DOCSLIB.ORG

Volume 15, Number 08 (August 1897) Winton J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Volume 15, Number 08 (August 1897) Winton J Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1897 Volume 15, Number 08 (August 1897) Winton J. Baltzell Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Baltzell, Winton J.. "Volume 15, Number 08 (August 1897)." , (1897). https://digitalcommons.gardner-webb.edu/etude/418 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. METROPOLITAN A NEW BOOK BY W. s. B. MATHEWS. COLLEGE OF MUSIC OF THE , PAGE. Musical Items. 2f(. University of the State of New York, The Piano and Our Gills. ^uboiint W.'Mottri.... 202 Thoughts, Suggestions, and Advice"".™".!’.".'.’”*" *S 204 19 and 21 East Fourteenth St., Pianoforte Study. Aloe. McArthur.’2os [T\usie: Gleanings, tv. F. Galtt.206 Gleanings Threshed Out. onn NEW YORK CITY. New Publications.!!'.!!!!!!!!!" 206 Whither Are We Drifting? W. W. Paos!"!!.'.'.".’’"' 207 Its Ideals and JVIethods The Wit of Composers.’ 207 Musical Stage Fright. Robert Braine .............7. 208 DUDLEY BUCK—Interpretation and Orchestration. Editorial Notes. '' 2og HARRY ROWE SHELLEY—Theory and Composition Bach Anecdotes.. 209 Liszt and Tausig. .....77.7.'...' 209 F COLLECTION of Essays for Young * HERBERT WILBER GREENE-Voice Training. Letters to Pupils. J. S. Van Cleve..7.77.7.7 210 The Story Teller. \ 210 Teachers, Amateurs, and Students, ALBERT ROSS PARSONS-Pianoforte. Counting Time. E. Cook.77! 210 relating to Music considered as My Fellow Students. E. M Trevenen Damon...... 211 ^"llethi ®HITTElf:DEN"—Pianoforte, Synthetic Aids in Teaching Time Values. Alice Johneon. 212 an Art and Literature, and to Problems A Guide to Pianists. Translated by Miss Leonhard. 212 The Musical Listener. 213 of Piano Teaching. + -f + + + B. HUNTINGTON WOODMAN-Organ. Automatism in Technic. W. J. BaXltell.* 213 A Promising Indication. 213 ¥¥¥¥ JOHN 0. GRIGGS—Church Music and History. Musical Inconsistencies. E. M. Young.. 214 LOUIS SOHMIDT-Violin. A Day’s Practice. Frederick Mariner. 214 Pithy Thoughts. Carl Whihner. 214 Bv the author of “How to Understand Music,” “A Popu¬ A Plea for Primary Instructions in Harmony. lar History of Music,” “Studies in Phrasing,” k»« th. T»ltt»Wet^a.*Mr»tio»nof,»m^?epartfn,nt*' e*ch d«Partm«nt Waldemar Malmene.. 215 ■*king i* POMibU for the ^880ciat6 Pfofossors »nd instructors, My Visit to the M. T. N. A. John Orth. 216 “Standard Grades,” “ Primer of "Fid prot^ wHhou« an3ue :ipe^,‘r0mP ‘h9 mOSt thoroI,«h *“d Thoughts About tbe Most Salient Features of Musical Form,” etc., etc. Music Life. By G. Ft. Richter.... 216 <JP IWTEBPBETATIOW Mr •ork. who h»v« ihown thm 5! f°r "iTanMd *1" dents in any line of A Plea for Teachers. Emlie F. Bauer. 217 THE “ sufficiently proficient to demand it. Hints and Helps. O. W. London. 217 Vocal Department. Conducted by H. W. Greene, 218, 219 Prise, Bound in Cloth, $1.50. T«EoOKT *™ COHPO. “mm. the completion of wh°f ?r' 8h*Uey. off«™ » four years’ Study the Essentials. J. De Zielienski. 219 l**t diploma. P f whlch forma th« ba>is of graduation with col- Publisher’s Notes...220, 221 npportedT?Dmney1Bn^Jl7?EBiT'. head«d by H. W. Greene, (This work, which contains about 75,000 words, fremon Miller Frank Int«rPretation, by John 0. Griggs, E. MUSIC. •*>« beet adrantages for Tocal0sh?J’ and 0*her*. offers without question is the first important literary work which THF pi . “ oc*’ 8todr to be found in America. PKICB Ilf SHEET FOBV. Mr. Mathews has published since the second ^on.Tifb?rt°^T*®^KA«T.*S*T , under the active Dance of the Gypsies. Lack.