hoje República Tcheca) e a Polônia. -
BERNARD STEVENS Catalogue of Works
BERNARD STEVENS Catalogue of works BERNARD STEVENS 1916 - 1983 Bernard Stevens was born in London in 1916. His musical talent was first revealed as a pianist in his early teens when the late Harold Samuel, the great Bach exponent, showed great interest in him and gave him much free help. Composition, however, became more and more his prime concern, and at eighteen he went to Cambrid ge to study with E.J. Dent and Cyril Rootham, graduating in English Literature and Music. His preoccupation with English poetry which developed in this period greatly influenced the character of his music. At twenty-one he went to the Royal College of Music where he studied Composition with R.O. Morris (who had taught many other leading composers), piano with Arthur Benjamin and Frank Merrick, orchestration with Gordon Jacob and conducting with Constant Lambert, gaining the highest awards for composition - the Leverhulme Scholarship and the Parry Prize. He left in 1940 to serve in the army for six years, but found time to compose. The Piano Trio (Clements Memorial Fund prize in 1942), Violin Concerto (first performed by Max Rostal, 1946), the Symphony of Liberation (first prize in the Daily Express Victory Competition in 1946) and the Ricercare for strings all belong to this period. On demobilisation he lived for a few years in London, his compositions including music for feature films starring such actors as James Mason and Dirk Bogarde. He was also active conducting and composing for choirs, and working for the promotion of contemporary music. In 1951 he moved to an Essex village, seeking a peaceful environment in which to compose. -
Shostakovich (1906-1975)
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Piano Concerto No. 1 in C minor with Trumpet and String Orchestra, Op. 35 (1933) Dmitri Alexeyev (piano)/Philip Jones (trumpet)/Jerzy Maksymiuk/English Chamber Orchestra ( + Piano Concerto No. 2, Unforgettable Year 1919, Gadfly: Suite, Tahiti Trot, Suites for Jazz Orchestra Nos. 1 and 2) CLASSICS FOR PLEASURE 382234-2 (2007) Victor Aller (piano)/Murray Klein (trumpet)/Felix Slatkin/Concert Arts Orchestra ( + Hindemith: The Four Temperaments) CAPITOL P 8230 (LP) (1953) Leif Ove Andsnes (piano)/Håkan Hardenberger (trumpet)/Paavo Järvi/City of Birmingham Symphony Orchestra ( + Britten: Piano Concerto and Enescu: Legende) EMI CLASSICS 56760-2 (1999) Annie d' Arco (piano)/Maurice André (trumpet)/Jean-François Paillard/Orchestre de Chambre Jean François Paillard (included in collection: "Maurice André Edition - Volume -
Violin-Schlüssel-Erlebnisse: Max Rostal Und Sein Nachlass
„Violin-Schlüssel-Erlebnisse“ – Max Rostal und sein Nachlass Seit zwanzig Jahre begleitet mich Max Rostal nun in meinem Berufsleben. Auch nach dem Abschluss der Bearbeitung des Kern-Nachlasses im Jahr 2002 boten sich mir vielfältige Möglichkeiten, mich mit ihm zu beschäftigen und einzelne Bereiche seines Lebens und Schaffens der Öffentlichkeit zu präsentieren. Es freut mich, Ihnen diesen Künstler, Lehrer und Weltbürger und seinen Nachlass vorstellen zu dürfen. Im Anschluss an das Biogramm und einen Überblick über den Nachlass folgt eine knappe Betrachtung seines Wirkens in der Nachkriegszeit mit besonderem Fokus auf Österreich. Biografischer Abriss 1905 in Österreichisch-Schlesien geboren, erhielt Max Rostal im Alter von fünf Jahren den ersten Geigenunterricht. Über Wien kam er nach Berlin, wo ihn Carl Flesch unter seine Fittiche nahm. Zu Flesch baute er eine besondere Beziehung auf, die dazu führte, dass er 1928 eine Assistenztätigkeit als Lehrer für Violine an der Staatlichen akademischen Hochschule für Musik aufnehmen konnte. Im Oktober 1931 erhielt er seine eigene Klasse. Im Frühjahr 1933 wurde er wie seine aus „rassischen“ oder weltanschaulichen Gründen missliebig gewordenen Kollegen entlassen. Rostal entschloss sich zur Emigration ins Vereinigte Königreich. Mit seiner Frau, der Wiener Cellistin Sela Trau und der siebenjährigen Tochter Sybille siedelte er sich 1934 in London an. Seinen Lebensunterhalt finanzierte er zunächst durch Privatunterricht. Dabei kam ihm zupass, dass einige seiner Berliner Schüler sich bereit erklärt hatten, ihm in die britische Hauptstadt zu folgen, um ihren Unterricht bei ihm fortsetzen zu können. Rundfunkauftritte für die BBC machten ihn in der neuen Heimat bekannt. Zehn Jahre nach seiner Ankunft in England wurde er zum Leiter einer Meisterklasse für Violine an die Guildhall School of Music & Drama berufen. -
