Boleti?N Filarmo?

Total Page:16

File Type:pdf, Size:1020Kb

Boleti?N Filarmo? El oletín bde la Sociedad Filarmónica de Bilbao Noviembre, 2011. BilbaoD.L.: 1278-07 · ISSN: 1886-5437 Núm. 17 EN PORTADA: Fachada de la Sala de conciertos de la Sociedad Filarmónica de Bilbao, obra del arquitecto Fidel Iturría, recientemente restaurada. (Fotografía de Oiane Bravo. ATIS Asistencia Técnica Informática In Situ S.L.) ß presentación Sociedad Filarmónica de Bilbao LEGAMOS AL NÚMERO diecisiete de nuestra publicación, muy cercanas las fies- Ltas navideñas. En estos momentos de dificultades económicas generales, no debemos dejar que nos domine el abatimiento. Al contrario, esperamos que con el nuevo año se solventen muchos problemas y podamos abordarlos con esperanza. Por ello nada mejor que felicitar a nuestros socios, amigos y a nuestro patrocina- dor, la Fundación BBK, en estas fechas y esperar que este curso musical continúe dán donos toda clase de satisfacciones. Comienza este boletín con un artículo sobre la música contemporánea y el públi- co. Tema candente donde los haya por la distancia existente entre las obras de los compositores contemporáneos y los oyentes. Otro trabajo de opinión trata de la responsabilidad del crítico. Las consideracio- nes sobre la función del crítico en los medios de comunicación general y su respon- sabilidad tienen una gran importancia en nuestra sociedad. En 2012 celebramos el 150 aniversario del nacimiento de Claude Debussy. Ello da lu gar a dedicarle un apasionado recuerdo con cuatro apuntes sobre este insigne compositor. Sobre su música bellísima, sobre su poder evocador. Acabamos de realizar un concierto de música de cámara con música española, o influida por ésta, a cargo de un destacado trío francés ¿Para cuándo una revisión de la música de cámara española, en gran parte olvidada en nuestro propio país? Otro escrito se plantea esta cuestión. Ante un concierto con obras de Reynaldo Hahn, nos ha parecido oportuno recor- dar a la gran pianista Magda Tagliaferro, tanto por su relación con el compositor co - mo por su vinculación con el famoso “Cuartito” del que fue Presidenta de Ho nor. La entrevista está dedicada al pianista Martin Helmchen, que acaba de ofrecer un gran recital. En ella hace unas observaciones muy interesantes. El número concluye con una nueva sección: Hemos leído… que creemos puede resul- tar atrayente para nuestros socios. Asís de Aznar Presidente de la Sociedad Filarmónica de Bilbao 3 opinión LA MÚSICA CONTEMPORÁNEA Y EL PÚBLICO Do ut des «Very frequently no one knows that contemporary music is or could be art. He simple thinks it is irritating…». John Cage, Silence LARTEQUE, en mayor medida, La experiencia nos dice que, excep- Ere curre a la producción de sus to en el caso del reducido y entu- an tepasados es, sin lugar a dudas, el siasta público especializado, no esta- de la música clásica. Probablemente mos interesados en lo que los com- vi vimos en la época en la que existe positores actuales quieren decirnos. un mayor desfase entre los composi- En la Sociedad Filarmónica, en tores de la llamada música contem- don de se han producido muchos es- poránea y el público actual. No son tre nos en España e incluso estrenos sólo las temporadas de concierto del ab solutos de obras tan importantes mundo entero las que programan como Concertino 1 + 13 de Xavier mu cha más música de otras épocas, Mont salvatge, tenemos comprobado también las casas discográficas gra- que cuando algunos de nuestros so- ban infinitas versiones de obras per- cios leen las fechas de los composi- tenecientes al repertorio compuesto tores y descubren que aun no han antes de la segunda