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Program PDF Saturday, March 28, 2020 Updated: 02-14-20
Program PDF Saturday, March 28, 2020 Updated: 02-14-20 Special ‐ Events and Meetings Congenital Heart Disease ‐ Scientific Session #5002 Session #602 Fellowship Administrators in Cardiovascular Education and ACHD Cases That Stumped Me Training Meeting, Day 2 Saturday, March 28, 2020, 8:00 a.m. ‐ 9:30 a.m. Saturday, March 28, 2020, 7:30 a.m. ‐ 5:30 p.m. Room S105b Marriott Marquis Chicago, Great Lakes Ballroom A CME Hours: 1.5 / CNE Hours: CME Hours: / CNE Hours: Co‐Chair: C. Huie Lin 7:30 a.m. Co‐Chair: Karen K. Stout Fellowship Administrators in Cardiovascular Education and Training Meeting, Day 2 8:00 a.m. LTGA, Severe AV Valve Regurgitation, Moderately Reduced EF, And Atrial Acute and Stable Ischemic Heart Disease ‐ Scientific Arrhythmia Session #601 Elizabeth Grier Treating Patients With STEMI: What They Didn't Teach You in Dallas, TX Fellowship! Saturday, March 28, 2020, 8:00 a.m. ‐ 9:30 a.m. 8:05 a.m. Room S505a ARS Questions (Pre‐Panel Discussion) CME Hours: 1.5 / CNE Hours: Elizabeth Grier Dallas, TX Co‐Chair: Frederick G. Kushner Co‐Chair: Alexandra J. Lansky 8:07 a.m. Panelist: Alvaro Avezum Panel Discussion: LTGA With AVVR And Reduced EF Panelist: William W. O'Neill Panelist: Jennifer Tremmel Panelist: Jonathan Nathan Menachem Panelist: Joseph A. Dearani 8:00 a.m. Panelist: Michelle Gurvitz Case of a Young Women With STEMI Panelist: David Bradley Jasjit Bhinder Valhalla, NY 8:27 a.m. ARS Questions (Post‐Panel Discussion) 8:05 a.m. Elizabeth Grier Young Women With STEMI: Something Doesn't Make Sense... -
A History of the United States National Outdoor Smallbore Rifle Championships 1919-2013
A History of the United States National Outdoor Smallbore Rifle Championships 1919-2013 By Hap Rocketto August 25, 2013 i Acknowledgement This history is an attempt to capture the events and personalities that make the National Rifle Association’s National Outdoor Smallbore Rifle Championship such a powerful and interesting story. Covering the years 1919 through 2002 was done under the auspices of the NRA’s publications division, as source material for The National Matches: 1903-2003 The First 100 Years. The reports of the years 2003-2010 were written for, and published by, Precision Shooting Magazine until that publication’s demise and thereafter they were specifically written for this history. This is not a formal history in the sense that bibliography is not appended nor are sources cited. However, much of this story was collected from the rich store of information archived in the written reports found in the shooting journals Arms and the Man, The American Rifleman, Tournament News, Shooting Sports USA, and Precision Shooting Magazine as well as the programs and bulletins of The National Matches and NRA Shooting Trophies. To these writers, the many anonymous NRA staff writers who reported on the events at Camp Perry without a byline, Kendrick Scofield, Edward C. Crossman, Walter Stokes, C.S. Landis, Stephen Trask, David North, Jack Rohan, L.J. Hathaway, F.C. Ness, C.B. Lister, Robert D. Hatcher, John Schofield, Ron Stann, Paul Cardinal, Frank J. “Al Blanco” Kahrs, Paul Pierpoint, Alan C. Webber, Ronald W. Musselwhite, William F. Parkerson, III, Robert W. Hunnicutt, J. Scott Rupp, Michael R. -
Chicago Symphony Orchestra Tuesday Evening Radio Programs on Wfmt Extended Through June 2021