$0.40 Professor in advanced wnrV*^08’ Caia Aarup as Associate Hongroise. Liszt.......... .35 volume of “ How to Understand Music ” and his Pic and in Ioternretatinnrk, offers the broadest training both in Tech- The Troubadours. Rhode.35 “History of Music.” thetio Dspartment of Norm»iV>a^t -°f thii worL comprised in the Syn¬ Forget Me Not. (Gavotte.) Nettmann.40 jet lx»«ib” m nr„.^Hri ng’"n<ler Mis. Kate S Chittenden, Slumber Song. Kratz.15 The matter is arranged in Two Parts : Part Ore thetic Method of Piano^r.nn*,^**01'*™ ttle Sreat advantages of the Syn- tnhliihed through Miss rwt.11“J*' “ originated by Mr. Parsons and es- Mazurka. Bassford.25 contains Essays upon The Nature of Music, Its tationa. * Mfss ^“tenden’s editorship of the Synthetic publi- Cradle Song. Trumbull.25 The Eternal S‘ars. Browne...30 Educational Value, Composers, such as Beethoven, Woodman,ORGAJf. R, HuntiDgton Schumann, Liszt, and Brahms ; on Songs and Song- *nd Mr. Shelley Jiso. 1 *tn,ction ln *bis department given by Mr. Buck Singing, and a variety of topics interesting to the eminent vtomnu^i? gander Louis Schmidt, students generally. Ibanoforte Department seen?UIiCtiun Ylth Mis8 A,ruP'* work in the ,f tbe study of chamber m”,!'1 to the College the important advantage Part Second relates to Piano Teaching, and con¬ THE DEP^“aniensemble practice. sists of short Essays upon leading problems of this “-**7 »»iu»uio ior sing kind of art to which Mr. Mathews lias given so «*-A lpecl.,‘rr,‘ TT™ 0t th‘ be8t «»»ptaBof Worship Mneic'.’ much attention. 3g™» 'tailed nnmSr'8ofhTfn!?|E v,DE5rCE DEPARTMENT, berd end every facility^ pr£°t“e and’s^dy. accommodf“*d The work as a whole is undoubtedly one of the Sub|?nption $1.50 pep Year. most important literary productions he has ever '» P'anoforte ASS°C'ATE EXAMINERS: had published. •“ Voice, ’ WILLIAM MASON. • • ARTHUR D. WOODRUFF. Published by PUBLISHED BY ReHHar Course, $200 per year. Send for Catalegue. THEO. PRESSER, THO. PKESSBK, joh^! ^ALMER, Treasurer. 1708 Chestnut Street, N C08NELIUS GRIQQS, Secretary, 1708 CHESTNUT ST., PHILADELPHIA, PA. A 1 \ V i *■ Philadelphia. THE etude ^THE publisher of the etude can supply 25,000 SOLD. DO NOT WEAR YOUR MUSIC OUT BY ANYTHING IN MUSIC.^r LANDON’S CARRYING IT IN A MUSIC ROLL, ^“Sternberg” REED ORGAN METHOD. BY CHARLES W. LANDON. if School of Music PRICE $1.50. FOREIGN FINGERING. n 3- Philadelphia: 1720 Chestnut St. The pieces are selected from the best composers and are copiously annotated, and each piece has a lesson in Constantin von Sternberg, which every point is fully explained and every possible Principal. help given the pnpil. Miss Mary Rollins Murphy, The method is superior in many practical points to Business Manager. those in general use. It is carefully graded, no difficulties appearing until This SATCHEL Is the very latest and they are prepared for by the preceding pieces. Every most convenient manner of carrying Session ’97-’98 opens September 25 th. new thing is fully, clearly, and concisely explained and music, and does not necessitate the roll¬ Complete musical education in ALL branches. illustrated. Not only how to do a thing is shown, but ing of It. It is superseding all others on Send for illustrated catalogue. the whys and wherefores are given. Every piece is es- the market. Mention thin paper. oecially arranged for the Reed Organ ; they are not MUsfeAfcWdRLbD Piano music, nor are they Pipe Organ pieces. Further¬ Made of Smooth-Grain Leather, un- more, the pieces are arranged to bring out the best ef¬ VOL. XV. fects that the Reed Organ is capable of so finely giving. lined, price $1.50, PHILADELPHIA, PA., AUGUST, 1897. The Crane Normal Institute of Music In short, the book treats the Reed Organ as a Reed NO. 8 A Special Course lor Supervisors of Music In Schools. Organ, the music all being arranged on that basis. VOICE CULTURE A SPECIALTY. Many new and charming effects are shown. Every piece ANOTHER NEW STYLE. MR. Louis C. Elson is already booked for 15 leetures is fully annotated, fingered intelligently, effectively ©HE GjPUDE. Adkmc aus her Ohk scored an immense success re¬ For carrying sheet next season in Fall River, Toledo, St. Louis, and oilier Pupils Prepared for a Degree In the American College of Musicians. phrased, and the expression indicated. The theory of A Monthly Publication Top the Teachers and cently at a London Philharmonic concert. For Circulars apply to phrasing and expression is thus taught. The “ Reed music without any cities in the West and South. Students of Music. MINS JUI.IA E. CRANE, Potsdam, N.T. Organ Touch ” is taught, a hitherto neglected feature in folding or roiling, Damrosch and his orchestra are located at Willow A ta iti.KT has been placed on the house in the Alster- the study of this favorite instrument. Touch, as here thus keeping it al¬ Grove, near Philadelphia, for the summer. The two ghu-is, Hamburg, where Hans von Biilow lived from 1887 taught, makes the player far superior to the ordinary Subscription Rates, SI.50 per year (payable in advance). to 1894. 8 000 SOLD.- performer on this instrument. ways smooth and I wo Subscriptions or two years in advance, . SI 35 each daily concerts are well attended. Three Subscriptions or three years in advance, I 30 each' =30== The left hand is especially developed. Every feature fresh, or for bound Single Copy. 15 ‘ Dr. N. J. Elsknheimer, of the College of Music in Mascagni’S opera “ Iris ” is now completed, und was of technic is unfolded by beautiful pieces, thus doing volumes.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 30,1910-1911, Trip
    J ACADEMY OF MUSIC . BROOKLYN Thirtieth Season, 1910-191 MAX FIEDLER, Conductor flrogratron? of % FIRST CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, NOVEMBER 11 AT 8.15 COPYRIGHT, 1910, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER OPERA AMERICA AND ABROAD Mr. H. WINFRED GOFF Frau CLARA WALLENTHIN- Miss EDITH DE LYS London Covent Garden STRANDBERG Stockholm London Covent Garden two seasons America Savage Grand Opera Royal Opera and Dresden Milan Florence Brussels Rome etc. Mrs. CLARA SEXTON- At present singing in Germany Mr. EARL W. MARSHALL CROWLEY Italy Florence Milan Miss LAURA VAN KURAN Italy Florence etc. Barcelona Now singing in America Italy Florence Now in America Now in Italy Mrs. LOUISE HOMER Mr. MYRON W. WHITNEY Mrs. ALICE KRAFT BENSON France Nantes At present with Aborn Grand Opera Co. New York Paris London Brussels Now with Boston singing in New York Metropolitan Opera Co. Lilian Nordica Concert and Opera Chicago Now Co. Italy - Mme. LENA ABARBANELL Miss FANNY B. LOTT Miss BLANCH FOX (VOLPINI) Austria Hungary Germany etc. Italy Palermo Rimini Pisa etc. Italy Venice Milan Vercelli etc. Metropolitan Opera Co. New York Now singing in Italy American Grand Opera Cos. New Nowsinging "Madam Sherry" N.Y. Miss EDITH FROST STEWART York Chicago San Francisco etc. Mr. HENRY GORRELL To create title role in Victor Her- Miss MARY CARSON (KIDD) Italy Florence Genoa Torino etc. bert's new opera " When Sweet Six- Italy Milan etc. Now singing in Italy teen "now rehearsing in New York Now singing in Italy Mr. FLETCHER NORTON Miss BERNICE FISHER Miss ROSINA SIDNA Now singing in New York With the Boston Opera Co.
