DOCSLIB.ORG

Cleveland International Piano Competition August 1 Semi Final

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cleveland International Piano Competition August 1 Semi Final Semi-Final Round GARTNERAUDITORIUM CLEVELANDMUSEUMOFART August 1, 2021 Presented by Piano Cleveland TODAY’SPROGRAM PROGRAMNOTES Byeol Kim Byeol Kim South Korea Clara Schumann (1819–1896) Clara Schumann (1819–1896) Notturno in F Major, Op. 6, No. 2 Notturno in F Major, Op. 6, No. 2 Clara Josephine Wieck born in Leipzig, to highly accomplished musicians: Friedrich Robert Schumann (1810–1856) Wieck, a professional pianist and piano teacher, and his wife Mariane, a professional Arabeske in C Major, Op. 18 singer. Friedrich was determined to raise Clara as a virtuosa of the first rank: she began Louis Moreau Gottschalk (1829–1869) piano lessons at four years of age, and her musical education over the next years would include training in harmony, counterpoint, and composition; she also studied violin and The Union, Op. 48 singing as well as the piano. Prodigiously talented, she made her professional debut at Felix Mendelssohn (1809–1947) the age of nine, and from here began an intense schedule of touring and performing across Europe under the management of her father (not unlike Mozart’s experience Fantasie in F-sharp Minor, Op. 28 half a century earlier). It was the foundation of a career that would span the rest of the Freddie Mercury (1946–1991) nineteenth century, and in time Clara would become one of the most acclaimed pianists “Bohemian Rhapsody” (arr. Kurbatov) of the era. Along with pianists like Franz Liszt, she pioneered the practice of playing her recitals from memory; she was also instrumental in shiing the focus of recitals Pierre Jalbert (born 1967) away from improvisation and the performance of one’s own compositions, and towards Toccata (2001) the interpretation of previous “masterworks” that made up a rapidly forming canon of approved composers. -brief pause- In 1840, aer a long and drawn out legal battle, Clara married Robert Schumann, a former Lovre Marušić pupil of her father’s. The Schumanns were a formidable musical partnership, inspiring one another in their compositional and performing pursuits, and enjoying friendships with Croatia two highly influential figures of German music in the later nineteenth century: the violinist Domenico Scarlatti (1685–1757) Joseph Joachim and the pianist and composer Johannes Brahms. Clara maintained an active performing career even around the birth of eight children, a major feat that would Sonata in E Major, K. 380 become even more taxing aer Robert’s attempted suicide in 1854. Forbidden to see Robert Schumann (1810–1856) Robert during his two years of confinement in a mental institution, Clara necessarily took Kreisleriana, Op. 16 on full responsibility for maintaining their family, all the more so aer Robert’s untimely death in 1856. Thus the 1860s and 70s were in many ways Clara’s most active period as Freddie Mercury (1946–1991) a performer. She performed hundreds of concerts across Europe; she also became a “Bohemian Rhapsody” (arr. Kurbatov) sought-aer teacher, and became the first piano professor at the Frankfurt conservatoire when it opened in 1878. In addition, she edited Robert’s published works and became an -intermission- indefatigable advocate for his music. Piano Duo Schumann’s early training in composition was matched by significant creative energies, and in her early life she composed oen. Aer her marriage this creative energy Wolfgang Amadeus Mozart (1756–1791) lessened, partly because of the significant constraints that raising a family imposed on Sonata for Two Pianos in D Major, K. 448 her time, and partly because of the demands of her pianistic career; but also partly on 2 CLEVELANDINTERNATIONALPIANOCOMPETITION/SEMIFINALROUND PRESENTED BY 3 PROGRAMNOTES account of Schumann’s own doubts about her compositional talents. And aer the death which Schumann felt entirely unable to compose. Some of the productive periods have of her husband, she composed no more for the rest of her life. Yet these creative doubts names; 1840, for instance, is known as Schumann’s Liederjahr (Year of Song), as he wrote are nowhere in evidence in her early works. Many of these pieces are in the brilliant, nearly 140 Lieder; 1842, similarly, saw the creation of much of Schumann’s chamber music. virtuosic and openly entertaining style characteristic of composers such as Jan Dussek, The two sides of Schumann’s persona oen le their mark on his music, he frequently Johann Hummel, and John Field, which the musicologist Jim Samson terms “post-classical”; embodied them in the form of two characters: Eusebius, who represented the dreamy, Schumann would perform these kinds of pieces at her own concerts. Others are in the meditative side of Schumann’s personality, and Florestan, his agitated, passionate intimate, melodic style characteristic of the salon—one of the most significant performance opposite. Schumann used these characters as a literary device in his music criticism, to venues in nineteenth-century European