mitad del siglo muer to, abandonan discretamente sus butacas con la repentina prisa XX y nuestras discotecas personales que suele acompañar a un imprevis- sue nan casi siempre a música del pa - to. Incluso la Noche transfigurada de sa do ¿o no es verdad? La nueva mú- Schoen berg interpretada en 1996 si ca y la antigua son tratadas como por la Orquesta de Cámara de Esto - dos mundos diferentes y la situación col mo y dirigida por Esa-Pekka Sa- ha llegado hasta tal punto que para lo nen se vio afectada por este sin- po der escuchar un concierto exclu- gular fenómeno. sivamente de música contemporá- Beethoven, Brahms, Mahler y mu- nea normalmente hay que asistir a chos otros compositores conside ra - un festival o ciclo específico, casi dos revolucionarios en su época, siem pre patrocinado, porque el resto con siguieron finalmente despertar el de las temporadas que dependen de in terés y la admiración de sus con- los abonos y las ventas en taquilla, temporáneos. Aunque muchas de no pueden asumir este reto. 4 Partitura de John Cage sus obras no fueron comprendidas nal que se llenó de ritmos, medidas y en sus primeras interpretaciones - texturas tan irregulares que, lejos de posiblemente porque el público no acercarse al oyente, di ficultaron en estaba acostumbrado a su lenguaje gran medida la escucha. Sin embargo, musical o porque la versión no fue como decía Wil helm Futwängler, demasiado buena- más pronto o más cuanto más claro es el mensaje más tarde obtuvieron un merecido reco- fácilmente llega al pú bli co y más gusta nocimiento ¿Por qué ahora no hay a lo largo de la historia. ningún compositor que provoque Da la impresión de que algunos com- ese mismo efecto en algún lugar del positores, lejos de intentar llegar más mundo? ¿Desde cuándo existe este al público de su generación, perma- abis mo entre la producción de los necen en su burbuja con el convenci- compositores y la aceptación del miento de que sus obras serán com- público que, en el mejor de los prendidas dentro de unos años ¿No casos, supera varias generaciones? de beríamos hacer un esfuerzo por A finales del XIX se fue fraguando un am bas partes para intentar acercar po- cambio decisivo en el material to nal si ciones? ¿Cómo lo han logrado el en el que se basaba la música. Schoen - res to de las artes para que sus van- berg y el grupo de compositores que guardias ocupen su lugar y el públi- formaban la Segunda Es cuela de co llene los museos de arte moderno, Viena, creían que el sistema que había restaurantes, desfiles de moda, tiendas servido de base al gran desa rrollo de la de de diseño… en busca de las últi- música europea estaba ob soleto. La mas ten dencias? Ojalá llegue el día en música atonal surgió como una señal que lo gremos estar tan familiarizados de progreso y así, por primera vez, el con la música de nuestra época que material del que estaba hecha la músi- sea historia la célebre respuesta del ca se convirtió en el punto de partida. compositor Andrés Isasi a la reina Mª Los compositores, que ya no buscaban Cristina: “Majestad, lo difícil no es la belleza sino la no vedad, comenza- escribir una composición, lo difícil es ron a preocuparse tanto por el proce- estrenarla”. so creativo y por su originalidad que P.S. parecieron olvidarse del resultado fi - 5 opinión La responsabilidad del crítico I PENSÁRAMOS en los elementos ta gente siguiendo desde la butaca los Sfun damentales que conforman un con ciertos partitura en mano. concierto, seguramente nos vendrían Es en este contexto donde, por pura a la cabeza tres figuras: el promotor ló gica, la figura del crítico adquiere (organizador del evento), el artista (el una importancia