    [Show full text]
  • SLUB Dresden Erwirbt Korrespondenzen Von Clara Schumann Und Johannes Brahms Mit Ernst Rudorff
    Berlin, 24. Juni 2021 SLUB Dresden erwirbt Korrespondenzen von Clara Schumann und Johannes Brahms mit Ernst Rudorff Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB Dresden) erwirbt Korrespondenzen von Clara Schumann (1819-1896) und Johannes Brahms (1833-1897) jeweils mit dem Berliner Dirigenten Ernst Rudorff (1840-1916). Die Korrespondenzen waren bislang für die Wissenschaft unzugänglich. Die Kulturstiftung der Länder fördert den Ankauf mit 42.500 Euro. Dazu Prof. Dr. Markus Hilgert, Generalsekretär der Kulturstiftung der Länder: „Die Botschaft, dass diese mehr als 400 Schriftstücke, die zuvor in Privatbesitz waren, nun erstmals der Öffentlichkeit und der Wissenschaft zugänglich sind – jetzt bereits online verfügbar auf der Webseite der SLUB Dresden –, dürfte zahlreiche Musikwissenschaftlerinnen und Musikwissenschaftler aus der ganzen Welt dorthin locken. Die wertvollen Korrespondenzen sind nicht nur Zeugnisse von Clara Schumanns ausgedehnter Konzerttätigkeit quer durch den Kontinent. Sie sind auch Dokumente einer Musikepoche und bieten Einblicke in die Musikwelt Europas zwischen 1858 und 1896.“ Eigenhändiger Brief Clara Schumann an Ernst Rudorff, Moskau und Petersburg, April/Mai 1864, SLUB Dresden, Mscr.Dresd.App. 3222A,19 u. 20; Foto: © SLUB Dresden/Ramona Ahlers-Bergner Die Korrespondenzen zwischen Clara Schumann und Ernst Rudorff umfassen 215 handschriftliche Briefe der Pianistin und 170 Briefe ihres einstigen Schülers. Der Briefwechsel zwischen Brahms und Rudorff besteht aus 16 Briefen von Brahms und zwölf Gegenbriefen von Rudorff sowie ein Blatt mit Noten, beschrieben von beiden. Beide Briefwechsel wurden in das niedersächsische Verzeichnis national wertvollen Kulturgutes aufgenommen. Rund sechs Jahre (1844-1850) wohnte Clara Schumann gemeinsam mit ihrem Mann in Dresden. Die angekauften Korrespondenzen Schumanns mit Rudorff beginnen 1858 und enden mit bis dahin hoher Regelmäßigkeit im Jahr ihres Todes, 1896.
    [Show full text]
  • CATALOG SUPPLEMENT 2014 Movimentos Edition
    CATALOG SUPPLEMENT 2014 Movimentos Edition NEW 2014 Works for Cello and Piano by Richard Strauss, Francis Poulenc, Wolfgang Rihm Benedict Kloeckner, Cello José Gallardo, Piano GEN 14313 Release 2013 Olivier Messiaen: Méditations sur le Mystère de la Sainte Trinité Daniel Beilschmidt, Organ This recording (...) is a program of superlatives in a twofold sense (...) Südwestpresse, May 10, 2013 GEN 13276 Release 2013 Robert Schumann: Fantasiestücke, Op. 12 & Fantasy in C major, Op. 17 Annika Treutler, Piano (...) exceptional musical talent (...) CD tip on hr2-kultur GEN 13272 2 Edition Primavera NEW Tobias Feldmann 2014 Deutscher Musikwettbewerb Award Winner 2012 Tobias Feldmann, Violin Boris Kusnezow, Piano Works by Bartók, Beethoven, Waxman and Ysaÿe GEN 14316 NEW Wassily & Nicolai Gerassimez 2014 Free Fall Deutscher Musikwettbewerb Award Winner 2012 Wassily Gerassimez, Cello Nicolai Gerassimez, Piano Works for Cello and Piano by Mendelssohn Bartholdy, Shostakovich, W. Gerassimez & F. Say GEN 14304 Release 2013 Rie Koyama Deutscher Musikwettbewerb Winner 2010 Rie Koyama, Bassoon Südwestdeutsches Kammerorchester Pforzheim Sebastian Tewinkel, Conductor Bassoon Concertos by Antonio Vivaldi, Wolfgang Amadeus Mozart, André Jolivet and Paul-Agricole Génin A top flight listening experience. It is sheer pleasure to listen to GEN 13288 the soloist’s performance. CD tip on NDR Kultur Release 2013 Miao Huang Deutscher Musikwettbewerb Award Winner 2011 Miao Huang, Piano Works by Frédéric Chopin and Maurice Ravel (...) yet this is world-class piano playing