musical culture. The Notturno in F major fits debate the merits of various musical works; they also make a cameo in one of his major into the latter mold. Published as part of Schumann’s Opus 6 in 1836, when she was piano works, Carnval. just seventeen, the piece has many features of the nocturne genre, a mainstay of nineteenth-century salon music made especially famous by the works of Frédéric The Arabeske, Op. 18, was composed during one of Schumann’s low periods; his romantic Chopin. In the Notturno, a plaintive, singing melody in the right hand floats over a relationship with Clara Wieck had been building in intensity for five years, but because Clara’s supple, rolling accompaniment in the le hand. A contrasting section in a minor key father was dead set against the match, it was conducted almost entirely though letters and gives us a glimpse of a more tortured emotional landscape, but only briefly; a transition brief, snatched encounters in and around her concert engagements. The piece was explicitly leads back to the style of the opening, for a quiet close. conceived by the composer in what he thought a “feminine” style, and intended for women performers—not so much the fiery virtuosity of a Clara Schumann, but rather the young ladies Robert Schumann (1810–1856) and hostesses who frequented the interior, domestic performance space of the salon. The “arabesque” of the title is ambiguous; the term was originally used to describe the intricate Arabeske in C Major, Op. 18 designs of Islamic decorative art, but had long been applied metaphorically to other art forms with complex, intertwining lines—an apt description for much music in the Western A poet of the piano and a significant musical aesthete of his time, Robert Schumann was tradition, which so often relies on counterpoint. Schumann’s piece is in a form inherited a key member of a generation of composers including Chopin and Mendelssohn, whose from the eighteenth century nineteenth, the rondo. In rondo form, a recurring main theme works defined the sound of early Romanticism. Born in Saxony in what is now Germany, is intercut with contrasting episodes which may explore a different key, mood, tempo, or Schumann studied music from an early age, but like many musicians before him he was figuration. Schumann’s main theme, a graceful, flowing theme in C major, appears three times; strongly encouraged by family to go into law. When the lure of music proved stronger than in between appear two more instense episodes in minor keys, which may be said to represent his legal studies, he took lessons with Friedrich Weick; Weick’s daughter Clara—herself the “Florestan” side of Schumann’s personality; by contrast, an additional coda that appears at a child prodigy would become one of the most influential concert pianists of the entire the end of the piece explores the more relaxed, “Eusebius” side of the emotional spectrum. century—would later become Robert’s wife. Schumann’s aspirations to become a concert pianist were thwarted when he permanently injured his hands, possibly through harmful practice techniques; from then on, he focused his energies on composition. Over the course Louis Moreau Gottschalk (1829–1869) of his career he made significant contributions to the symphonic literature and chamber The Union, Op. 48 music repertoire, as well as to the genres for which he is most famous—the accompanied song or Lied, and a range of unique and highly original works for solo piano. Schumann was He was one of the first home-grown American piano virtuosos of the nineteenth also a significant early music critic, and founded one of the main nineteenth-century music century, but he also spent most of his career outside the United States—and he would journals, the Neue Zeitschrift für Musik; and towards the end of his life he befriended and die exiled from it, following scandalous (but baseless) accusations of an affair with a mentored the young pianist and composer Johannes Brahms. female seminary student. Such was the life of Louis Moreau Gottschalk, which embodies many of the tensions that accompanied the development of a concert culture based Throughout his life, Schumann suffered from a mental disorder characterized by dramatic around “star” performers and their touring activity, and the difficulties that Americans swings between depression and mania; his death at the age of 46 followed two years of had in establishing a foothold in what was seen by many as a European art form, confinement in a mental asylum, aer a suicide attempt. Prior to this, periods of boundless forever beyond the reach of the upstart revolutionaries over the Atlantic. Born in New energy and productivity would be interleaved with periods of profound depression during Orleans to an English merchant and his French creole wife, Gottschalk knew from 4 CLEVELANDINTERNATIONALPIANOCOMPETITION/SEMIFINALROUND PRESENTED BY 5 PROGRAMNOTES an early stage that his musical training could only be completed—and accepted—if given musical procedures adopted by early American modernist composers such as Charles Ives, the European seal of approval.
