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ARTURO RUBINSTEIN Recuerdos de España IX CONCURSO INTERNACIONAL DE PIANO PALOMA O’SHEA Santander, 21 Julio - 6 Agosto 1987 ARTURO RUBINSTEIN 1887 - 1982 RECUERDOS DE ESPAÑA FUNDACION ISAAC ALBENIZ COMITE DE HONOR Presidenta: SAR. lo Duquesa de Calabria Vicepresidenta: Nela Rubinstein, Vda. de Arturo Rubinstein Javier Solana Madariaga, Ministro de Cultura Narcis Sera Sera, Minisno de Defensa Jerónimo Saavedra, Presidente del Gobierno autónomo de Canarias José Manuel Garrido Guzmán, Director General del INAEM Pilar Miró, Directora General de Radio Televisión Española Reginald Bartholomew, Embajador de los Estados Unidos Samuel Hados, Embajador de Israel Manan Renke, Embajador de Polonia Joaquín Achúcono Rodolfo Halffter Guido Agosti Félix Hazen Duque de Alba Princesa de Hohenlohe Monserrat Albet Duquesa del Infantado Theo Alcántara Eugene Istomin José Francisco Alonso Enrique Jordá Manuel Alvarez Buylla Witold Lutoslawski Plácido Arango Arios Lorin Maazel Claudio Arrau Nikita Magaloff Alfonso Aijón Marquesa de Manzanedo Vladimir Ashkenazy André F. Morescotti Asís Aznar Antonio Martín Moreno Emmanuel Ax Zubin Mehta Daniel Barenboim Yehudi Menuhin Leonard Bernstein Federico Mompou José Felipe Bertrán Duquesa Vda. de Montellano Flora Bertrand Vda. del Rosal Xavier Montsalvatge Jacob Bistritzky Luis Alberto Moreno Jack Bomoff Rosina Moya Albéniz Carmen Bravo de Mompou Marios Nobre Monserrat Caballé Rafael Orozco Marquesa Olga de Cadaval Luciano Pavarotti Francisco Capllonch Krystof Penderecki José Carreras Piène Petit Eduardo Cosonuevo Jesús de Polanco Jordi Cervello Mauricio Pollini Eduardo Clausen Condesa PotoTessa Puig de Riera Van Clibum Ricardo de Quesada Piene Colombo François Reischenbach Gerardo Diego Antoni Ros Morbá Plàcido Domingo Joaquín Rodrigo François Duchable Witol Rowicki Michael Emmerson Andrés Segovia Crisfoph Eschenbach Harold C. Schonberg M° Isabel de Falla George Solti Duquesa de Fernán Núñez Federico Sopeña Antonio Femàndez-Cid Joaquín Soriano Margarita Ferrò Henryk Szeryng José M° Fìgueras André Watts Enrique Franco Wiktor Weimbaum Rafael Fiühbeck de Burgos Alexis Weissenberg Luis Galve Condeso de Yebes Julio García Casas José Luis Yuste Natalio Granados Kristian Zacharias Jacques Hachuel Krystian Zimmerman Ernesto Halffter Con lo colaboración de la "Arthur Rubinstein International Music Society" COMITE Presidenta: EJECUTIVO Paloma O'Shea Vicepresidente: Federico Sopeña Comisorio Exposición "Rubinstein y España": Enrique Franco Coordinador Técnico: Joaquín Soriano Secretario General: Renata Balzer Félix Palomero e£ a- OjCiY/i^l 4 EcpZa>-^&_ — d~ä~>' e>^~ h dd <d &c_ lyddr^cz. f ¡¿iddh'l O cd */¿<. Yasded°d°d ■"Yc<- pcCA 5 «.(■£. ' cd dd IcUz^vxatAAA.'olû^ a-Ccdbz t dd pid-dcAú cz^c&bdod cpue-dE YlwidwE. (d 0‘ YW.cdoddEa o ££O/i-<na GYCa n a ,. ^¿J Vl hJL- £Oh dL e^- d- OS'i.o / ? ?> 2_ , ^O-oe-c adz£c aCz_ /HouidCa. (¡rOoLa^ O^^-C(a<oLk> c-c^CLo Jl/ti- ddc ddd'l'^cdCa eu. á¿<_ d\ cddü~ie_4_ -plA^ OK id- cd Y lc^'a. do dd.d. ed^Ok's V^j Ö-O ÁlíZ)-^A- Qfa-d odc>. Oa, C_ cda cd_ Oj <2_d<-C^C-ez_, OZ. dtk) 3d<L^ 1 . r/Ay^ ZU^C ezn^i^Æ^ ( p<dtL de. d^ bastad cd^udL ad-add^ /tów y pdd q>ë)i ^vudo al d a <-VUi íV £—írjpcv^ua , ¿c 6sti ^4/W^U 0(^JLo fi lct_ ïjL ÛOi CAa/V^o ' P<2^»m H. Û y / A_ Fuc^. Áa. tcá-*, F-^^F 'i.