DOCSLIB.ORG

Arturo Rubinstein

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arturo Rubinstein 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.
Load more

Recommended publications
  • Los Libros De Produccion Latino-Americana
    JJrnpaganöa Autmratttsía LOS LIBROS DE PRODUCCION LATINO-AMERICANA íEnsayo aterra òri problema íic su expansión romerrial öentni ì>el (C tintinnite POR Antonio Alcover JEFE DEL ARCHIVO NACIONAL MIEMBRO DE LA "REAL ACADEMIA HISPANO-AM ERICA NA DE CIENCIAS Y AR- TES", DE CADIZ; DE LA "ACADEMIA NACIONAL DE LA HISTORIA", DE CARA- CAS ! DE LA "SOCIEDAD MEXICANA DE GEOGRAFIA Y ESTADISTICA", DE MEXI- CO: DE LA "REAL SOCIEDAD GEOGRAFICA", DE MADRID. HABANA M PRENTA "EL SIGLO XX" TENIENTE REVST 1912 flropaganòa Aatmrattiata LOS LIBROS DE PRODUCCION LATINO-AMERICANA lEttaago arma iipl problema à? su pxpansiótt nmtrrnal òrntro itti (Ínuíinrtttr POR Antonio Alcover JEFE DEL ARCHIVO NACIONAL MIEMBRO DE LA "REAL ACADEMIA HISPANO-AM ERICAN A DE CIENCIAS Y AR- TES", DE CADIZ! DE LA "ACADEMIA NACIONAL DE LA HISTORIA", DE CARA- CAS; DE LA "SOCIEDAD MEXICANA DE GEOGRAFIA Y ESTADISTICA", DE MEXI- CO; DE LA "REAL SOCIEDAD GEOGRAFICA", DE MADRID. HABANA IMPRENTA * EL SIGLO XX TENIENTE REY 27 A la prensa de la América Latina Si es la prensa la palanca más poderosa del pro- greso humano; si al concurso de la prensa se deben conquistas brillantes en el campo de las ideas y de la cultura universal; si la prensa, en fin, es la insti- tución más grandiosa de los tiempos modernos, y puede ella más en la conciencia de los pueblos que todos los ejércitos y todas las armadas, ¿á quién mejor dedicar este trabajo? Si ella lo acepta y lo apoya, el éxito no se ha- rá esperar. Si, por el contrario, se muestra indife- rente, el fracaso es seguro.
    [Show full text]
  • Sociedad Amigos Del Arte De Medellín (1936-1962)
    SOCIEDAD AMIGOS DEL ARTE DE MEDELLÍN (1936-1962) LUISA FERNANDA PÉREZ SALAZAR UNIVERSIDAD EAFIT ESCUELA DE CIENCIAS Y HUMANIDADES MAESTRÍA EN MÚSICA 2013 SOCIEDAD AMIGOS DEL ARTE DE MEDELLÍN(1936-1962) LUISA FERNANDA PÉREZ SALAZAR Trabajo de grado presentado como requisito Para optar al título de Magíster en Música Con énfasis en Musicología Histórica Asesor: Dr. Fernando Gil Araque MEDELLÍN UNIVERSIDAD EAFIT DEPARTAMENTO DE MÚSICA 2013 AGRADECIMIENTO Agradezco principalmente a mi asesor, el Doctor Fernando Gil Araque, por su paciencia y su dedicación; gracias a él pude seguir adelante y no perderme en el intento. Sus enseñanzas y su guía, fueron un estímulo para seguir creciendo profesionalmente. Muchísimas gracias a María Isabel Duarte, coordinadora de la Sala de Patrimonio Documental de la Universidad EAFIT. Ella me acogió cordialmente y me brindó toda la ayuda necesaria para acceder a los materiales de consulta. Extiendo el agradecimiento al personal de la Sala Patrimonial, especialmente a Diana y a Luisa, que siempre estuvieron dispuestos a orientarme en mi búsqueda. En Bogotá, quisiera agradecer al personal del Archivo General de la Nación y del Centro de Documentación Musical de la Biblioteca Nacional quienes me abrieron sus puertas y me permitieron indagar en sus archivos por información que fuera útil para mi proyecto. Agradezco especialmente a María Eugenia Jaramillo de Isaza, por abrirme las puertas de su casa y compartir conmigo sus recuerdos y anécdotas sobre la labor de Ignacio Isaza y la Sociedad Amigos del Arte. Finalmente quisiera agradecer a los profesores de la maestría, quienes contribuyeron en mi formación profesional y personal; y a las personas que no nombré, pero que me sirvieron como faro en el camino, y cuyo apoyo fue importante para la culminación de este proyecto de investigación.