Load more

Recommended publications
  • The Nineteenth Century, Part 2: Nationalism and Ideology
    A-R Online Music Anthology www.armusicanthology.com Content Guide The Nineteenth Century, Part 2: Nationalism and Ideology Joseph E. Jones is Associate Professor at Texas A&M by Joseph E. Jones and Sarah Marie Lucas University-Kingsville. His research has focused on German opera, especially the collaborations of Strauss Texas A&M University-Kingsville and Hofmannsthal, and Viennese cultural history. He co- edited Richard Strauss in Context (Cambridge, 2020) Assigned Readings and directs a study abroad program in Austria. Core Survey Sarah Marie Lucas is Lecturer of Music History, Music Historical and Analytical Perspectives Theory, and Ear Training at Texas A&M University- Composer Biographies Kingsville. Her research interests include reception and Supplementary Readings performance history, as well as sketch studies, particularly relating to Béla Bartók and his Summary List collaborations with the conductor Fritz Reiner. Her work at the Budapest Bartók Archives was supported by a Genres to Understand Fulbright grant. Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This document is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this guide, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: The Nineteenth Century, Part 2 (Nationalism and Ideology) 1 ______________________________________________________________________________ Content Guide The Nineteenth Century,
    [Show full text]
  • Julius Stockhausen's Early Performances of Franz Schubert's
    19TH CENTURY MUSIC Julius Stockhausen’s Early Performances of Franz Schubert’s Die schöne Müllerin NATASHA LOGES Franz Schubert’s huge song cycle Die schöne mances of Die schöne Müllerin by the baritone Müllerin, D. 795, is a staple of recital halls and Julius Stockhausen (1826–1906), as well as the record collections, currently available in no responses of his audiences, collaborators, and fewer than 125 recordings as an uninterrupted critics.3 The circumstances surrounding the first sequence of twenty songs.1 In the liner notes of complete performance in Vienna’s Musikverein one recent release, the tenor Robert Murray on 4 May 1856, more than three decades after observes that the hour-long work requires con- the cycle was composed in 1823, will be traced.4 siderable stamina in comparison with operatic Subsequent performances by Stockhausen will roles.2 Although Murray does not comment on the demands the work makes on its audience, this is surely also a consideration, and certainly 3For an account of early Schubert song performance in a one that shaped the early performance history variety of public and private contexts, see Eric Van Tassel, of the work. This article offers a detailed con- “‘Something Utterly New:’ Listening to Schubert Lieder. sideration of the pioneering complete perfor- 1: Vogl and the Declamatory Style,” Early Music 25/4 (November 1997): 702–14. A general history of the Lied in concert focusing on the late nineteenth century is in Ed- ward F. Kravitt, “The Lied in 19th-Century Concert Life,” This study was generously funded by the British Academy Journal of the American Musicological Society 18 (1965): in 2015–16.
    [Show full text]
  • Le Corsaire Overture, Op. 21
    Any time Joshua Bell makes an appearance, it’s guaranteed to be impressive! I can’t wait to hear him perform the monumental Brahms Violin Concerto alongside some fireworks for the orchestra. It’s a don’t-miss evening! EMILY GLOVER, NCS VIOLIN Le Corsaire Overture, Op. 21 HECTOR BERLIOZ BORN December 11, 1803, in Côte-Saint-André, France; died March 8, 1869, in Paris PREMIERE Composed 1844, revised before 1852; first performance January 19, 1845, in Paris, conducted by the composer OVERVIEW The Random House Dictionary defines “corsair” both as “a pirate” and as “a ship used for piracy.” Berlioz encountered one of the former on a wild, stormy sea voyage in 1831 from Marseilles to Livorno, on his way to install himself in Rome as winner of the Prix de Rome. The grizzled old buccaneer claimed to be a Venetian seaman who had piloted the ship of Lord Byron during the poet’s adventures in the Adriatic and the Greek archipelago, and his fantastic tales helped the young composer keep his mind off the danger aboard the tossing vessel. They landed safely, but the experience of that storm and the image of Lord Byron painted by the corsair stayed with him. When Berlioz arrived in Rome, he immersed himself in Byron’s poem The Corsair, reading much of it in, of all places, St. Peter’s Basilica. “During the fierce summer heat I spent whole days there ... drinking in that burning poetry,” he wrote in his Memoirs. It was also at that time that word reached him that his fiancée in Paris, Camile Moke, had thrown him over in favor of another suitor.