    [Show full text]
  • Ernst Rudorff
    Ernst Rudorff (b. Berlin, 18. January 1840 – d. Berlin, 31. December 1916) Symphony no. 2 in G minor, op. 40 Born in Berlin, Ernst Friedrich Karl Rudorff was a German conductor, composer, pianist and teacher whose mother knew Mendelssohn and studied with Karl Friedrich Zelter (notable for founding the Berlin Singakademie, amongst other achievements), while his father was a professor of law. Rudorff’s parents’ home was often visited by German Romantic composers of the day, and he numbered Johann Friedrich Reichardt and Ludwig Tieck among his ancestors. From 1850 he studied piano and composition with Woldemar Bargiel (1828–1897), Clara Schumann’s half-brother, who, having studied at the Leipzig Conservatory prior to Rudorff, became a noted teacher and composer emulating though not copying Robert Schumann’s musical style. From 1852 to 1854 Rudorff studied violin with Louis Ries (1830- 1913), a member of the Ries family of musicians, who settled in London in 1853, and he studied piano for a short while with Clara Schumann in 1858, who added him to her list of lifelong musical friends, a list which included Mendelssohn, Joseph Joachim and Brahms. Subsequently, from 1859 to 1860, Rudorff studied history and theology at the universities of Berlin and Leipzig and music at Leipzig Conservatory from 1859 to 1861, where Ignaz Moscheles (for piano) and Julius Rietz (for composition) were his teachers. He then (from 1861 to 1862) studied privately with Carl Reinecke (1824-1910) – who was in his time well connected to Mendelssohn, the Schumanns and
    [Show full text]
  • Woldemar Bargiel (B. Berlin, 3 October 1828 - D
    Woldemar Bargiel (b. Berlin, 3 October 1828 - d. Berlin, 23 February 1897) Adagio Op. 38 Preface Woldemar Bargiel enjoyed considerable renown as a composer, conductor, and teacher during his lifetime. Born in Berlin on 3 October 1828, Bargiel benefitted from being a member of a gifted musical family. His father, Adolph Bargiel, was a highly respected piano and voice teacher who taught his son piano, violin, and harmony. Bargiel’s mother, Marianne (née Tromlitz) Wieck, who had divorced Friedrich Wieck in 1824, was the mother of Clara Schumann (née Wieck). In addition to the musical training he received from his parents Bargiel also studied theory with Siegfried Wilhelm Dehn, an eminent teacher, theorist, editor, and librarian. Initial success Bargiel experienced was due in part to Clara. Being nine years older than Bargiel and enjoying a lucrative career as an exceptional concert pianist, Clara’s network of foremost European musicians furthered her brother’s educa- tion and career. Introductions to Felix Mendelssohn and especially to Robert Schumann, who eventually became Bargiel’s brother-in-law, proved crucial. Taking Robert’s advice to enroll at the Leipzig Conservatory in 1846 at the tender age of 16, Bargiel began his extraordinary training. There he studied piano with Ignaz Moscheles and Louis Plaidy; violin with Ferdinand David and Joseph Joachim; and theory and composition with Moritz Hauptmann, Ernst Friedrich Richter, Julius Rietz, and Niels Gade. Upon completion of his studies Bargiel returned to Berlin in 1850. Having quickly developed a favorable reputation as a teacher and composer, some of Bargiel’s early compositions - most notably his first piano trio - were published under the auspices of Clara and Robert Schumann.
    [Show full text]
  • R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
    Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research.