    [Show full text]
  • Artur Rubinstein
    <; :■ ARTUR RUBINSTEIN Exclusive Management: HUROK ARTISTS, Inc. 711 Fifth Avenue, New York 22, N. Y. ARTUR RUBINSTEIN ‘THE MAN AND HIS MUSIC ENRICH THE LIVES OF PEOPLE EVERYWHERE' By HOWARD TAUBMAN Music Editor of the New York Times \ rtur Rubinstein is a complete artist because as an artist and admired as a man all over the Ahe is a whole man. It does not matter whether world. In his decades as a public performer he /—\ those who go to his concerts are ear-minded has appeared, it has been estimated, in every or eye-minded — or both. His performances are country except Tibet. He has not played in Ger­ a comfort to, and an enlargement of, all the many since the First World War, but that is faculties in the audience. And he has the choice because of his own choice. He felt then that the gift of being able to convey musical satisfaction Germans had forfeited a large measure of their —even exaltation—to all conditions of listeners right to be regarded as civilized, and he saw from the most highly trained experts to the most nothing in the agonized years of the Thirties and innocent of laymen. Forties which would cause him to change his mind about Germany. The reason for this is that you cannot separate Artur Rubinstein the man from Artur Rubinstein The breadth of Rubinstein's sympathies are in­ the musician. Man and musician are indivisible, escapable in the concert hall. He plays music of as they must be in all truly great and integrated all periods and lands, and to each he gives its due.
    [Show full text]
  • Ganhar Esta Guerra «Pesa Sobre Os Trabalhadores De Nosç
    ,-,,¦:-. • no 1,) Fed. c Vu, ati ás.s 14*h«i14"h(l de íiOJE. O .«VO, ¦'chuva». ' ,-n ' S. A. in.. InStVvH. com V. IPER V1URA .;— Estável íÜ 1'roprf'«ln M»,NTO|(;; — Do n\ ntc sul, frescos. 0. R. Imitas, pres.; Mi Gtmici, . ._. ... m»e ¦ Aurélio Silva, Becjetnri maxlmns mínimas de ontem: t. w^** lâ&^&fe. TtmiiòrJCkut»õirfjhi % < ^-^-—r# ^_J6í ^_L^»llÍ_?TI_^_^K_5 l___&_2 biíAbn- Dumont, - 27.8 - 24.2; Bangú — AtroWtvV — Gerente - Máximo Wherlig 30?* o ?1 6; BehsUcfsso — 30.0 e 18.2; Cnscadura Ipanema — 27.2 e 23.8; Jardim Botânico '¦ 31?' e 23.4; - Ano, 75$j Sem., 4\ ,—.'^,,S9i •_ n c 23.0; Mcler — 2*3 c,20.4; Paquctá — 28.fi ASSINATURAS PAc dn Açúcar ™£ 28 .,5" e 22.3; Saenz Pena e 19.0;- -" — 34!«3* 22.2. Tels.: 42-2918 — 42-2919 — "' "tfSISUi DK HOJE, ?.' CAMBIO: i Dolar in$8U0: Marc. «'040; Esc. nlc.; * KD ¥p. Peso *arg. 4$710; P, urug. 8$680. i.Mais o imp. de 5%). Rio de Terça-feira, 2 de Setembro de 1941 _ata_ — 11 Janeiro, ¦ Redação e Oficina Rua da Constituição, ,! % l «Pesa sobre os trabalhadores ' de noSç, Sm > responsabilidade ganhar esta guerra — ²w A DIPLOMÁTICA ;sim como Hitler nega todos os direitos ao ii- OBEDECEU OBJETIVO ¦ RETIRADA DOS RUSSOS io, tambem os nega às coletividades, trabalho, § negocio, saber Como se interpreta em Lon- Iniciada a batalha de LeningL dres o abandono de Viipuri Roose- tropas soviéticas Na frente central as tropas soviéticas tomam a iniciafi' ;curso pronunciado, ontem, pelo presidente pelas B • ^ do Dia do Trabalho nos EL UU.