    [Show full text]
  • Country Update
    Country Update BILLBOARD.COM/NEWSLETTERS MARCH 9, 2020 | PAGE 1 OF 17 INSIDE BILLBOARD COUNTRY UPDATE [email protected] Morris, Brown Top Charts Brandy Clark Makes A Personal >page 4 Statement On The Record Nashville Works Toward Recovery Ten seconds into Brandy Clark’s Your Life Is a Record, a the listener to an expectant conclusion of what turns out to be >page 9 languid grunting tone emerges, unconventionally planting a breakup album, released by Warner on March 6. “The Past a baritone sax into the opening moments of what’s ostensibly Is the Past,” she declares in that glassy finale, with fragile a country album. guitar arpeggios supporting a It’s a tad mysterious. In transitional journey into some Dan + Shay Launch context, it could be a bassoon or unknown future. Putting that Arena Tour a bass clarinet — Clark thought upbeat sentiment at the end >page 10 it was a cello the first time she of the project rather than the heard it — but it reveals to the beginning was one of the few listener that Your Life Is a Record, places where she dug in her heels produced by Jay Joyce (Eric with the label. Current News: Church, Miranda Lambert), “I wanted it that way because Just LeDoux It is not quite like either of the to me, ‘The Past Is the Past’ is >page 10 previous records the award- bittersweet, but it’s hopeful,” winning singer-songwriter has she explains. “It’s like, ‘OK, we’ve launched in the marketplace. gone through all this and I’m still Makin’ Tracks: “I said to Jay when I heard sad about it, but I’m letting you Pardi’s Strait Talk that baritone sax thing, ‘Man, go.’ And I’m driving away — like, >page 14 I know this is crazy ’cause it’s a I literally feel like I’m in the car slow, sad song.
    [Show full text]
  • Notes on the Program by James M
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Concerto in D major for Violin and Orchestra, Op. 77 Johannes Brahms ohannes Brahms was the chief acolyte of time. It was Joachim who had championed Jthe conservative stream of 19th-century Beethoven’s Violin Concerto to a degree that Romanticism. As a young composer, he lifted it in musical prestige from a perceived sought out the composer and critic Robert footnote in Beethoven’s catalogue to a reper- Schumann in 1853. Schumann was hugely toire masterwork. He would introduce such impressed by the young man’s talent, and on important works as Schumann’s Phantasie October 28 of that year he published in the for Violin and Orchestra (1854) and Violin Neue Zeitschrift für Musik, a musical maga- Concerto (though the latter only in private zine he had founded, an effusive article that performances beginning in 1855) and the acclaimed Brahms as a sort of musical Mes- final version of Max Bruch’s Violin Concer- siah, “destined to give ideal presentation to to No. 1 (in 1868), as well as Brahms’s Violin the highest expression of the time, … spring- Concerto and Double Concerto for Violin ing forth like Minerva fully armed from the and Cello. head of Jove.” Joachim’s presence looms large in the Brahms filled Schumann’s prophecy and case of Brahms’s Violin Concerto, as the became the figure who most fully adapted composer consulted with him very closely the models of Beethoven (via Mendelssohn while writing the piece and there is no ques- and Schumann himself) to the evolving aes- tion that Joachim’s influence on the final thetics of the mid-to-late 19th century.
