PROGRAM NOTES Maurice Ravel
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Rethinking Fideism Through the Lens of Wittgenstein's Engineering Outlook
University of Dayton eCommons Religious Studies Faculty Publications Department of Religious Studies 2012 Rethinking Fideism through the Lens of Wittgenstein’s Engineering Outlook Brad Kallenberg University of Dayton, [email protected] Follow this and additional works at: https://ecommons.udayton.edu/rel_fac_pub Part of the Catholic Studies Commons, Christianity Commons, Ethics and Political Philosophy Commons, Other Religion Commons, and the Religious Thought, Theology and Philosophy of Religion Commons eCommons Citation Kallenberg, Brad, "Rethinking Fideism through the Lens of Wittgenstein’s Engineering Outlook" (2012). Religious Studies Faculty Publications. 82. https://ecommons.udayton.edu/rel_fac_pub/82 This Article is brought to you for free and open access by the Department of Religious Studies at eCommons. It has been accepted for inclusion in Religious Studies Faculty Publications by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Note: This is the accepted manuscript for the following article: Kallenberg, Brad J. “Rethinking Fideism through the Lens of Wittgenstein’s Engineering Outlook.” International Journal for Philosophy of Religion 71, no. 1 (2012): 55-73. http://dx.doi.org/10.1007/s11153-011-9327-0 Rethinking Fideism through the Lens of Wittgenstein’s Engineering Outlook Brad J. Kallenberg University of Dayton, 2011 In an otherwise superbly edited compilation of student notes from Wittgenstein’s 1939 Lectures on the Foundations of Mathematics, Cora Diamond makes an false step that reveals to us our own tendencies to misread Wittgenstein. The student notes she collated attributed the following remark to a student named Watson: “The point is that these [data] tables do not by themselves determine that one builds the bridge in this way: only the tables together with certain scientific theory determine that.”1 But Diamond thinks this a mistake, presuming instead to change the manuscript and put these words into the mouth of Wittgenstein. -
CASADESUS the Complete French Columbia Recordings
THE FRENCH PIANO SCHOOL ROBERT CASADESUS The complete French Columbia recordings ROBERT CASADESUS The complete French Columbia recordings 1928–1939 including the first release of the 1931 Mozart ‘Coronation’ Concerto COMPACT DISC 1 (78.15) SCARLATTI 11 Sonatas 1. Sonata in D major, Kk430 (L463) .................................................................. (1.51) 2. Sonata in A major, Kk533 (L395) .................................................................. (2.23) 3. Sonata in D major, Kk23 (L411) ................................................................... (2.29) 4. Sonata in B minor, Kk377 (L263) .................................................................. (1.17) 5. Sonata in D major, Kk96 (L465) ................................................................... (4.10) 6. Sonata in D minor, Kk9 (L413) ..................................................................... (1.36) 7. Sonata in G major, Kk125 (L487) .................................................................. (2.00) 8. Sonata in B minor, Kk27 (L449) ................................................................... (1.54) 9. Sonata in G major, Kk14 (L387) ................................................................... (1.53) 10. Sonata in E minor, Kk198 (L22) ................................................................... (2.10) 11. Sonata in G major, Kk13 (L486) ................................................................... (1.58) Recorded on 15 June 1937; matrices CLX 1952-1Tracks 1,2, 1953-33,4, 1954-15, 1955-36,7, 1956-38,9, -
Philharmonic Au Dito R 1 U M
LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living. -
Boston Symphony Orchestra Concert Programs, Summer, 1951-1953
TANGLEWOOD ">••••: : : :S* :Si : In Massachusetts and New Hampshire new Steinway Pianos are sold ONLY by M. STEINERT & SONS STEINWAY... A century of leadership is significant of the unfailing QUALITY of the Steinway Piano. Since 1 853 this superb instrument has been chosen by an overwhelming majority of musicians and concert artists— and by thousands of homes, large and small— as all that is finest in music. Many Steinway models, vertical or grand, invite your comparison, for beauty of tone, exacting craftsmanship and sustained stamina. No other piano is so worthy of your consideration. /JJyjN M'Stoinert & Sons 162 BOYLSTON STREET • BOSTON Jerome F. Murphy, President BRANCHES IN WORCESTER • SPRINGFIELD • WELLESLEY HILLS BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director Berkshire Festival Season igj2 TANGLEWOOD, LENOX, MASSACHUSETTS THEATRE-CONCERT HALL Concerts by Members of the Orchestra Charles Munch, Conducting Concert Bulletin, with historical and descriptive notes by John N. Burk COPYRIGHT, 1952, BY BOSTON SYMPHONY ORCHESTRA, INC. Trustees of the Boston Symphony Orchestra, Inc. Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richard C. Paine, Treasurer Philip R. Allen Theodore P. Ferris N. Penrose Hallowell M. A. De Wolfe Howe Michael T. Kellehkr Lewis Perry John Nicholas Brown Alvan T. Fuller Francis W. Hatch Charles D. Jackson Edward A. Taft Raymond S. Wilkins Oliver Wolcott Tanglewood Advisory Committee \V. F. Anthony Hanlon George E. Mole Whitney S. Stoddard Alan J. Blau Henry Dwight Lenges Bull Georcf. W. Edman Lawrence K. Miller James T. Owens Robert K. Wheeler George E. Judd, Manager Assistant Managers: T. D. Perry, Jr. N. S. Shirk gfWNtffWffWtffW^^ On July 24 — First Boston Symphony Concert Since London Of year-round Upera Season Charles Munch will assemble the Boston Symphony at your Uwn L/urtain C^bne Orchestra in full force for the first time since the orches- tra's return from Europe at the opening Shed concert on July 24. -
