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Piano, but When IT Began to Play
MAY 1976 ~ VOLUME 13 NUMBER 4 ha.s eUUETIS AM I C A OF THE AUTOMATIC MUSICAL INSTRUMENT COLLECTOU ASSOCIATION THE AMICA NEWS BULLETIN Published by the Automatic Musical Instrument Collectors' AMICA MEMBERSHIP RATES: Association, a non-profit club devoted to the restoration, distri bution and enjoyment of musical instruments using perforated Continuing Members: $ IS Dues paper music rolls. New Members, add $5 processing fee Lapsed Members, add $3 processing fee Contributions: All subjects of interest to readers of the bulletin are encouraged and invited by the publisher. All articles must be received by the 10th of the preceding month. Every attempt will be made to publish all articles of general interest to AMICA members at the earliest possible time and at the discretion of the publisher. OFFICERS Advertisements: Personal ads by members are accepted and inserted in the Bulletin at a rate of B¢per word, $1.20 minimum. INTERNATIONAL CHAPTER Businesses and persons wishing more space may use the following guidelines: OFFICERS OFFICERS - Advertising rate is $12.50 per quarter page or multiple PRESIDENT NO. CALIFORNIA thereof. Bo.b Rosencrans Pres.: Frank Loob Vice Pres.: Howard Koff Camera·ready copy must reach the publisher by the 10th of VICE·PRESIDENT the preceding month. Bill Johnson Sec.: Dick Reutlinger Treas.: Bill Wherry Ad copy will be typeset (at nominal additional cost) only SECRETARY Reporter: Diane Lillibridge if requested. Isadora Koff SO. CALIFORNIA All ads will appear on the last pages of the Bulletin, at the BULLETIN discretion of the publisher. Pres.: Prentiss Knowlton Tom Beckett Vice Pres.: Elliot Lacy Publication of business advertising in no way implies AMICA's 681 7 Cliffbrook Drive Sec.: Evelyn Meeder endorsement of any commercial operation. -
2017 Franz Liszt Festival & International Piano Competition
Founded in 1964 Volume 33, Number 1 2017 Franz Liszt Festival & TABLE OF CONTENTS International Piano Competition Announces Winners 1 Winners List: 2017 Franz Liszt Festival & International Piano The Franz Liszt Festival & International Piano Competition took place recently on the Competition campus of The Ohio State University. Here is a list of winners. 2 President’s Message COLLABORATIVE ARTISTS CATEGORY 3 Liszt Publications of Interest Special Award for Artistic Collaboration 2017 ($1500.00) 4 A Conversation with Ian Hobson, Yaroslava Poletaeva, violin, and Darren Matias, piano Pianist/Conductor/Educator Honorable Mention 8 Jerome Lowenthal at 85, an Interview Chih-Jung Hsu, violin, and Sheng-Yuan Kuan, piano by Donald Isler Best Interpretation Award of a composition by Franz Liszt ($200.00) 10 Justin Goes to Camp Yaroslava Poletaeva, violin, and Darren Matias, piano 11 Thank You from 2017 ALS Special Award: Membership in The American Liszt Society presented Festival Director James Giles to both duos listed above Member Updates ARTIST CATEGORY 12 Member News First Prize ($1000.00) 13 Chapter News Joseph Kingma 14 In the Next Issue Second Prize ($500.00) Chen-Shen Fan 15 Jerome Lowenthal Receives The American Liszt Society Medal Honorable Mention Sardanapalo, Liszt’s Lost Opera Inyoung Kim 16 Gregor Benko Receives Best Interpretation Award of a composition by Franz Liszt ($100.00) The American Liszt Society Medal Chen-Shen Fan Abbey Simon’s Autobiography Best Interpretation Award of a composition by an American composer ($100.00) John -
88 – December 2012
Alkan Society Bulletin 88 – December 2012 THE ALKAN SOCIETY (Registered Charity number 276199) http://www.alkansociety.org President: Leslie Howard AM Vice-Presidents: Anne Smith, Nicholas King, Hugh Macdonald, Richard Shaw Secretary: Nicholas King, 42 St. Alban's Hill, Hemel Hempstead, Hertfordshire, HP3 9NG Chairman: Eliot Levin Treasurer: Julian Haxby e-mail: [email protected] Archivist: Brian Doyle Bulletin Editor/Webmaster: David Conway Bulletin e-mail: [email protected] All contents of this Bulletin © The Alkan Society, 2012 unless otherwise indicated Bulletin No.88 December 2012 Bicentenary thoughts Preparations for celebratory events to mark the 200th anniversary of the birth of Alkan proceed apace across Europe and your Society