    [Show full text]
  • Downloaded From
    BÄRENREITER URTEXT offering the best CZECHMUSIC of Czech music BÄRENREITER URTEXT is a seal of quality assigned only to scholarly-critical editions. It guarantees that the musical text represents the current state of research, prepared in accordance with clearly defined editorial guidelines. Bärenreiter Urtext: the last word in authentic text — the musicians’ choice. Your Music Dealer SPA 314 SPA SALES CATALOGUE 2021 /2022 Bärenreiter Praha • Praha Bärenreiter Bärenreiter Praha | www.baerenreiter.cz | [email protected] | www.baerenreiter.com BÄRENREITER URTEXT Other Bärenreiter Catalogues THE MUSICIAN ' S CHOICE Bärenreiter – Bärenreiter – The Programme 2019/2020 Das Programm 2018/2019 SPA 480 (Eng) SPA 478 (Ger) Bärenreiter's bestsellers for The most comprehensive piano, organ, strings, winds, catalogue for all solo chamber ensembles, and solo instruments, chamber music voice. It also lists study and and solo voice. Vocal scores orchestral scores, facsimiles and study scores are also and reprints, as well as books included. on music. Bärenreiter – Bärenreiter – Bärenreiter Music for Piano 2019/2020 Music for Organ Music for Organ 2014/2015 SPA 233 (Eng) 2014/2015 SPA 238 (Eng) Bärenreiter's complete Urtext Bärenreiter's Urtext programme for piano as well programme for organ as well as all educational titles and as collections and series. collections for solo and piano You will also find jazz works, four hands. Chamber music transcriptions, works for with piano is also listed. Your Music Dealer: organ and voice, as well as a selection of contemporary music. Bärenreiter-Verlag · 34111 Kassel · Germany · www.baerenreiter.com · SPA 238 MARTINŮ B Ä R E N R E I T E R U R T E X T Bärenreiter – Bärenreiter – Music for Strings 2018/2019 Choral Music 2018/2019 Nonet č.
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Berköz, Levent Donat (2012). A gendered musicological study of the work of four leading female singer-songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1235/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] A Gendered Musicological Study of the Work of Four Leading Female Singer-Songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos Levent Donat Berköz Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy City University London Centre for Music Studies June 2012 1 TABLE OF CONTENTS TABLE OF CONTENTS ………………………………………………………… 2 LIST OF FIGURES ……………………………………………………………… 5 ACKNOWLEDGEMENTS ……………………………………………………… 7 DECLARATION ………………………………………………………………… 9 ABSTRACT ……………………………………………………………………… 10 INTRODUCTION ……………………………………………………………….. 11 Aim of the thesis………………………………………………………………….
    [Show full text]
  • Pianista BORIS KUSNEZOW
    Sala Verdi del Conservatorio - Via Conservatorio 12 - Milano Martedì 06 luglio 2021 - ore 20.00 Violinista FEDOR RUDIN Pianista BORIS KUSNEZOW FRANZ SCHUBERT (1797 - 1828) Sonatina per violino e pianoforte in re maggiore op.137 n.1, D.384 1. Allegro molto (re maggiore) 2. Andante (la maggiore) 3. Allegro vivace (re maggiore) WOLFGANG AMADEUS MOZART (1756 - 1791) Rondò per violino e pianoforte in do maggiore KV373 Allegro grazioso (do maggiore) FRANZ SCHUBERT Rondò in si minore per violino e pianoforte op.70, D.895 Andante (si minore). Allegro HEINRICH WILHELM ERNST (1812 -1865) Grand Caprice su „Erlkönig“ di Schubert op.26 per violino solo JAN VÁCLAV HUGO VOŘÍŠEK (1791 - 1825) Sonata per violino e pianoforte in sol maggiore op.5 1. Introduzione (Largo) - Allegro moderato 2. Scherzo (Allegro molto) 3. Andante sostenuto 4. Finale (Allegro molto) SI RACCOMANDA VIVAMENTE DI IMPOSTARE I TELEFONI CELLULARI IN MODALITÀ SILENZIOSA Si ricorda che è vietato registrare senza l’autorizzazione dell’Artista e dell’organizzazione FEDOR RUDIN Nato a Mosca nel 1992 in una famiglia di musicisti (suo nonno era il famoso compositore russo Edison Denisov) e cresciuto a Parigi, Rudin si diploma con Zakhar Bron alla Scuola di Alto Perfezionamento di Colonia e con Pierre Amoyal al Mozarteum di Salisburgo, perfezionandosi all’Università di Musica e Arti dello Spettacolo a Graz nella classe di Boris Kuschnir. È vincitore di premi a numerosi concorsi internazionali quali: Premio Paganini a Genova, George Enescu a Bucharest, Premio Ivry Gitlis 2019 a Parigi e il suo recente album Reflets è candidato all’International Classical Music Awards.