    [Show full text]
  • Inhaltsverzeichnis
    Inhaltsverzeichnis Band 1: Geleitwort 6 Vorwort 7 Abkürzungen 10 I. Mariane Tromlitz und ihre Ehe mit Friedrich Wieck in Leipzig (1816 - 1825) 11 II. Marianes zweite Ehe mit Adolph Bargiel (1825 -1841) 20 III. Bargiels und Clara Wieck bis zu ihrer Hochzeit mit Robert Schumann (1825 - 1840) 26 IV. Gedankenaustausch zwischen Mariane Bargiel und ihren Kindern in Berlin und dem Ehepaar Schumann in Leipzig und später in Dresden (1841 -1845) 41 V. Woldemar Bargiels Jugend in Berlin (1828-1846) 62 VI. Woldemar Bargiels Studium am Konservatorium in Leipzig (1846 - 1850). Seine Studienfreunde Robert Radecke, Albert Dietrich, Heinrich von Sahr und Ludvig Norman 67 VII. Woldemar Bargiel als Lehrer und Komponist in Berlin bis zum Ausbruch von Robert Schumanns Krankheit (1850 -1854) 123 VIII. Schumanns Krankheit und Tod; Bargiels in Berlin bis zu Woldemar Bargiels Berufung nach Köln (1854 - 1859). Ernst Rudorff 198 IX. Woldemar Bargiel als Lehrer am Konservatorium in Köln (1859 - 1865) Mariane Bargiel und ihre Töchter Cäcilie und Clementine in Berlin und England 271 Woldemar Bargiel und Adolph Behrens 394 Bibliografische Informationen digitalisiert durch http://d-nb.info/987831755 gescannt durch Band 2: X. Woldemar Bargiel in Rotterdam (1865-1874) 405 Woldemar Bargiel und seine Schüler in Rotterdam 605 XI. Woldemar Bargiel in Berlin (1874-1897) 617 XII Woldemar Bargiel und seine Schüler in Berlin (Waldemar von Baußnern, Jeanne Becker, Artur Egidi, Martin Graben, Eugene d'Harcourt, Alexander von üjinsky, Paul Juon, Tividar Nachez, Margarethe Quidde, Peter Raabe) 720 XIII. Woldemar Bargiel in seinen Beziehungen zu Joseph Joachim und den Familien Grimm und von Arnim 742 XIV. Woldemar Bargiel im Briefwechsel mit Freunden und Kollegen (Otto von Königslöw, Franz Wüllner, Georg Vierling, Hermann Levi, J.J.H.
    [Show full text]
  • Clara Schumann Jubiläumsprogramm Zum 200
    Clara Schumann Jubiläumsprogramm zum 200. Geburtstag September bis Dezember 2019 200. GEBURTSTAG VON CLARA SCHUMANN Clara Schumann, geb. Wieck 1819 (Leipzig) – 1896 (Frankfurt am Main) 1996 gedachte man des 100. Todestages von Clara Schumann – damals war sie sogar auf dem 100-DM-Schein und auf der 80-Pfennig-Briefmarke zu sehen, was einer breiteren Öffentlichkeit meist entging. 2019, 200 Jahre nach ihrer Geburt, hat es sich we- nigstens teilweise herumgesprochen: Sie war nicht nur die Ehefrau, Helfe rin, Trösterin und Muse ihres genialen Ehemanns Robert Schumann, der ohne Clara Wieck sie sein beeindruckendes Lebenswerk kaum ge- schaffen hätte, sondern auch Mutter von acht Kin- dern, von denen sie sieben ohne ihren Mann, den sie um 40 Jahre überlebte, großziehen musste und konnte. Clara Schumann, die von 1863 bis 1873 (in einem eigenen Haus!) in Baden- Baden lebte, konzertier- te und unterrichtete, war zudem die bedeutends- te und erfolgreichste Pianistin des 19. Jahrhun- derts und wirkte stilbildend und erziehend, indem sie durch ihren unermüdlichen Einsatz in ganz Europa, besonders auch in England, das klassi- sche Repertoire der Klaviermusik von Bach über Mozart, Beethoven, Weber, Mendelssohn, Chopin und Schumann bis zu ihrem Freund und künst- Clara Schumann lerischen Weggefährten Johannes Brahms im Bewusstsein eines Publikums verankerte, das Klavierspiel zuvor nur als nette Unterhaltung oder stau nenerregende Tastenakrobatik kannte und schätzte. Schließlich ist ihr schmales kompositorisches Schaffen endlich in seiner herausragenden Be- deutung erkannt worden; Teile davon, z. B. die Kammermusik, einige ihrer brillanten Klavierwerke und ihre wunderschönen Lieder haben sogar Ein- gang ins Standard repertoire gefunden. 2 JUBILÄUMSPROGRAMM VERANSTALTUNG ZUR ERÖFFNUNG Konzert „Clara Schumann und ihre Familie“ Teil I „Lied der Braut“ Sonntag, 15.