“A New Mode of Expression”: Karol Szymanowski's First
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright “A NEW MODE OF EXPRESSION”: KAROL SZYMANOWSKI’S FIRST VIOLIN CONCERTO OP. 35 WITHIN A DIONYSIAN CONTEXT Marianne Broadfoot A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music University of Sydney 2014 I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. -
The World's Best Young Violin Talent Queenstown 31 May
THE WORLD’S BEST YOUNG VIOLIN TALENT QUEENSTOWN 31 MAY – 3 JUNE 2019 AUCKLAND 5-8 JUNE 2019 I PREVIOUS WINNERS Ioana Cristina Goicea Suyeon Kang Nikki Chooi 2017 ROMANIA 2015 AUSTRALIA | VIOLINIST, BOCCHERINI TRIO 2013 CANADA | FORMER CONCERTMASTER METROPOLITAN OPERA ORCHESTRA Sergey Malov Josef Špaček Bella Hristova 2011 RUSSIA | PROFESSOR AT THE ZÜRICH UNIVERSITY 2009 CZECH REPUBLIC | CONCERTMASTER, 2007 BULGARIA | ACTIVE SOLOIST, OF MUSIC, VIOLIN, VIOLA, VIOLONCELLO DA SPALLA CZECH PHILHARMONIC 2013 AVERY FISHER CAREER GRANT RECIPIENT Ning Feng Natalia Lomeiko Joseph Lin 2005 CHINA | ACTIVE SOLOIST 2003 RUSSIA/NEW ZEALAND | ACTIVE CHAMBER MUSICIAN 2001 TAIWAN/USA | FORMER FIRST VIOLIN JUILLIARD AND RECORDING ARTIST AND PROFESSOR OF VIOLIN, ROYAL COLLEGE OF MUSIC STRING QUARTET, FACULTY THE JUILLIARD SCHOOL II The Competition, in full, is being live streamed and available for viewing on CONTENTS violincompetition.co.nz Broadcasting p1 Vidoes and podcasts of the Competitors’ performances will be available on Haere Mai p2 youtube.com/MHIVC (video) and Competition Calendar p6 rnz.co.nz/violins (high-quality audio) Prizes p7 International Panel of Judges p8 Voting for Michael Hill Audience Prize p11 Official broadcasting partners Collaborating Artists page p12 Quarter-final Round I page p14 Quarter-final Round II page p16 Semi-final Round III page p18 Final Round page p20 Meet the Auckland Philharmonia Orchestra p22 Insider’s Guide p24 Competitors p25 Past Competitors p34 Past Judges p35 Career Development and Community Outreach p36 Arancio Prize p37 Voting Procedures p38 Acknowledgements p41 MARI LEE, SOUTH KOREA/JAPAN PERFORMING AT THE 2017 QUARTER FINALS PHOTO: SHEENA HAYWOOD HAERE MAI WELCOME 2017 COMPETITOR OLGA ŠROUBKOVÁ FROM THE CZECH REPUBLIC ON DEPARTURE AT THE QUEENSTOWN AIRPORT PHOTO: SHEENA HAYWOOD 2 It starts here. -
Maxim Vengerov Notes.Indd
Cal Performances Presents Sunday, October , , pm Zellerbach Hall Maxim Vengerov, violin Lilya Zilberstein, piano PROGRAM Wolfgang Amadeus Mozart (–) Adagio in E major, K. () arr. Rostal Ludwig van Beethoven (–) Sonata No. for Piano and Violin in C minor, Op. , No. () Allegro con brio Adagio cantabile Scherzo: Allegro Finale: Allegro INTERMISSION Serge Prokofi ev (–) Sonata No. for Violin and Piano in F minor, Op. (, ) Andante assai Allegro brusco Andante Allegrissimo—Andante assai, come prima Dmitri Shostakovich (–) Ten Selections from the Preludes, Op. arr. Tziganov (–) . Allegretto . Allegretto . Allegro non troppo . Moderato . Largo . Allegretto . Andantino . Allegretto poco moderato . Adagio . Allegretto furioso Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 31 Program Notes Wolfgang Amadeus Mozart (–) the quiet countryside with the assurance that Adagio in E major, K. () the lack of stimulation would be benefi cial to Arranged by Max Rostal. his hearing and his general health. In Heiligenstadt, Beethoven virtually lived It was for Antonio Brunetti, principal violinist the life of a hermit, seeing only his doctor and of the archiepiscopal orchestra in Salzburg from a young student named Ferdinand Ries. In March , , that Mozart wrote the E major , he was still a full decade from being to- Adagio, K. It was composed late in tally deaf. Th e acuity of his hearing varied from as a substitute slow movement for the Concerto day to day (sometimes governed by his inter- No. in A major, K. , since, according to est—or lack thereof—in the surrounding con- a remark by the composer’s father the follow- versation), but he had largely lost his ability to ing year, Brunetti found the original second hear soft sounds by that time, and loud noises movement “zu studiert”—“too studied”—and caused him pain.