    [Show full text]
  • Music Manuscripts and Books Checklist
    THE MORGAN LIBRARY & MUSEUM MASTERWORKS FROM THE MORGAN: MUSIC MANUSCRIPTS AND BOOKS The Morgan Library & Museum’s collection of autograph music manuscripts is unequaled in diversity and quality in this country. The Morgan’s most recent collection, it is founded on two major gifts: the collection of Mary Flagler Cary in 1968 and that of Dannie and Hettie Heineman in 1977. The manuscripts are strongest in music of the eighteenth, nineteenth, and early twentieth centuries. Also, the Morgan has recently agreed to purchase the James Fuld collection, by all accounts the finest private collection of printed music in the world. The collection comprises thousands of first editions of works— American and European, classical, popular, and folk—from the eighteenth century to the present. The composers represented in this exhibition range from Johann Sebastian Bach to John Cage. The manuscripts were chosen to show the diversity and depth of the Morgan’s music collection, with a special emphasis on several genres: opera, orchestral music and concerti, chamber music, keyboard music, and songs and choral music. Recordings of selected works can be heard at music listening stations. Wolfgang Amadeus Mozart (1756–1791) Der Schauspieldirektor, K. 486. Autograph manuscript of the full score (1786). Cary 331. The Mary Flagler Cary Music Collection. Mozart composed this delightful one-act Singspiel—a German opera with spoken dialogue—for a royal evening of entertainment presented by Emperor Joseph II at Schönbrunn, the royal summer residence just outside Vienna. It took the composer a little over two weeks to complete Der Schauspieldirektor (The Impresario). The slender plot concerns an impresario’s frustrated attempts to assemble the cast for an opera.
    [Show full text]
  • Symphony No. 8 in B Minor, D. 759, “Unfinished” Franz Schubert Born January 31, 1797 in Vienna Died November 19, 1828 in Vienna
    Symphony No. 8 in B Minor, D. 759, “Unfinished” Franz Schubert Born January 31, 1797 in Vienna Died November 19, 1828 in Vienna Why Schubert’s friends Anselm and Joseph Hüttenbrenner hid his Unfinished Symphony from the world for more than 40 years remains one of many mysteries surrounding the work. Schubert had composed two movements (and part of a third) of a symphony in B minor in 1822. Sometime in 1823 he gave the manuscript to Joseph to pass along as a gift to Anselm, not, as long believed, to deliver to the Styrian Music Society as acknowledgment for being elected a member. Schubert may have hoped the Society would perform it (Anselm was also a member), but scholars have shown that the brothers were not guilty of holding onto something that was never rightly theirs. If they were “guilty” of anything, it was only of keeping the knowledge of an artistic jewel to themselves, possibly depriving Schubert of the image of “symphonist” among his contemporaries. Finally in 1860 Joseph wrote to Johann Herbeck, conductor and chorus master in Vienna, complaining about the neglect of Anselm’s compositions and offering to acquaint him with a symphony by Schubert as good as any by Mozart or Beethoven, if Herbeck would agree to perform something of his brother’s. Why Herbeck waited five years to act is another mystery, but the secret was out and public pressure to hear the work increased. Herbeck visited Anselm, promising to perform one of his works (a promise he kept), and secured the manuscript. At last, in December of 1865, Vienna heard the Unfinished, and the Hüttenbrenners’ lofty assessment of its artistic level proved correct.