excepcional. No que ejecuta la obra), y el pú blico tan to por su opinión personal y (quien acude al espectáculo). Estas subjetiva de un espectáculo, sino por son, a priori, las tres patas sobre las la ayuda que puede suponer sus que se sustenta la música en directo. palabras a tantos aficionados que Pero podríamos añadir una cuarta fi - deciden leerle para conocer “la opi- gu ra que, aunque de manera tangen- nión del exper to”. cial, tiene un protagonismo inelu di - Quede dicho de antemano que en- ble. De hecho, para gran parte del ten demos que la labor de un crítico pú blico, supone un referente impor- no es la misma que la de un profesor tante en su educación melómana. de la ESO, ni la de un maestro del Ha blamos del crítico musical. con servatorio. Su labor es la de apor- Afortunadamente en España el nú - tar un punto de vista personal sobre me ro de orquestas, auditorios, ciclos, una interpretación musical. Por ello pro motores... es bastante elevado en escribe y por ello le pagan. la actualidad. Sin embargo, y desgra- Pero también entendemos que no es ciadamente, todas estas cifras chocan lo mismo una crítica publicada en con la paupérrima educación musical una revista especializada (donde a sus de los españoles. En ocasiones nula. Y lec tores se les supone unos conoci- es por ello que la mayoría de las per- mientos musicales más amplios), que sonas que se acerca a una sala de con- la que aparece en un medio genera- ciertos apenas tiene algunas nociones lista. Es aquí donde su trabajo ad- del compositor, la obra o su época. A quiere una responsabilidad mayor. veces ni eso. A menudo sucede que tras un con- En ningún momento ponemos en cierto de calidad dudosa o una inter- du da que el público disfrute de los pretación heterodoxa, nos encontra- conciertos, que se emocione, pero sí mos en la prensa una crítica bonda- es verdad que en la mayoría de los ca- dosa, incluso aduladora de dicha in- sos disfrutaría más si sus conocimien- ter pretación. ¡Cómo puede ser! nos tos musicales fueran mayores. Qué pre guntamos. Y a veces nos entera- le jos quedan de nuestros auditorios mos que el intérprete es una figura las salas europeas donde vemos a tan - in tocable para la prensa del país, que 6 Eduard Hanslick (1825 - 1904) Musicólogo y crítico musical alemán.
Recommended publications
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • 8.111327 Bk Cortot EU 13/7/08 22:47 Page 4
    8.111327 bk Cortot EU 13/7/08 22:47 Page 4 GREAT PIANISTS • ALFRED CORTOT Fryderyk CHOPIN (1810 - 1849) Waldszenen, Op. 82 CHOPIN: Piano Sonata No. 2, Op. 35 Piano Sonata No. 2 in B flat minor, Op. 35 * No. 7. Vogel als Prophet 2:36 “Funeral March” 17:36 Recorded 19th April 1948 1 I. Grave - Doppio movimento 5:25 in EMI Abbey Road Studio No. 3 SCHUMANN: Kinderszenen Op. 15 2 II. Scherzo 4:50 First issued on HMV ALP 1197 3 III. Marche funèbre: Lento 5:42 Matrix no.: 0EA 12922 4 IV. Finale: Presto 1:39 Carnaval, Op. 9 Recorded 7th-8th May 1953 Carnaval, Op. 9 25:29 in EMI Abbey Road Studio No. 3 ( No. 1. Préambule 2:36 RED CORT First issued on RCA Victor LHMV 18 ) No. 2. Pierrot 1:08 LF OT ¡ No. 3. Arlequin 0:43 A Robert SCHUMANN (1810 - 1856) ™ No. 4. Valse noble 1:19 Kinderszenen, Op. 15 17:15 £ 5 No. 5. Eusebius 1:30 No. 1. Von fremden Ländern und Menschen 1:39 ¢ No. 6. Florestan 0:53 (About foreign lands and peoples) – 6 No. 7. Coquette 1:01 No. 2. Curiose Geschichte 0:58 § No. 8. Réplique 0:26 (A curious story) ¶ 7 Sphinx 1-3 0:23 No. 3. Hasche-Mann 0:34 • No. 9. Papillons 0:43 (Catch me if you can) ª 8 No. 10. A.S.C.H. - S.C.H.A. No. 4. Bittendes Kind 0:51 (Lettres dansantes) 0:38 (Pleading child) º 9 No. 11. Chiarina 0:49 No.