FROM THE CSO’S ARCHIVES: THE FIRST 130 YEARS — CHICAGO SYMPHONY ORCHESTRA TUESDAY EVENING RADIO PROGRAMS ON WFMT EXTENDED THROUGH JUNE 2021 CHICAGO – March 25, 2021 – The Chicago Symphony Orchestra Association (CSOA) and WFMT (Chicago’s Classical Music Station) announce the extension of Chicago Symphony Orchestra (CSO) Tuesday evening radio broadcasts From the CSO’s Archives: The First 130 Years through June 2021. Prepared with support from the Rosenthal Archives of the Chicago Symphony Orchestra Association, the broadcast series is part of the Orchestra’s 130th season and focuses on its extensive discography, featuring Grammy Award-winning releases, as well as recordings highlighting virtually every era in CSO history. Programs in the series are broadcast weekly on Tuesday evenings from 8:00 p.m. to 10:00 p.m. (Central Time) and will be available to listeners on WFMT (98.7 FM) and streaming on wfmt.com and the WFMT app (wfmt.com/app). More information about CSOradio broadcasts, including the nationally syndicated series that airs weekly on Sundays on WFMT, is also available at cso.org/radio. Program highlights for the first six broadcasts in April and May 2021 are below. Details for the remainder of the broadcasts in this series will be posted on cso.org/radio. April 6, 2021: Benny Goodman in Nielsen and Weber In the 1960s, legendary clarinetist Benny Goodman performed with the Chicago Symphony Orchestra and recorded concertos by Nielsen and Weber. This program also includes overtures by Weber and Nielsen’s Second Symphony, and a jazzy encore from Goodman, known as the “King of Swing,” performing Fred Fisher’s, “Chicago (That Toddlin’ Town).” April 13, 2021: Celebrating Victor Aitay A member of the Chicago Symphony Orchestra for 50 seasons, Victor Aitay (1921-2012) attended the Franz Liszt Royal Academy in his native Hungary, where Béla Bartók, Zoltán Kodály and Leo Weiner were on faculty. -
Fencing World Championship Medallists by Country
Fencing World Championship Medallists by Country by George Masin This report shows every country’s medallists in every FIE World Championship (cadet, junior, senior, or veteran). Country Codes Code English French Spanish AFG Afghanistan Afghanistan Afganistán AHO Netherlands Antilles Antilles Neerlandaises Antillas Holandesas ALG Algeria Algerie Argelia ANT Antigua & Barbuda Antigua-et-Barbuda Antigua y Barbuda ARG Argentina Argentine Argentina ARM Armenia Armenie Armenia ARU Aruba Aruba Aruba AUS Australia Australie Australia AUT Austria Autriche Austria AZE Azerbaidjan Azerbaidjan Azerbaiyan BAH Bahamas Bahamas Bahamas BAN Bangladesh Bangladesh Bangladés BAR Barbados Barbade Barbados BEL Belgium Belgique Belgica BEN Benin Bénin Benín BER Bermuda Bermudes Bermudas BIZ Belize Belize Belice BLR Belarus Belarus Bielorrusia BOH Bohemia Bohemie Bohemia BOL Bolivia Bolivie Bolivia BOT Botswana Botswana Botsuana BRA Brazil Bresil Brasil BRN Bahrain Bahrein Barein BRU Brunei Darussalam Brunei Darussalam Brunei Darusalam BUL Bulgaria Bulgarie Bulgaria BUR Burkina Faso Burkina Faso Burkina Faso CAM Cambodia Cambodge Camboya CAN Canada Canada Canada CGO Congo Congo Congo CHI Chile Chili Chile CHN China Chine China CIV Ivory Coast Côte d'Ivoire Costa de Marfil CMR Cameroon Cameroun Camerún COD Democratic Republic of Congo Republique Democratique du Congo Republica Democratica del Congo COL Colombia Colombie Colombia CRC Costa Rica Costa Rica Costa Rica CRO Croatia Croatie Croacia C-U Cuba/USA Cuba/USA Cuba/USA CUB Cuba Cuba Cuba CYP Cyprus Chypre Chipre CZE Czech Republic Republique Tchèque Republica Checa DEN Denmark Danemark Dinamarca DMA Dominica Dominique Dominica DOM Dominican Republic Republique Dominicaine Republica Dominicana ECU Ecuador Equateur Ecuador EGY Egypt Egypte Egipto ESA El Salvador El Salvador El Salvador ESP Spain Espagne España Country Codes Code English French Spanish EST Estonia Estonie Estonia EUN Unified Team Équipe Unifiée Equipo Unificado FIN Finland Finlande Finlandia FRA France France Francia FRG Germany, West Allemagne, Ouest R.F.A. -