    [Show full text]
  • New • Nouveaute • Neuheit
    NEW • NOUVEAUTE • NEUHEIT 98/6-(5) Title: Woldemar Bargiel: Complete Piano Trios Vol.1 Trio op. 20 Trio op. 37 Musicians: Trio Parnassus Number of CDs: 1 Order Number: MDG 303 0805-2 UPC-Code: Long Overdue Enthusiastic Endorsements The Trio Parnassus, which has just earned sky-high Bargiel's music not only appealed to the mid-century praise for its Reger release, sets out on a long- concert public but also earned enthusiastic critical overdue journey of discovery on this recording endorsements. Schumann named him together with premiere of the complete piano trios of Woldemar Brahms as a "highly ambitious artist of most recent Bargiel. times" in his famous "Neue Bahnen" article. Musical High Society Rave Tradition As we gather from our composer's family tree, the The Trio Parnassus - Chia Chou (piano), Wolfgang Bargiels belonged to Berlin and Leipzig music high Schröder (violin), and Michael Groß (violoncello) - has society. His mother Mariane Bargiel had once been established its own tradition of rave international the wife of Friedrich Wieck, the father of the renowned reviews for its complete recordings of pianist Clara Schumann. Johannes Brahms: Complete Piano Trios Vol. 1-3 All-Star Supporting Cast (with the arrangements of the Sextets op. 18 and 36 Bargiel received a first-class musical education. He for Piano Trio) sang in the famous Berlin Cathedral Choir as a boy MDG 303 0655-2, 303 0656-2, 303 0657-2 and received instruction from the music theory teacher Siegfried Wilhelm Dehn at an early age. Robert Joh. Nepomuk Hummel: Complete Piano Trios Schumann recommended him for study at the world- MDG 3307/08 (2 CDs) famous Leipzig Conservatory, where the great compositional mentors Ignaz Moscheles and Moritz Max Reger: Complete Piano Trios Hauptmann were his teachers.
    [Show full text]
  • Loeffler, Durufle, Pierné
    Loeffler, Durufle, Pierné PIERNÉ SONATA DA CAMERA LOEFFLER TWO RHAPSODIES FIVE SONGS DURUFLÉ PRÉLUDE, RÉCITATIF ET VARIATIONS (world première recording) London Conchord Ensemble William Dazeley PIERNÉ: SONATA DA CAMERA, OP. 48 for flute, ‘cello & piano The London Conchord Ensemble is a flexible ensemble of internationally- 1 Prélude 4.50 recognised young soloists, chamber musicians and principals from the BBC 2 4.59 Sarabande Symphony Orchestra, the Royal Opera House Orchestra and Scottish Chamber 3 Finale 3.54 Orchestra. Based in London, the ensemble explores both the traditional and contemporary repertoire of chamber music written for combinations of strings, LOEFFLER: TWO RHAPSODIES for oboe, viola & piano wind and piano. 4 L’étang 9.25 Following their critically-acclaimed début at the Wigmore Hall in October 2000, 5 La cornemuse 11.54 the ensemble has continued to perform extensively throughout the UK, Europe and North America. Highlights of recent seasons include performances at LOEFFLER: FIVE SONGS for voice, viola & piano Schleswig Holstein Musik Festival, Düsseldorf Tonhalle, Amsterdam Concertgebouw, 6 Rêverie en sourdine 4.30 Palais des Beaux Arts, Niedersachsen Musik Festival and tours of Ireland, France 7 Le rossignol 3.29 and America. The ensemble enjoys regular collaborations with guest vocalists and recent concerts at Windsor Festival, Newbury Festival, Winchester Festival and 8 Harmonie du soir 3.34 Chelsea Festival have included Dame Felicity Lott, Sue Bickley, Andrew Kennedy, 9 La lune blanche 1.24 James Gilchrist and Katherine Broderick. Conchord is ensemble-in-residence at 10 La chanson des Ingénues 2.24 Champs Hill. 11 DURUFLÉ: PRÉLUDE, RÉCITATIF ET VARIATIONS, Op.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 12, 1892-1893, Trip