Evolution of One-Handed Piano Compositions
CLINICAL PERSPECTIVE Evolution of One-Handed Piano Compositions Ignat Drozdov, BS, Mark Kidd, PhD, Irvin M. Modlin, MD, PhD Electronic searches were performed to investigate the evolution of one-handed piano com- positions and one-handed music techniques, and to identify individuals responsible for the development of music meant for playing with one hand. Particularly, composers such as Liszt, Ravel, Scriabin, and Prokofiev established a new model in music by writing works to meet the demands of a variety of pianist-amputees that included Count Géza Zichy (1849– 1924), Paul Wittgenstein (1887–1961), and Siegfried Rapp (b. 1915). Zichy was the first to amplify the scope of the repertoire to improve the variety of one-handed music; Wittgenstein developed and adapted specific and novel performance techniques to accommodate one- handedness; and Rapp sought to promote the stature of one-handed pianists among a musically sophisticated public able to appreciate the nuances of such maestros. (J Hand Surg 2008;33A:780–786. Copyright © 2008 by the American Society for Surgery of the Hand. All rights reserved.) Key words Amputation, hand, history of surgery, music, piano. UCH HAS BEEN WRITTEN ABOUT the creativity of EVOLUTION OF THE PIANO: OF FINGERS AND composers and the skills of musicians, and KEYS Mspecial emphases have been placed on the Pianists are graced with a rich and remarkable history of mind and the vagaries of neurosis and even madness in their instrument, which encompasses more than 850 the process of composition. Little consideration has years of development and evolution.1 From the keyed been given to physical defects and their influence on monochord in 1157, to the clavichord (late Medieval), both music and its interpretation. -
Carmel Music Society
Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna -
Press Info 40 Years
Press info 40 years In memoriam Claudio Abbado: LUCERNE FESTIVAL Historic Performances CLAUDIO ABBADO Schubert: Symphony No. 7 in B minor, D. 759 Unfinished Vienna Philharmonic Live recording: Lucerne, Kunsthaus, 5 September 1978 Beethoven: Symphony No. 2 in D major Wagner: Siegfried-Idyll Chamber Orchestra of Europe Live recording: Lucerne, Kunsthaus, 25 August 1988 In memory of Claudio Abbado, who died on 20 January 2014 and who was closely associated with LUCERNE FESTIVAL for nearly five decades, audite and LUCERNE FESTIVAL are issuing three previously unreleased live recordings, approved by the conductor himself. They have now become a musical legacy, uniting all elements of his art in exemplary fashion: the absolute dedication which in itself made every one of his concerts an almost existential experience; the moments of highest musical internalisation, but also of rousing vitality, which characterised his interpretations; his self-professed view of himself as a “primus inter pares” within the col- lective of the orchestra, nurturing that chamber music culture of performers listening and responding to one another. On 5 September 1978, Claudio Abbado and the Vienna Philharmonic performed Franz Schubert’s Unfinished in Lucerne – a moving interpretation, emphasising the lyrical character of the work and creating a single arc of suspense from the sombre opening to the concluding transfiguration of the second movement. This work closes a circle insofar as Claudio Abbado also conducted Schubert’s Unfinished at his final concert, given on 26 August 2013 in Lucerne. On 25 August 1988, on the occasion of the festival’s fiftieth anniversary, Abbado and the Chamber Orchestraof Europe performed exactly the same program with which Arturo Toscanini had opened the Luzerner Festspiele in 1938, including Ludwig van Beethoven’s Second Symphony and Richard Wagner’s Siegfried Idyll, the latter written in Lucerne. -
Albert Einstein: the Violinist