Stephen Erdely
Music at MIT Oral History Project Stephen Erdely Interviewed by Forrest Larson March 24, 1999 Interview no. 1 Massachusetts Institute of Technology Lewis Music Library Transcribed by MIT Academic Media Services and 3Play Media. Cambridge, MA Transcript Proof Reader: Lois Beattie, Jennifer Peterson Transcript Editor: Forrest Larson ©2013 Massachusetts Institute of Technology Lewis Music Library, Cambridge, MA ii Table of Contents 1. Education and professional background (00:14) ......................................... 1 George Szell—playing in the Cleveland Orchestra—doctorate degree from Case Western Reserve University—teaching at Toledo University—education in Hungary—World War II—beginnings of ethnomusicology as a field of study—American Anthropological Society—Alan Merriam—Japp Kunst—Music Folklore Studies—Erick M. von Hornbostel and Comparative Musicology—dissertation: Methods and Principles of Hungarian Ethnomusicology —Walter Hendl—Eastman School of Music 2. Coming to MIT (19:51) .................................................................................4 Music faculty: Rufus Hallmark, John Buttrick, David Epstein, John Harbison, Barry Vercoe—Klaus Liepmann—music and the arts as academic disciplines—musical climate at MIT—MIT President Jerome Wiesner—Jacob den Hartog—performing with MIT faculty—performing duo with pianist Beatrice Erdely—Marcus Thompson 3. Music programs at MIT (31:19) ....................................................................7 Philosophy on music at MIT—introduction of ear training course—musical -
Georg Solti (1)
___________________________________________________________________________ SWR2 Musikstunde 10.9.2012 Der legendäre Dirigentenjahrgang 1912 (1) Mit Rainer Damm Georg Solti (1) Kaum ein Dirigent von Weltrang kann auf ein vergleichbar bewegtes Leben zurückblicken wie der 1912 in Budapest als György Stern geborene Georg oder George Solti, den Königin Elisabeth 1971 seiner beispiellosen Verdienste um das britische Musikleben wegen mit dem Adelstitel Sir auszeichnete. Schon als dreizehnjähriger trat der mit dem absoluten Gehör gesegnete Sohn aus bescheidenen Verhältnissen in das Budapester Konservatorium ein. Dort prägten ihn Begegnungen mit Bela Bartok, Ernst von Dohnanyi, Leo Weiner und Zoltan Kodaly. Aber schon 1939 musste er wegen der einsetzenden Juden - Pogrome in die Schweiz fliehen. Den verwegensten Spät - Senkrechtstarter der neueren Interpretationsgeschichte beriefen die Amerikaner 1946 als Generalmusikdirektor der Bayerischen Staatsoper nach München, derweil die renommierten Pultheroen auf den Ausgang ihrer Entnazifizierungsprozesse warteten. Gleich, ob in München oder später in Frankfurt oder London: Immer wieder bescherte Solti seinem Publikum Sternstunden der Oper. Erst in reiferen Jahren entdeckte Solti seine Neigung für die Symphonik. Rund zwanzig Jahre lang blieb er künstlerischer Leiter des Chicago Symphony Orchestra. Aufbauend auf der Vorarbeit seines ungarischen Landsmannes Fritz Reiner machte er es zu einem der besten Orchester der Welt. _____________________________________________________________ CD Decca 410 116 - 2 track 1 ab 7‘32 (Horn) = 4‘10 _____________________________________________________________ Das Finale des 1. Satzes von Antonin Dvoraks Sinfonie Nr. 9 op. 95 Aus der Neuen Welt mit dem Chicago Symphony Orchestra unter der Leitung des damals 70jährigen Georg Solti, aufgenommen 1983. Das Orchester aus Chicago, im Branchenjargon The Machine genannt, entsprach in idealer Weise Soltis Wunsch nach unbedingter Präzision und schneidender Wucht des Klanges, insbesondere der Blechbläser. -
The Thiringer De Nagyszombat : Family Chronicles