    [Show full text]
  • Violin Studio Recital Students of Janet Sung
    Saturday, April 8, 2017 • 7:00 P.M. VIOLIN STUDIO RECITAL Students of Janet Sung DePaul Recital Hall 800 West Belden Avenue • Chicago Saturday, April 8, 2017 • 7:00 P.M. DePaul Recital Hall Violin Studio Recital Students of Janet Sung PROGRAM Claude Debussy (1862-1918); arr. Fritz Kreisler Clair de Lune Paige Wunrow, violin Stephen Wunrow, piano Ede Poldini (1869-1957); trans. Fritz Kreisler La Poupée Valsante Gabriel Fauré (1845-1924) Après un Rêve, Op. 7, No. 3 Erica Jacobs-Perkins, violin Andrew Rosenblum, piano Fritz Kreisler (1875-1962) Marche Miniature Viennoise Alexandra Kwasny, violin Andrew Rosenblum, piano Amy Beach (1867-1944) Romance, Op. 23 Lucas Brown Mary Drews, piano Jules Massenet (1842-1912) Méditation de Thaïs Joseph Jung, violin Mary Drews, piano Johannes Brahms (1833-1897); trans. Joseph Joachim Hungarian Dance No. 1 Cody Hiller, violin Jason Chen, piano VIOLIN STUDIO RECITAL• APRIL 8, 2017 PROGRAM Pyotr Tchaikovsky (1840-1893) Souvenir d’un lieu Cher, Op.42 III. Melodie Sean Lee, violin Mary Drews, piano Fritz Kreisler (1875-1962) Caprice Viennois, Op. 2 Helen Dowd, violin Jason Chen, piano Claude Debussy (1862-1918) La plus que lente Hannah Cartwright, violin Mary Drews, piano Cyril Scott (1879-1970); trans. Fritz Kreisler Lotus Land Brent Taghap, violin Andrew Rosenblum, piano Sergei Rachmaninoff (1873-1943); ed. Josef Gingold Vocalise, Op. 34, No. 14 Hsin-Yu Chen, violin Andrew Rosenblum, piano Astor Piazzolla (1921-1992) Tango-Etude No. 3 Christopher Stark, violin Frédéric Chopin (1810-1849); trans. Nathan Milstein Nocturne in C-sharp Minor, B. 49 Sofie Yang, violin Andrew Rosenblum, piano Henri Vieuxtemps (1820-1881) Souvenirs d’Amérique, Op.
    [Show full text]
  • Artur Rubinstein Recital
    Royal Liverpool Philharmonie Society Patron Her Majesty the Queen Artur Rubinstein Recital Wednesday 14 May 1969 at 7.30 p.m. Royal Liverpool Philharmonic Society Patron Her Majesty the Queen President The Lord Mayor of Liverpool Honorary Vice-Presidents D. J. Lewis, j.p. Harry Livermore Management Committee Chairman Andrew McKie Reid, M.C., T.D., F.?.C.Ç. Deputy Chairman J. T. Edwards, ' J. Lindsay Alexander Aiderman H. M. Allen Councillor F. Burke F. J. Camenisch Aiderman C. Cowlin J. K. Harrison Harry Livermore L. A. B. Pilkington Councillor B. Shaw Arts Council Assessor John Cruft D. A. Solomon, m.b.e. General Manager and Secretary K. J. Stern Stephen Gray Aiderman H. Macdonald Steward Musical Director S. R. C. Walmsley Charles Groves, c.bj Philharmonie Hall, Liverpool Artur Rubinstein Schubert Two Impromptus, Op. 90 Brahms Sonata No. 3 in F minor, Op. 5 Interval Chopin Ballade in G minor, Op. 23 Chopin Two Etudes Chopin Nocturne in D flat major, Op. 27, No. 2 Liszt Hungarian Rhapsody, No. 12 Tonight’s recital is supported by the Special Activities Fund - see page 14 Programme One Shilling Photograph by Eva Rubinstein, New York Artur Rubinstein 2 Programme Notes © by Mosco Carrier Two Impromptus, op. 90 (D.899) Schubert (1797-1828) In a letter to his father which Schubert wrote from Steyr in Upper Austria on 25 July 1825 we find the following sentence: ‘What pleased me especially were the Variations of my new Sonata (op. 42) which I performed . not without merit, as several people assured me that the keys become singing voices under my hands’.
    [Show full text]