^nJj-Fi'co <Í^Fa e H/iaj/l*_ FF¿^\ i't&t*. CTt fi Ötz'-'X 5 OJ¿L<¿> qJL íz^¿_ ¿4xz<_ $-"i^Ze> C¿J2_ 1 Z-o cFl. ¿h /F^Fa Fb oLg g/ccAgl r o ^~-2-í.Céci/i/l^^ FcM^ Ftokh*** (t y ^-^ex y v*F ¿F a. Fo_ ¿F^FoCc^ <F ¿aJFFcFF qkG ¿e,&e^ F (¿Oa-0. FfáFo •, ¿F ^T^o ^à<Zó«^ pFFc'oc? ¿¿C /¿2-vi¿¿/> ¿zggct>x£^ oF— <2-¿¿/ísFF (ia.C^'¿L. FlF^, l^Ccrvt<ÚG C^K pFJru. ^l//°Uy Qjlp OcéJl^ OÚL. C^vF'M. Fe^ From rhe very day I met Arthur I learned to rove Spain because of rhe enthusiasm with which he spoke of its beauty, rhe variety of its landscape, rhe humanity of its people, and rhe Spanish public which offered him such affection. I came with Arthur in 1932 shortly before our wedding when he participated in rhe Chopin festivals of Valdemosa in Mallorca. Ir was then that he introduced me to the rest of Spain as we travelled from rhe Basque country to Andalusia and from Galicia to rhe islands During this trip I found a special current of feeling between Arthur and rhe public and such enthusiasm that they followed him right into rhe streets Ir is not, therefore, so strange that wanted my husband to purchase our home in Marbella. There he encountered again his old friends from other rimes in San Sebastian or Biarritz. I am once more in Spain, thanks to rhe homages of rhe "Paloma O'Shea Competition" and of rhe Albéniz Foundation (a symbolic name in Arthur's career) which have been organized on rhe centenary of his birth in Lodz A whole archive of remembrances are rekindled in my heart and my memory by rhe magnificent exposition "Rubinstein in Spain". After hearing the great Aicia de Larrocha perform the works so often played by Arthur, after feeling the affection that generations of people maintain for him, I con only reply with all intensity "Thank you". I wish rhe Competition much success so that from it will rise rhe pianists who will continue history. Nela Rubinstein Vdo. de Arturo Rubinstein Envío desde aquí mi saludo a cuantos participan en la novena ediaón del Concurso Internacional de Piano de Santander. Si yo pude impulsarlo —lo digo sin vanagloria—, pronto encontré los colaboradores deseados y deseables para lo orgonizoaón, la difusión, los jurados y la participación masiva de jóvenes pianistas. El Concurso ha aeado y de él nadó la Fundoa'ón Albéniz que lo patroana y cuya primera realizaaón, la Exposición «Rubinstein y España» ha tenido una acogida entusiasta que agradezco de todo corazón. Análoga recepaón encontró el libro dedicado al gran pianista en su aventura por nuestra país, que como lo Exposición preparó tan extraordinariamente, con tonto cariño Enrique Franco. El recital de Aliaa de Larrocha, en el Teatro Real, así como el que ofrecerá en Santander Francois-Jóel Thiollier, son capítulos valiosos y emoaonantes y no menor impacto han causado las veintiuna obras esaitas por otros tantos autores españoles en homenaje a Rubinstein, además de la obra de encargo, original de Gonzalo de Olavide, de ejecución obligada en los pruebas