The Thiringer de Nagyszombat Family Chronicles (Updated) As remembered by Lászlo (Leslie) Thiringer and Tamás (Thomas) Thiringer Crest of the Thiringer de Nagyszombat Family - i - - ii - - iii - CONTENTS PREFACE .............................................................................................................................. viii PART I – THE THIRINGER FAMILY IN EUROPE.............................................................. 1 Chapter 1. Family History through the End of WW I (16th Century to 1918) ...................... 2 The Family’s Early History .............................................................................................. 2 Leslie’s Childhood and Youth .......................................................................................... 4 Fighting in World War I ................................................................................................... 7 Chapter 2. Life During the Turbulent Post-WW I Years (1918-1923) ............................... 11 Resistance, Prison and Escape During Communism ...................................................... 11 Activities in the Hungarian National Army .................................................................... 16 The West-Hungarian Uprising ........................................................................................ 20 Academy Life in Keszthely ............................................................................................ 23 Chapter 3. Peace, War and Farewell to Hungary (1923-1944) .......................................... -
LEONORE OVERTURE No. 3, OP. 72
— PROGRAM — PROGRAM NOTES BEETHOVEN (1770–1827) struggled to produce an appropriate overture for Fidelio, and ultimately went through four versions. His first attempt, for the 1805 premiere, is believed to have been the overture now known LEONORE OVERTURE No. 3, OP. 72 ............. LUDWIG VAN BEETHOVEN as Leonore No. 2. Beethoven then focused this version for the per– (1770–1827) formances of 1806, creating Leonore No. 3. The latter is considered by many listeners as the greatest of the four overtures, but as an intensely dramatic, full-scale symphonic movement it had the defect of over– whelming the (rather light) initial scenes of the opera. Beethoven CONCERTO FOR CLARINET, VIOLA, AND ORCHESTRA accordingly experimented with cutting it back somewhat, for a planned IN E MINOR, OP. 88 .......................................................... MAX BRUCH 1807 performance in Prague; this is believed to be the version now called (1838–1920) Leonore No. 1. Finally, for the 1814 revival Beethoven began anew, and I. Andante con moto with fresh musical material wrote what we now know as the Fidelio II. Allegro moderato overture. III. Allegro molto MAX BRUCH (1838–1920) composed his Double Concerto for clarinet, Kent van Alstyne, clarinet viola, and orchestra in 1911, with his son, Max Felix, a fine player of the Sarah Bass, viola clarinet, particularly in mind. The concerto is unusual in beginning with a relatively slow movement, proceeding to a somewhat faster one, and ending with a vigorous Allegro molto. The most striking passages come at the very beginning, where first the viola and then the clarinet introduce — INTERMISSION — themselves, much as the cello and violin do in the Brahms Double Concerto. -
2018/2019 Concerts Fauré Piano Trio and More!