    [Show full text]
  • Magda Tagliaferro (1893-1986) a Discography1
    MAGDA TAGLIAFERRO (1893-1986) A DISCOGRAPHY1 By Philippe Rougier The pianistic career of Magda Tagliaferro was one of the longest, spanning more than eighty years-from her first public concert in 1902 in Sao Paulo to her last in Brasilia in 1985. Born of French parents near Rio de Janeiro, she divided her life between Brazil and France and she held both citizenships. She received first prize in piano at the Conservatoire National in Paris when she was fourteen. There she became acquainted with the director, Gabriel Faure, who around 1908 chose her to perform several of his works with him on tour. She was the protegee of the Cortot-Thibaud-Casals trio and worked regularly with her "venerated master," Alfred Cortot, whose musical aesthetics she adopted and perpetuated throughout her life. Prior to World War II, she lived in Paris and enjoyed a very brilliant career embracing Europe and South America, playing with conductors such as Furtwaengler, Weingartner, Ansermet, Munch, Paray and others. She was an activist for French music abroad and championed the contemporary composers that she had known personally: Prokofief, d'Indy (she performed his Symphonie sur un Chant montagnard under his baton), Ravel, Poulenc, Roussel, Schmitt, Falla, Albeniz, and others. She premiered or was the dedicatee of many works, including pieces for piano and orchestra by Heitor Villa-Lobos, Reynaldo Hahn, Georges Dandelot, Daniele Amfitheatrof; and solo pieces by Migot, Rivier, Pierne, Rosenthal, Inghelbrecht, and Mignone, among others. Mme. Tagliaferro also played an important role as a pedagogue. She was appointed professor at the Paris Conservatoire in 1937, remaining until the war, and founded a school in Paris and two more in Brazil (the Escola Magda Tagliaferro still exists in Sao Paulo) where she lived from 1940 until 1949.
    [Show full text]
  • New Resume Ate Fim De 9, Completo
    I. Personal Data CAIO PAGANO BIRTH DATE: 5/14/1940 CITIZENSHIP: American/ Italian/Brazilian II. FORMAL SCHOOLING AND TRAINING A/ K-12 Dante Alighieri School in São Paulo, Brazil concluded 1957. B/ Higher Education 1- Masters in Law, College of Law, University of São Paulo 1965. 2- Doctorate in Music, Catholic University of America, Washington D.C., U.S.A., 1984. C/ Music Education Magda Tagliaferro School of Piano, with teacher Lina Pires de Campos, São Paulo, Brazil, 1948-1958. Private teaching: Magda Tagliaferro, São Paulo 1948-1958. Mozarteum Academy Buenos Aires, Argentina, teacher Moises Makaroff May-August, 1961. École Magda Tagliaferro: Magda Tagliaferro, 1958, Paris, France. Mozarteum Academy, Salzburg, Austria, teacher Magda Tagliaferro, 1958. Professor Sequeira Costa, Lisbon, Portugal, August- December, 1964. !Professor Helena Costa Oporto, Portugal, January- !September, 1965. 1 Summer Camp Cascais, Portugal, teachers Karl Engel and Sandor Vegh, 1965-1966. Hochschule für Musik Hannover, Germany, teacher Karl Engel, 1966-1968. !Hochschule für Musik Hamburg, Germany, teacher Conrad !Hansen, 1968-1970 Harpsichord Studies, Pro-Arte, São Paulo, Brazil, teacher Stanislav Heller, 1964. Theory & Harmony, teachers O. Lacerda and Caldeira Filho, São Paulo, Brazil, 1952-1957. Form and Analysis, São Paulo, Brazil, teacher Camargo Guarnieri 1958. 2 1. Full-Time Professorships .1 Piano Professor in Music seminars at Pro-Arte; São Paulo, Brazil, 1963. .2 Piano Professor at the University of São Paulo, Brazil Department of Music, 1970-1984. .3 Visiting Professor at Texas Christian University, Fort Worth, TX, U.S.A., 1984-1986. Second term 1989/1990. .4 Professor at Arizona State University, Tempe AZ, U.S.A., 1986-present; since 1999, Regents’ Professor; in 2010 !selected Professor of the Year .5 Artistic Director at Centre for Studies of the Arts, Belgais, Portugal, 2001-2002.