que comenzarán el día 21 de julio en mi ciudad cántabra. Cada concurso supone una aventura, con su riesgo y su grandeza. A ella nos entregamos con pasión y profundo amor a la música. Por vez primera, será doble la pruebo final con orquesta y estará a cargo de lo ONE, dirigida por Jesús López Cobos. Una de las mayores alegrías que me ha proporcionado el Concurso es la de ver convertido en colectivo el esfuerzo individual. Y no puedo dejar de recordar aquí el primero y más entrañable colaborador que tuve a mi lado durante las primeras ediciones: el profesor Manuel Valcórcel «que volcó su vida entera para este Concurso sobre cuyos papeles, como abrazándolos, falleció». Ni tampoco olvidar a lo Universidad Menéndez Pelayo, a las entidades ofiaales naaonales y cántabras, a los particulares que sufragan premios y prestan sus pianos, a los soaedades y fundaciones españolas y extranjeras, a todos los que aparecen en una lista de colaboradores muy humanizado y singularizada en mi sentimiento y en mi gratitud. Este opúsculo que adjuntamos al programa del Concurso quiere ser justificadón y recuerdo del IX Concurso, el «Concurso Rubinstein» como ya viene siendo designado. El gran Arturo es protagonista de estas páginas porque lo es, también, de la competiaón a la que acuden, dispuestos o pelear por su futuro, ochenta y siete pianistas procedentes de muy diversos países. Para ellos realizamos todos el esfuerzo y quisiéramos que, como en el deporte, lo importante fúera yo partidpar, coprotagonizar los días musicales santanderinos y el acto de admiradón a una figura irrepetible como fue la de Arturo Rubinstein. También tocó y residió Rubinstein en nuestro Santander, soñó, se encendió y setenó su espíritu frente o nuestras aguas grises, verdes, azules, blancas, casi negras, de cara a la bahía. «Consuelo de hermosura y geografía bella entre bellas del harem de España», como cantora nuestro poeta Gerardo Diego. 11 I exrend o worm welcome to those who participare in rhe Ninth Edition of rhe International Piano Competition of Santander. Although I conceived rhe Competition, it has token the dedicated worts of many others who help organize and promote it, serve on rhe juries and compere as pianists. Each competition is an adventure with its own risks and rewords We give ourselves to each with passion ond a profound love of music The Competition has grown ond from it was bom the Albéniz Foundation which I also sponsor. Its first project, the Exhibition "Rubinstein in Spain", has enjoyed an enthusiastic reception that is very gratifying. An equally warm reception met rhe bools dedicated to the great pianist ond his experiences in our country, extraordinarily prepared along the Exposition by Enrique Franco. The recital of Alicia de Lorrocha in rhe Teatro Peal, as well as that which François-Jôel Thiollier will offer in Santander, represent importonr ond emotionally satisfying high points. Of no less importance is rhe impact of rhe twenty works written by Spanish composers in honor of Rubinstein and rhe work commissioned of Gonzalo de Olavide which is a required piece in the trials beginning on July 21 in my Cantabrian city.