Celebrating our 21th Season!! 2018/2019 Concerts Sun. October 7, 2018, 7 p.m. Fauré Piano Trio and More! Grosse Pointe Mary Siciliano - piano, Dennis Carter - flute, Velda Kelly - violin Unitarian Church John McLaughlin Williams - piano/violin, Romona Merritt - viola Nadine Deleury - cello Attend the opening concert of CMSC’s 21st season! This program has something for every music lover! Gabriel FAURÉ Piano Trio in D Minor Florent SCHMITT Quartet Pour presque tous les temps for piano, flute, violin and cello Egon KORNAUTH Kleine Abendmusik for string quartet Michael GANDOLFI Jigsaw Patterns for flute, violin and cello Sun. November 4, 2018, 7 p.m. A Toast to Hungary The Scarab Club Eliot Heaton - violin, Velda Kelly - violin Scott Stefanko - viola, Nadine Deleury – cello This early November concert showcases exceptional music with connections to Hungary! Leo WEINER String Trio Op. 6 in G Minor Béla BARTÓK Violin Duos Joseph HAYDN String Quartet Op. 76, No. 5 (dedicated to Count Joseph Erdödy) Sun. January 27, 2019, 4 p.m.* Beach and Prokofiev Grosse Pointe Jacqueline Csurgai-Schmitt - piano, Fr. Eduard Perrone - piano Unitarian Church Nermis Mieses - oboe, Brian Bowman - clarinet Eliot Heaton - violin/viola, Ran Cheng - violin/viola, Velda Kelly - violin Nadine Deleury - cello, Robert Rohwer - double bass Don’t miss the two quintets plus a trio that make up this delightful winter program! Amy BEACH Piano Quintet in F# Minor, Op. 67 Sergei PROKOFIEV Quintet in G Minor, Op. 39 for oboe, clarinet, violin, viola and double bass M. E. BOSSI Trio in D Minor, Op. 107 for piano, violin and cello Sun. -
1 the Opera Production Schedule 2011 -2012
www.operaverona.eu The Opera production schedule 2011 -2012 BAROQUE OPERA 1 www.operaverona.eu The Opera Production Schedule from August 2011 BAROQUE OPERA In collaboration with the Filarmonia Veneta Regional Orchestra Baroque opera is a triumph of music and spectacle, whose arias arouse a passionate and exciting range of emotions. The audience is drawn into this elegant and marvelous world through a witty comedy of errors. The many magical elements in a baroque opera allow the audience to enter into the psychological and romantic ambience of lavish “Fêtes de Court “. Wolfgang Amadeus Mozart COSÌ FAN TUTTE Dramma giocoso di Lorenzo Da Ponte Gioachino Rossini L'OCCASIONE FA IL LADRO Burletta in un atto di Luigi Prividali Domenico Cimarosa LE ASTUZIE FEMMINILI Melodramma giocoso di Giuseppe Palomba Franz Joseph Haydin L'ISOLA DISABITATA Azione teatrale di Pietro Metastasio ~ Casting by OperAverona An international competition will be announced on July 2011 Artistic Director Giovanni Pacor Artistic Coordination: Julius Kalmar, Romolo Gessi, Domenico Balzani ~ Director: Monica Waitzfelder Special guest: Hui He 2 www.operaverona.eu The OperAverona Association produces concerts and performances with the aim of debuting young talent. Every year OperAverona contacts young conductors and opera singers as well as renowned guest artists who work together to set up the opera Retaining the style of the baroque opera, OperAverona offers complete or abbreviated versions (without choir), recreating the lavish artistic dimension of the opera through lively performances, which maintain the poetry and communicative powers of baroque opera. OPERAVERONA Cultural Association Board of Directors Giovanni Pacor Dorella Giardini Anna Sbampato Music Board Julius Kalmar Romolo Gessi Domenico Balzani Artistic director Giovanni Pacor Participants and special guests Giorgio Caoduro, baritono (2009-2010) Angelo Capobianco, maestro (2010-) Hui Hue, soprano (2011-) Monica Waitzfelder, director (2011-) Administrative Headquarters Associazione Culturale OperAverona Str. -