    [Show full text]
  • Horizontes Pedagógicos E Pianísticos Nas Escritas Autobiográficas De Magda Tagliaferro
    e - I S S N 1 9 8 4 - 7 2 3 8 Horizontes pedagógicos e pianísticos nas escritas autobiográficas de Magda Tagliaferro Resumo No presente artigo, aborda-se a trajetória pedagógica e musical de Ednardo Monteiro Gonzaga Magdalena Tagliaferro, artista que idealizou e implantou no Brasil, Monti juntamente com Gustavo Capanema, o Curso Público de Doutor em Educação pela Interpretação Pianística. Com base no livro autobiográfico Universidade do Estado do Rio denominado Quase tudo, busca-se analisar a relevância da sua de Janeiro – UERJ – Brasil formação e os desdobramentos de seu trânsito entre o Brasil e a [email protected] França, como também, as contribuições desta professora na consolidação da performance musical impressionista ao piano, estilo que influenciou muitos jovens brasileiros estudantes de música. Nesta perspectiva, percebe-se que, ao atravessar o Oceano Atlântico, a pianista estabelecia intercâmbios de conhecimentos didáticos, pedagógicos, musicais e técnicos interpretativos, promovendo a circularidade do saber entre os dois países. Palavras-chave: Educação-História; Tagliaferro, Magdalena; Autobiografia; Viagens pedagógicas. Para citar este artigo: MONTI, Ednardo Monteiro Gonzaga. Horizontes pedagógicos e pianísticos nas escritas autobiográficas de Magda Tagliaferro. Revista Linhas. Florianópolis, v. 16, n. 32, p. 150 – 171, set./dez. 2015. DOI: 10.5965/1984723816322015150 http://dx.doi.org/10.5965/1984723816322015150 Revista Linhas. Florianópolis, v. 16, n. 32, p. 150 – 171, set./dez. 2015. p.150 Linhas Educational and pianistic horizons in the autobiographical writings of Magda Tagliaferro This article deals with the pedagogical and musical trajectory of Magdalena Tagliaferro, an artist who idealised and implemented, along with Gustavo Capanema, the Public Course of pianistic interpretation in Brazil.
    [Show full text]
  • Jean Berger (1909–2002): a Biographical Chronology
    AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 18 2010 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado at Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009 –2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro - posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado at Boulder, 301 UCB, Boulder, CO 80309-0301.
    [Show full text]
  • CHAPTER THREE Schubert's Impromptus
    City Research Online City, University of London Institutional Repository Citation: Rakitzis, Vasileios (2015). Alfred Cortot's response to the music for solo piano of Franz Schubert: a study in performance practice. (Unpublished Doctoral thesis, City, University of London) This is the accepted 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/16965/ 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] ALFRED CORTOT’S RESPONSE TO THE MUSIC FOR SOLO PIANO OF FRANZ SCHUBERT: A STUDY IN PERFORMANCE PRACTICE BY VASILEIOS RAKITZIS A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Musical Arts City University London, School of Arts and Social Sciences, Department of Music; and the Guildhall School of Music and Drama London, November, 2015 i ii TABLE OF CONTENTS LIST OF FIGURES…………………………………………………………..p. ix LIST OF TABLES…………………………………………………………..p.
    [Show full text]
  • The Alfred Cortot Study Edition of Chopin's Etudes & How The
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 The Alfred Cortot study edition of Chopin's Etudes & how the Alexander Technique can facilitate progress towards performance through his suggested exercises Li-Fang Wu Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Wu, Li-Fang, "The Alfred Cortot study edition of Chopin's Etudes & how the Alexander Technique can facilitate progress towards performance through his suggested exercises" (2010). LSU Doctoral Dissertations. 2976. https://digitalcommons.lsu.edu/gradschool_dissertations/2976 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE ALFRED CORTOT STUDY EDITION OF CHOPIN’S ETUDES & HOW THE ALEXANDER TECHNIQUE CAN FACILITATE PROGRESS TOWARDS PERFORMANCE THROUGH HIS SUGGESTED EXERCISES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts In The School of Music by Li-Fang Wu B.M., Taipei Municipal Teachers College, Taiwan, 2001 M.M., Texas A&M University-Commerce, 2005 December, 2010 ACKNOWLEDGMENTS There were many people to whom I deeply thank for their assistance and support in completing this dissertation. I would like to gratefully acknowledge my supervisor, Professor Gregory Sioles, and my committee members, Dr.