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    Rezensionen für Avant-guarding Mompou aud 20.044 4022143200440 Facts & Arts Apr 16th 2020 (Michael Johnson - 2020.04.16) source: https://www.factsandarts.com/music-revie... Bringing Federico Mompou’s work bang up to date [...] she performs all the Mompou selections and six of the commissioned pieces with confidence and verve on her new CD. Full review text restrained for copyright reasons. Fundació Conservatori Liceu 15/04/2020 ( - 2020.04.15) source: https://www.conservatoriliceu.es/noticie... L’Alumni Maria Canyigueral publica el disc ‘Avant-guarding Mompou, enregistrat a l’Auditori de la Fundació Conservatori Liceu L’obra única de Frederic Mompou, interpretada amb el talent de Maria Canyigueral i el complement de músics amb una perspectiva externa, donen com a resultat una interessant versió del folklore català. Full review text restrained for copyright reasons. International Piano May/June 2020 ( - 2020.05.01) Voice of silence Misunderstood and neglected in his lifetime, the solitary Catalan composer Federico Mompou is finally being championed for his meditative miniatures. Michael Johnson reports The quiet, calming strains of the late Catalonian composer Frederico Mompou seemed so nebulous that he was not taken seriously outside of Spain during his lifetime. 'There is no discourse, no argument, no page 1 / 5 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de development in this music', says Adolf Pla, a Spanish pianist and friend of the family. 'But the international public is now beginning to undentand his profound meaning and accept him.' Pla has a point. Recently, there are signs of a global Mompou revival as pianists discover him and master his finely balanced harmonies.
  • An Examination of the Value of Score Alteration in Virtuosic Piano Repertoire

    An Examination of the Value of Score Alteration in Virtuosic Piano Repertoire

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2020 The Mutability of the Score: An Examination of the Value of Score Alteration in Virtuosic Piano Repertoire Wayne Weng 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/3708 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] THE MUTABILITY OF THE SCORE: AN EXAMINATION OF THE VALUE OF SCORE ALTERATION IN VIRTUOSIC PIANO REPERTOIRE BY WAYNE WENG A dissertation suBmitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2020 © 2020 WAYNE WENG ALL RIGHTS RESERVED ii The Mutability of the Score: An Examination of the Value of Score Alteration in Virtuosic Piano Repertoire By Wayne Weng 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 Musical Arts. Ursula Oppens ____________________ ____________________________ Date Chair of Examining Committee Norman Carey ____________________ ____________________________ Date Executive Officer Supervisory Committee: Scott Burnham Raymond Erickson John Musto THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Mutability of the Score: An Examination of the Value of Score Alteration in Virtuosic Piano Repertoire by Wayne Weng Advisor: Scott Burnham This dissertation is a defense of the value of score alteration in virtuosic piano repertoire.
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    Mercoledì 12 aprile 2017 ore 20.15 CICLO B Auditorium C. Pollini, Padova JEAN-FRANÇOIS HEISSER , pianoforte Un Pianoforte per Padova Steinway grancoda della Fondazione Cassa di Risparmio di Padova e Rovigo messo a disposizione della città (2004) Con il sostegno della nell’ambito della rete “La Belle Saison” AMICI DELLA MUSICA DI PADOVA Gli “Amici della Musica di Padova” hanno aderito alla rete musicale internazionale denominata La Belle Saison – Concert halls . Nata su iniziativa del Théâtre des Bouffes du Nord di Parigi, La Belle Saison – Concert halls riu - nisce e federa tra loro teatri e sale da concerto che per le qualità acustiche, le dimensioni e la struttura musicale-organizzativa servono la musica da camera al meglio. La rete ha la missione di proporre, produrre e diffondere tra i partner un certo numero di pro - grammi di musica da camera di alto livello, con l’ambizione di consentire agli artisti di dedicare il loro tempo al pubblico: il tempo della pedagogia, dell’incontro e della scoperta. Ogni serie di con - certi è costituita anche da programmi educativi rivolti espressamente al pubblico più giovane. Venti sono le realtà musicali che aderiscono alla rete, tra queste: • Parigi, Théâtre des Bouffes du Nord • Arles, Le Méjan • Festival Berlioz, Eglise de Saint-Pierre de Marnans • Bruxelles, Chapelle Musicale Reine Elisabeth • Londra, Kings Place Gli aspetti di qualità dei partecipanti si basano sui criteri seguenti: • una acustica naturale della sala • una dimensione adatta a questo repertorio (da 200 a 600 posti) • una infrastuttura