Zoltán Béla Jenö Kurtág Ligeti Franz
NEWS AND INFORMATION FROM UNIVERSAL EDITION 6 ZOLTÁN A patriot, not a nationalist KODÁLY BÉLA “This is truly wonderful” BARTÓK JENÖ Memories of Bartók TAKÁCS György Ligeti on GYÖRGY KURTÁG György Kurtág on GYÖRGY LIGETI FRANZ Two new compositions LISZT 210x280_dialoge13_Layout 1 24.10.13 17:12 Seite 1 DIALOGE LICHT 27.11.–01.12.2013 MOZART CHARLES IVES GEORG FRIEDRICH HAAS t a SA 30.11 19.30 UHR . INS LICHT m FR 29.11 19.30 UHR SALOME KAMMER, MICHAEL u e SCHATTENSPIEL BARENBOIM, ALEXANDER t r DO 28.11 19.30 UHR SARAH WEGENER MELNIKOV, STADLER a z DE TERRAE FINE MARINO FORMENTI QUARTETT, DAAN o MI 27.11 18.00 UHR CAROLIN WIDMANN ARDITTI QUARTET VANDEWALLE, IVETA m ATELIERGESPRÄCH MIT CÉDRIC TIBERGHIEN EXPERIMENTALSTUDIO APKALNA, LETIZIA RENZINI @ GEORG FRIEDRICH HAAS QUATUOR DIOTIMA FOLKERT UHDE s DES SWR t BRIGITTE KOWANZ U. A. GEORG FRIEDRICH HAAS GEORG FRIEDRICH HAAS CHRISTIAN WEISSKIRCHER SO 01.12 15.00 UHR e k „DE TERRAE FINE“ FÜR „EIN SCHATTENSPIEL“ FÜR GEORG FRIEDRICH HAAS REFLEXIONEN – 2X HÖREN c i 19.30 UHR CENTRAL PARK VIOLINE SOLO, QUARTETT KLAVIER UND LIVE- „INS LICHT“ TRIO FÜR VIOLINE, BOULANGER TRIO t , IN THE DARK NR. 6 FÜR ZWEI VIOLINEN, ELEKTRONIK, „DIDO“ FÜR VIOLONCELLO UND KLAVIER, MARKUS FEIN 4 KLANGFORUM WIEN VIOLA UND VIOLONCELLO STREICHQUARTETT UND 3. STREICHQUARTETT „IN IIJ. 5 SALZBURGER BACHCHOR SOPRAN, „HOMMAGE À NOCT.“, „TOMBEAU“ 18.00 UHR 1 3 CLEMENT POWER FR 29.11 16.00 UHR LIGETI“ FÜR 2 KLAVIERE FRAGMENTE AUS DEM MOZART REQUIEM KV 626 7 JOANNA MACGREGOR DAS ZERSTÖREN VON (IM VIERTELTONABSTAND FRAGMENT KV 616 FÜR MOZARTEUMORCHESTER t f 8 - CHRISTA SCHÖNFELDINGER HÖRERWARTUNGEN GESTIMMT) ZU 2 HÄNDEN, VIOLINE, VIOLONCELLO UND SALZBURG a 2 GEORG FRIEDRICH HAAS SARAH WEGENER 7. -
Leó Weiner's Peregi Verbunk with a Dash Of
Understanding the Clarinet’s Role in the Hungarian Verbunkos: Leó Weiner’s Peregi Verbunk with a dash of Paprika Jessica Vansteenburg Hungarian music is often a crowd favorite with its lively rhythms and exotic harmonies. Many classical composers, especially in nearby German speaking countries, were influenced by Hungarian folk music and Gypsy music. The most familiar Hungarian music comes from the tradition of the verbunkos, which will be the focus of this presentation. Leó Weiner’s Peregi Verbunk is one of the most popular Hungarian works for clarinet. Knowledge of Hungarian folk music and Gypsy performance will aid in the performing and teaching of works like Peregi Verbunk. Much of the performance considerations will be drawn from the author’s experience under the instruction of József Balogh, prominent Hungarian clarinetist in classical and folk styles. Audience members will learn the cultural history of the verbunkos, its distinguishing musical characteristics, and it relationship to folk music and Gypsy performance style. A brief biography of Leó Weiner will be followed by an overview of Peregi Verbunk. The remainder of the presentation will demonstrate the connection of the verbunkos tradition to Weiner’s work. Musical examples will be shown using PowerPoint, written handouts, and live performance on clarinet and piano. Dancing has bound together Magyar customs and culture since ancient times. It probably began as inspired jumping and grew more sophisticated and organized as the culture did the same. Dancing is a way for men to show off their athletic skill and creativity in improvisation, while performing complex footwork and impressive leaps. Traditional men’s dances may be done with implements of trade or weapons such as shepherds staves or barrel rings, swords or axes.