is, naturally, amongst the foremost promoters of these. New recordings have been issued and are forthcoming; and new publications as well. We may hope that 2013, apart from a host of individual events, will also provoke reflection on Alkan as a significant figure in the musical history of the nineteenth century, rather than the figure in the gallery of musical eccentrics as which he is still too often characterised. The significant number of new recordings of recent years has not yet been matched with an equivalent depth of research and analysis, save from a few dedicated souls on either side of the Channel, and the consequence is that Alkan is too easily seen as an isolated phenomenon, with his music coming from, and leading to, nowhere. There are so many angles which still await investigation: the relationship of his music to the composers of the French Napoleonic period from Gossec to Reicha; the influence of his pedalier and organ music to French organ music of the nineteenth and twentieth centuries; the implications of Alkan’s extraordinary variety of versions of musical form, both the gigantic and the minute; and indeed many basic details of Alkan’s life and circle of acquaintances. -
Network Notebook
Network Notebook Winter Quarter 2021 (January - March) A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
First Movement of the Beethoven Third Piano Concerto: An
FIRST MOVEMENT OF THE BEETHOVEN THIRD PIANO CONCERTO: AN ARGUMENT FOR THE ALKAN CADENZA Yang Ding, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Pamela Mia Paul, Major Professor Clay Couturiaux, Committee Member Adam Wodnicki, Committee Member Steven Harlos, Chair of the Department of Keyboard Studies Benjamin Brand, Director of Graduate Studies in Music James C Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Ding, Yang. First Movement of the Beethoven Third Piano Concerto: An Argument for the Alkan Cadenza. Doctor of Musical Arts (Performance), May 2015, 33 pp., 12 musical examples, bibliography, 41 titles. The goal of this dissertation is not only to introduce the unique cadenza by Alkan but also to offer an argument from the performer’s point of view, for why Alkan’s cadenza should be considered when there exists a cadenza by Beethoven himself, not to mention those by a number of other composers, both contemporaries of Beethoven and later. Information in reference to the brief history of the cadenza and the pianoforte in the time of Mozart and Beethoven is presented in Chapter 2. A brief bibliography about Alkan is presented in Chapter 3. Chapter 4 describes not only the cadenza in the era of Alkan, but also a comparison which is presented between Beethoven and Alkan's cadenzas. Examples of the keyboard range, dynamic contrast, use of pedal and alternating notes or octaves, and creative quote are presented in Chapter 4. In conclusion, the revival of Alkan's cadenza is mentioned, and the author's hope to promote the Alkan's cadenza is presented in Chapter 5. -
Charles-Valentin Alkan
The Alkan Society Registered Charity no. 276199 www.alkansociety.org President: Leslie Howard Vice-presidents: Anne Smith, Hugh Macdonald, Nicholas King, Richard Shaw Honorary Officers: Mark Viner Chairman, Nick Hammond Treasurer, Coady Green Secretary Bulletin 93: September 2016 Society concerts Annual Joint Societies Dinner-Recital The Forge, London on 19th January 2016 A meeting of fans of Alkan, Berlioz, Liszt, Mahler, and Wagner might seem to be a subject for a fantasy of the columnist Peter Simple, potentially ending in violence, uproar and recriminations. Nothing, however, could have been more civilized or rewarding than the dinner and recital convened by the societies dedicated to these great composers. Those attending were treated to a fine conspectus of musical romanticism in an innovative programme given by dedicated performers. And we may as a Society feel proud that three of the performers, Leslie Howard (pictured, above), Coady Green and Mark Viner (pictured), were of our brotherhood (although admittedly Leslie also sails under the colours of Franz Liszt – but given the excellent relations which subsisted between Alkan and Liszt themselves, we may regard this as the continuation of a great tradition). The venue was The Forge in Camden Town, London, which proved ideal for the purpose. Seated at tables which enabled us to meet and chat with members of differing Societies, we were all within intimate proximity with the stage and were able to enjoy together an excellent meal after the music. First up was Hector Berlioz. Laura Wolk-Lewanowicz, accompanied by Coady Green, gave us fine renditions of the chansons La belle voyageuse and La belle Isabeau. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality af this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignmentcan adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Beil & Howell information C om pany 300 Nortfi Z eeb Roac. Ann Arbor, Ml 48106-1346 USA 313 761-4700 800 521-0600 Order Number 91S04S0 Sîgîsmimd Thalberg (1812—1871), forgotten piano virtuoso: His career and musical contributions Hominick, Ian Glenn, D.M.A. -
GERMAN & AUSTRIAN SYMPHONIES from the 19Th
GERMAN & AUSTRIAN SYMPHONIES From The 19th Century To The Present Composers other than Beethoven, Brahms, Bruckner, Mahler, Mendelssohn, Schubert & Schumann A Discography of CDs and LPs Prepared by Michael Herman Composers A-L JOHANN JOSEPH ABERT (1832-1915) A Sudeten German, he was born in Kochowitz, Bohemia (now Kochovice, Czech Republic). He studied double bass at the Prague Conservatory with Josef Hrabe and also received lessons in theory from Johann Friedrich Kittl and August Wilhelm Ambros. He became a double bassist for the Court Orchestra at Stuttgart and later was appointed Kapellmeister. He composed orchestral and chamber works as well as lieder and several successful operas. His unrecorded Symphonies are: Nos. 1 in B minor (1852), 2 in C minor (1854), 3 in A major (1856), 5 in C minor (1870), 6 in D minor "Lyric Symphony" (1890) and 7 in C major "Spring Symphony" (1894). Symphony No. 4 in D major, Op. 31 "Columbus, A Musical Portrait of the Sea in the Form of a Symphony" (1863) Werner Stiefel/Bohuslav Martinu Philharmonic Orchestra ( + Concerto for Double Bass and Variations for Double Bass and Orchestra) BAYER RECORDS 100160 (1996) AUGUST RITTER VON ADELBURG (1830-1873) Born in Pera, Turkey. The son of a diplomat, he spent his early years in Istanbul before going to Vienna to study music with Joseph Mayseder for violin and with Hoffmann for composition. He then toured Europe as a violinist. He later returned to Istanbul where he played the violin before the Sultan to whom he dedicated this Symphony. He mostly composed operas, chamber, instrumental and vocal works. -
Walter Georgii's Klaviermusik, Part II: a Translation and Commentary
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1983 Walter Georgii's Klaviermusik, Part II: a Translation and Commentary. Howard Gerald Aultman Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Aultman, Howard Gerald, "Walter Georgii's Klaviermusik, Part II: a Translation and Commentary." (1983). LSU Historical Dissertations and Theses. 3829. https://digitalcommons.lsu.edu/gradschool_disstheses/3829 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. l.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted material:* that should not have been filmed. -
©2020 Scott Matthew Noriega ALL RIGHTS RESERVED
©2020 Scott Matthew Noriega ALL RIGHTS RESERVED DEFINING THE LEFT-HAND PIANO AS “ANOTHER KIND OF INSTRUMENT” IN THE MUSIC OF LEOPOLD GODOWSKY AND FRANZ SCHMIDT By SCOTT MATTHEW NORIEGA A dissertation submitted to the ScHool of Graduate Studies Rutgers, THe State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of PHilosopHy Graduate Program in Music Written under the direction of Floyd Grave And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey May 2020 ABSTRACT OF THE DISSERTATION DEFINING THE LEFT-HAND PIANO AS “ANOTHER KIND OF INSTRUMENT” IN THE MUSIC OF LEOPOLD GODOWSKY AND FRANZ SCHMIDT BY SCOTT MATTHEW NORIEGA Dissertation Director: Floyd Grave, Ph.D. This study seeks to situate the contribution of LeopoLd Godowsky and Franz Schmidt to the history of redefining left-hand piano music. Both were outstanding pianists and composers who came to the Left-handed genres for their own individuaL reasons. They each defined their pianistic styLes based on common traits (the music of both Chopin and Bach figured highly for both) but differed in approach owing to the genres in which they worked: Godowsky’s compositions were chiefLy in the reaLm of soLo piano music, while Schmidt’s fell in the realms of both chamber music, discussed here, and in concertos. Rather than defining the Left-hand piano in a two-handed fashion as had composers before them––attempting to “normalize” the Left hand by making it do the work of two––both carefuLLy crafted the Left-hand piano as a unique instrument capabLe of performing its own type of music. -