    [Show full text]
  • Repertoire, Musical and Interpretive Aesthetic, Technique Although
    Chapter V The Mature Artist: Repertoire, Musical and Interpretive Aesthetic, Technique Although Cortot pursued a wide range of musical activities alongside his performance career, it was as a concert pianist and interpreter of the Romantic literature that he won fame and exerted the greatest influence. From 1907, when he began to establish himself as a soloist with orchestras and a chamber musician, to July 10, 1958 when he gave his last public performance (with Casals, at Prades), Cortot led the life of a touring virtuoso for a good part of each year, wartimes excepted. At eighty, with his performance career drawing to a close, he noted in his engagement calendar under the date January 1, 1958: IIAppeared on stage 6,000 times as of this date. 111 I. Repertoire Cortotls repertoire, though not as encyclopedic as some writers have impliedf2was fairly extensive by the standards of his day, ranging from an occasional piece by Purcell, Bach or Handel at one end of the chronological spectrum, down to the music of his contemporaries (Dukas, Ravel, Enesco, Rachmaninoff and Stravinsky). Nineteenth-century works from middle The fact of the matter is that Cortotlsdeepest artistic sympathies belonged to the musical era that was waning by 1910 and was given the cou~de urace by the "great warO1' After 1918, music began to take paths (neo-Classicism, atonality and twelve-tone technique, the individual adventures of Bartok, Prokofieff, Messiaen, Hindemith and Stravinsky, musicwe concrete and electronic music) that carried it further and further from his personal tastes and pianistic ideals. At the keyboard Cortot strictly avoided the more modern and avant- garde literature, though he followed all the notable developments of the first half of this century with interest.
    [Show full text]
  • Alfred Cortot: His Interpretive Art and Teachings
    ALFRED CORTOT: HIS INTERPRETIVE ART AND TEACHINGS BY KAREN M. TAYLOR Submitted to the graduate faculty of the School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Piano Pedagogy and Literature Indiana University May, 1988 In memory of George C. Taylor iii TABLE OF CONTENTS List of Musical Examples viii List of Figures X Preface and Acknowledgments xi Introduction. Notes to the Introduction 11 Chapter One. Childhood and Background (187701887) 14 Musical Debuts Geneva An Unremarkable Entry Notes Chapter Two. The Paris ~onservatoireand the French 26 School of Piano Playing The Ecole franqaise de piano 29 The Conservatoire Towards the End of the 19th 33 Century: Policies and Teaching Conditions Piano Teaching at the Conservatoire: Attitudes and 42 Practices Notes 53 Chapter Three. Cortotts Studies at the Conservatoire 61 (1877-1896) Decombest Class 61 Di@merls Class 73 Cortotts Struggle for Academic Recognition: Some 87 Possible Explanations Notes 101 Chapter Four. Forging a Style: Influences and Initiatives (1896-1910) Pugno Risler Franck's Circle Wagner Cortot's Beethovenism Conductor, Animateur and Chamber Musician Notes Chapter Five. The Mature Artist: Repertoire, Musical and Interpretive Aesthetic, Technique I. ~epertoire Constants and Shifts in Repertoire 11. Cortot's Musical and Interpretive Aesthetic Cortot and the French Tradition Cortot and the Romantic Tradition Cortot's View of the Art of Interpretation and the Interpreter's Role 111. Cortot's Technique Instrument, Posture, Stage Demeanor Technical Resources: Variety of Power Sources, Coordinations, Touches Notes Chapter Six. Cortot's Performance Style: A Discussion 265 of the Major Features, with an Examination of Specific Interpretations Imagination (Chopin's Fantaisie, Op.