Albert Einstein: The Violinist By Peregrine White* o the press of his time Albert Einstein was two parts renowned scientist, one jigger pacifist and TZionist fundraiser, and a dash amateur musician. These proportions persisted during 1979, the 100th an- niversary of his birth, as writers in all media jostled each other as they recounted his achievements. Relativity tended to hog the show. Relatively little space was given to Einstein the musician. This report, an attempt to redress the balance, is based on conversations with several people who used to play chamber music with him. Einstein was given violin lessons at an early age. By his own testimony he first became really interested in music when he was 13 and made the acquaintance of the Mo- zart sonatas. When Einstein was an adult, a well-worn fiddle case accompanied him wherever he went. In 1921, when Einstein arrived in the United States for the first time, reporters saw a kindly man with undis- ciplined hair, somewhat wayward black trousers—a man of no particular style, fiddle case in hand. He looked for all the world like a professional musician on tour. Einstein spent many years of his life in Berlin, deeply involved in the scientific and cultural life there. He hob- (Photo courtesy of the Southold Historical Society and the Family of Reginald Donahue.) nobbed with musical greats like Fritz Kreisler and the philosopher-artist Artur Schnabel. He used to play violin sonatas with Max Planck, the father of quantum theory. At the time, Schnabel was the greatest living per- Beethoven that troubled Einstein, according to one former of piano works of Beethoven. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Not Beyond Language: Wittgenstein and Lindbeck on the Problem of Speaking about God Khay Tham Nehemiah Lim Doctor of Philosophy The University of Edinburgh 2019 Declaration I, Khay Tham Nehemiah Lim, declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgment, the work presented is entirely my own. Signature: ________________________ Date: ___________________ iii To Jenise whose faith in me has been unswerving and whose encouragement has helped me stay the course. My debt of gratitude to her is beyond language. iv Abstract The problem of speaking about God arises from the claim that God is utterly transcendent and is ‘wholly other’ from human or this-worldly existence. -
French Violin Performance from Franck to Ravel A
UNIVERSITY OF CALIFORNIA Los Angeles In Search of a Style: French Violin Performance from Franck to Ravel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Ji Young An 2013 © Copyright by Ji Young An 2013 ABSTRACT OF THE DISSERTATION In Search of a Style: French Violin Performance from Franck to Ravel by Ji Young An Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert Winter, Chair My dissertation focuses on issues of French sound and style in late nineteenth and early twentieth-century French violin repertoire. As a violinist who studied at the Paris Conservatory, I have long been puzzled as to why so little had been written about something that everyone seems to take for granted—so called French style. I attacked this elusive issue from three perspectives: 1) a detailed look at performance directions; 2) comparisons among recordings by artists close to this period (Jacques Thibaud, Zino Francescatti, as well as contemporary French artists such as Philippe Graffin and Guillaume Sutre); and 3) interviews with three living French violinists (Olivier Charlier, Régis Pasquier, and Gérard Poulet) with strong ties to this tradition. After listening to countless historical recordings, I settled on three pivotal works that illustrate the emergence and full flowering of the French style: César Franck’s Violin Sonata (1886), Claude Debussy’s Violin Sonata (1917), and ii Maurice Ravel’s Tzigane: Rapsodie de Concert pour Violon et Piano (1924). Each of them presents specific challenges: notational and stylistic issues in Franck’s Violin Sonata, Debussy’s performance directions in his Violin Sonata, and notational and interpretive issues in Ravel’s Tzigane that led to a separate, orally-transmitted French tradition. -
The Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more. -
Nothing Left Behind Presentation Brenna Green
Nothing Left Behind: Pedagogical Benefits of Studying Piano Repertoire for the Left Hand Brenna R. Green – Jordan College of the Arts – Butler University The surprisingly vast and stylistically diverse repertoire for left-hand piano provides more pedagogical insight than what is seen on the surface. Because the right hand frequently commands the melodic line, students tend to be less mindful of their left hand, especially in lyrical situations. Consistent integration of intermediate to advanced piano repertoire for the left hand alone is vital to developing a student’s awareness of left-hand technique and melodic projection within highly-controlled parameters. Analysis and discussion follow of the four main categories of left-hand repertoire – anatomy and injury, showmanship, compositional challenge, and technical development, as well as an outline of significant left-hand resources and collections for teachers to create their own approach. Anatomy and Injury Often as a result of a melodic/pianistic focus on the right hand, the left hand unfortunately goes on autopilot; however, the left hand actually lends itself well to melodic and harmonic roles in left-hand writing. In these parameters, the smaller fingers are mostly relegated to harmonic accompaniment, while the pointer finger and the thumb are assigned melodic lines. The composer and virtuoso pianist Leopold Godowsky (1870-1938), often dubbed “the Apostle of the Left Hand,” strongly advocated the possibilities of the left hand: In its application to piano playing the left hand has many advantages over the right hand ... it is a fallacy to deem the left hand less adaptable to training than the right hand.