The Piano Teaching Legacy of Solomon Mikowsky
The Piano Teaching Legacy of Solomon Mikowsky A Thesis by Kookhee Hong In Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Manhattan School of Music New York January 2013 TABLE OF CONTENTS Preface..................................................................................4 Part I: Biography ..................................................................5 Part II: Pedagogy................................................................63 Part III: Appendices .........................................................140 “I would not enjoy teaching if I thought my work was reduced to showing students how to preserve museum pieces. Although I cannot stand carelessness with the score, I thrive on creativity and using the imagination.” —Solomon Mikowsky (Clavier, September 2001) Hong / Solomon Mikowsky 4 PREFACE After attending the Curtis Institute, I transferred to the Bachelor of Music degree program at Manhattan School of Music as a scholarship piano student of Solomon Mikowsky. Little did I know that I would remain his student through the Bachelors, Masters, Professional Studies and Doctor of Musical Arts degree programs. For eight years I have enjoyed the benefit of his talent, wisdom, experience, dedication, generosity and personal guidance. I am sure that every other pupil of his has had a like experience. His class of students has been as close to being a family as a group of competitive young professionals could possibly be. Dr. Mikowsky is a master of his art and represents the continuation of a great pianistic and pedagogical tradition. He has been often honored through awards, articles, and the successes of his students. In selecting a topic for my doctoral dissertation, it seemed to me timely and relevant to record for posterity whatever he was willing to share with us about his life and teaching ideas. -
Twenty-Eighth Season — Symphonies Under the Stars SELLING PRICE.2427 TAX
Twenty-Eighth Season — Symphonies Under the Stars SELLING PRICE.2427 TAX.................0073 TOTAL .2500 A STILL THEY COME ON COLUMBIA @ Ito SUPERB NEW RELEASES ON SUPERB NEW RELEASES ON COLUMBIA COLUMBIA ®MICROGROOVE © MICROGROOVE RECORDS RECORDS "The Record That Plays Up to 50 Minutes' 'The Record That Plays Up to 50 Minutes' Hear again the concerts of Hollywood Bowl in your own home . by the great composers and artists on Columbia (y) records . BEETHOVEN MOZART SYMPHONY NO. 41 IN C MAJOR (K.551) ("Jupiter")- PONS-KOSTELANETZ CONCERT (Prelude In C-Sharp SYMPHONY NO. 7 IN A MAJOR, OP. 92, The Philadel SCYTHIAN SUITE, OP. 20-The Philadelphia Orchestra, with Andre phia Orchestra, Eugene Ormandy, Conductor ...ML 4011 Eugene Ormandy, Conductor..........................ML 4142 of New York...................................................ML 4035 CONCERTO NO. 5 IN E-FLAT MAJOR FOR PIANO AND MOZART OPERATIC ARIAS-Ezio Pinza with Bruno Wal ORCHESTRA ("Emperor") Rudolf Serkin (Piano) with TCHAIKOWSKY ter conducting the Orchestra of the Metropolitan Opera SYMPHONIC SONGS—(Full Moon And Empty Arms, and other selections) sung by Rise Stevens with orchestra Association .....................................................Ml 4036 CONCERTO IN D MAJOR FOR VIOLIN AND ORCHESTRA, conducted by Morris Stoloff........................... ML 2039 ML 4004 OP. 35—Nathan Milstein (violin) and Frederick Stock SYMPHONY NO. 39 IN E-FLAT MAJOR (K.543)-The conducting the Chicago Symphony Orchestra....ML 4053 Cleveland Orchestra, George Szell, Conductor..ML 4156 CONCERTO IN D MAJOR FOR VIOLIN AND ORCHESTRA, OP. 61-Joseph Szigeti (violin) with Bruno Walter CONCERTO NO. 1 IN B-FLAT FOR PIANO AND OR SYMPHNOY NO. 40 IN G MINOR (K.550)—Pittsburgh DEBUSSY conducting the New York Philharmonic.........