    [Show full text]
  • JORGE LUIS PRATS Piano
    JORGE LUIS PRATS Piano Since May 2007, when Jorge Luis Prats gave his first recital at the Miami International Piano Festival, his career has undergone a dramatic ascent. His debut recitals at the prestigious “Meister Pianisten” series at the Concertgebouw in Amsterdam were received with standing ovations. In 2010 he returned to the same series for the third time, an honor uniquely reserved for Alfred Brendel and Grigory Sokolov previously. In May 2010, he stood in for Nelson Freire at his Salle Pleyel recital, to a tremendously enthusiastic response from the public, and in September of the same year he again had an enormous success at the festival “Piano aux Jacobins” in Toulouse. Since then, he has been regularly invited by the most prestigious piano series in France, like “Grand Interpretes” in Lyon, Grand Theatre de Aix en Provence, “Piano 4 Etoiles” series at Salle Pleyel, La Roque d’Anthéron, etc. Also, he plays regularly with Orchestre de Paris under the baton of Paavo Järvi. Jorge Luis has toured Europe, Latin America, China, Japan and Korea, playing with some of the World’s leading orchestra, including Royal Philharmonic Orchestra and BBC Symphony Orchestra in London, Mariinsky Theatre Orchestra, Frankfurt Radio Symphony, Wiener Symphoniker, Berlin State Opera Orchestra, Orchestre de Paris, Lamoureux Orchestre, Philharmonique de Liege, Philharmonique de Montecarlo, Orchestre National des Pays de la Loire, Orquestre Nationale de Lyon, Prague Philharmonia, Dallas Symphony, Pensacola Symphony, Mexico City Philharmonic, OFUNAM, Bogotá Philharmonic, Simón Bolívar Symphony, and most of the major orchestras in Spain: Spanish National Orchestra, Barcelona Symphony, Galicia Symphony, Orchestra of Valencia, Tenerife Symphony, Oviedo Filarmonia, etc.
    [Show full text]
  • WOMEN at the PIANO an Anthology of Historic Performances Volume 4 Marie-Thérèse Fourneau (1927-2000) Women at the Piano Vol
    8.111218 Great Pianists ADD WOMEN AT THE PIANO An Anthology of Historic Performances Volume 4 Marie-Thérèse FOurNEAu (1927-2000) Women at the Piano Vol. 4 9 Gabriel Fauré: Barcarolle No. 3 in G flat Major, Op. 42 6:34 An Anthology of Historic Performances 1921-1955 French Columbia LF231 (CL7930-1 and CL7931-1) Recorded in Paris, 21st April 1944 Constance K EENE (1921-2005) 1 Ludwig van Beethoven: 32 Variations on an original theme in C minor, WoO 80 10:26 Lottie MOrEL (1909-1973) Mercury MG 10138 A (MF8) 0 André Marescotti: Fantasque 4:19 Recorded in New York, 27th-29th September 1952 (Piano: Steinway) London LD 9149 (TRL.286-1B) Recorded in Switzerland in 1953 reine GIANOLI (1915-1979) 2 Johannes Brahms: Rhapsody in G minor, Op. 79, No. 2 3:58 Yvonne LEFÉburE (1898-1986) BAM 43 (PARTX 4251-1) Albert Roussel: Trois Petites Pièces, Op. 49 6:18 Recorded in Paris, 30th May 1947 ! I. Allegro con brio 1:20 @ II. Allegro grazioso (Tempo di Valz) 1:22 Gina bACHAuEr (1910-1976) # III. Allegro con spirito – Andante 3:36 3 Franz Liszt (rev. Saint-Saëns): Hungarian Rhapsody No. 12 in C sharp minor (S244/12) 8:34 Le Chant du Monde 5.007 (0.155-4GCP and 0.156-3GCP) HMV C4020 (2EA13953-2 and 2EA13956-2A) Recorded in Paris, 20th June 1949 (Piano: Steinway) Recorded in EMI Studio No. 3, Abbey Road London, 8th June 1949 Winifred CHrIsTIE (1882-1965) rosa TAMArKINA (1920-1950) $ Moritz Rosenthal: Papillons 2:35 4 Fryderyk Chopin: Scherzo No.
    [Show full text]