    MUSIC HALL, BUFFALO CONCERT BY THE BOSTON SYMPHONY ORCHESTRA. FRANZ KNEISEL, Conductor. Twelfth Season, 1892-93. With Historical and Descriptive Notes prepared by William F. Apthorp, PUBLISHED BY C. A. ELLIS, Manager. TH E ASON & HAMLIN PIANOS represent that same Highest Standard of excellence which has achieved a repu- tation for their Organs as the Standard of the World. F. KNOLL, Local Representative. (2) Boston Music Hall, Symphony ^ Buffalo. Orchestra Season of 1892-93. Mr. FRANZ KNEISEL, Conductor. Thursday Evening, May 4, 1893, at 8 o'clock. PROGRAMME. Robert Schumann - Symphony No. 2, in C major, Op. 61 I. Sostenuto assai (C major) - - - - - 6-4 Allegro ma non troppo (C major) - 3-4 u - II. Scherzo : Allegro vivace (C major) 2-4 Trio 1°: The same tempo (G major) - 2-4 Trio 11°: The same tempo (C major) - 2-4 III. Adagio espressivo (C minor) - 2-4 IV. Allegro molto vivace (C major) - 2-2 Weber - Agathe's Scene and Aria, from "Freischuetz " t Camille Saint-Saens - Concerto for Violin, No. 1, in A major, Op. 20 I. Allegro (A major) _____ e-4 II. Andante espressivo (D major) - - - - 2-4 III. Tempo primo (A major) - - _ _ _ q_4 / Bach - - Praeludium, Adagio, and Gavotte, for String Orchestra j/ Arranged by Bachrich. Moritz Moszkowski Two Movements from Suite No. 1, in F major, Op. 39 - III. Tema con variazioni : Andante (A major) 2-4 V. Perpetuum mobile : Vivace (P major) - - 4-4 , Wagner - Introduction to Act III., Dance of Apprentices and Proces- " sion of the Mastersingers, from " Die Meistersinger SOLOISTS: Miss FELICIA KASCHOSKA.
    [Show full text]
  • 4995971-C3fd1b-7393338110422.Pdf
    Maria Soboleva and Pierig Escher Paul Juon 2 19 Moscow Symphony Orchestra Recordings of "The Snow of Kilimanjaro" and "Five Fingers" entered the 2001 The Moscow Symphony Orchestra is one of top ten recordings of the year in "The Paul Juon the leading orchestras in the capital today. Economist" magazine. The recording Since its inception in 1989, the orchestra (1872–1940) of the symphonies by Italian composer became an active participant in the musical Malipiero was named "Disc of the Month" life of Moscow, having performed under by US magazine "CD Review" and became Suite in fünf Sätzen op. 93 famous Russian and foreign conductors the winner of the "Diapason d’Or" prize. and with outstanding soloists such as Yuri Sinfonie in fis-moll op. 10 Since 1996 under the general sponsorship Bashmet and Vadim Repin. The Orchestra of "Nestle" the MSO performs an annual has successfully toured in United States, series of concerts in the Grand Hall of the Japan, South Korea and Western Europe. Moscow Conservatory. Aside from extensive concert programs the Wie so mancher Komponist der zwischen metrischen Reihen, wie sie ebenfalls in orchestra is recognized for its outstanding 1870 und 1880 geborenen Generation war Berlin der Antiromantiker Boris Blacher recordings. auch Paul Juon (1872-1940) ein Musiker als "variable Metren" um 1950 entwickeln des Uebergangs von der Spätromantik zur sollte, fiel er schon kurz nach1900 als Moderne. Die Radikalität eines Arnold eigenwilliger Experimentator auf. Seiner Schönberg war ihm aber fremd. Zusammen Zeit voraus war er auch mit komplexen mit Franz Schreker und Alexander Zem- Kompositionen in nur einem Satz, deren linsky hielt er beharrlich an der Tonalität mehrteilige Gliederung allerdings ver- fest, um sie zu erweitern, statt völlig aufzu- kürzte Satztypen erkennen lässt.
    [Show full text]