    [Show full text]
  • Daniil Trifonov
    Daniil Trifonov Thursday, February 1, 2018 at 8:00pm This is the 798th concert in Koerner Hall PROGRAM Federico Mompou: Variations on a Theme of Chopin Robert Schumann: “Chopin” from Carnaval: Scènes mignonnes sur quatre notes, op. 9 Edvard Grieg: “Hommage à Chopin“ from Moods, op. 73 Samuel Barber: Nocturne (Homage to John Field), op. 33 Pyotr Il’yich Tchaikovsky: “Un poco di Chopin,” op. 72, no. 15 Sergei Rachmaninov: Variations on a Theme of Chopin, op. 22 Tema: Largo Variation 1: Moderato Variation 2: Allegro Variation 3: L’istesso tempo Variation 4: L’istesso tempo Variation 5: Meno mosso Variation 6: Meno mosso Variation 7: Allegro Variation 8: L’istesso tempo Variation 9: L’istesso tempo Variation 10: Più vivo Variation 12: Moderato Variation 13: Largo Variation 14: Moderato Variation 15: Allegro scherzando Variation 16: Lento Variation 17: Grave Variation 20: Presto Variation 21: Andante Variation 22: Maestoso – Tempo 1 Tema INTERMISSION Fryderyk Chopin: Variations on “Là ci darem la mano” from Mozart’s Don Giovanni, op. 2 Introduction. Largo—Poco più mosso Thema. Allegretto Variation 1. Brillante Variation 2. Veloce, ma accuratamente Variation 3. Sempre sostenuto Variation 4. Con bravura Variation 5. Adagio and Alla Polacca Fryderyk Chopin: Piano Sonata No. 2 in B flat Minor, op. 35 I. Grave - Doppio movimento II. Scherzo III. Marche funèbre: Lento IV. Finale: Presto Federico Mompou Born in Barcelona, Spain, April 16, 1893; died there, June 30, 1987 Variations on a Theme of Chopin (1938-57) Catalan composer Federico Mompou composed the earliest sketches for his Variations on a Theme of Chopin in 1938 in Paris, almost a century after the Polish composer died in his adopted city.
    [Show full text]
  • “Civilizar El Oído”. Asociacionismo Cultural Y Consumos Musicales Académicos En Bahía Blanca (1930-1959)
    “Civilizar el oído”. Asociacionismo cultural y consumos musicales académicos en Bahía Blanca (1930-1959). María Noelia Caubet Estudios del ISHiR, 27, 2020. ISSN 2250-4397 Investigaciones Socio Históricas Regionales, Unidad Ejecutora en Red – CONICET https://ojs.rosario-conicet.gov.ar/index.php/revistaISHIR/index Artículo/Article “Civilizar el oído”. Asociacionismo cultural y consumos musicales académicos en Bahía Blanca (1930-1959) María Noelia Caubet1 Resumen El presente artículo pretende analizar el asociacionismo cultural en Bahía Blanca que tuvo como objeto a la promoción de la música académica a mediados del siglo XX y se enfoca, principalmente, en la Asociación Bernardino Rivadavia (ABR) y en la Asociación Cultural (AC). Con distintos perfiles y objetivos, ambas instituciones se ocuparon de su difusión de manera sostenida y continua durante todo el período analizado. En este marco, se plantea que las asociaciones construían parámetros sociales y culturales compartidos y, a su vez, configuraban grupos de identificación y de pertenencia social. Aunque sus proyectos institucionales se enlazaban con los ideales de civilización y progreso, presentaban divergencias en cuanto a los programas estéticos que promovían y a los circuitos que generaban. Palabras clave: Asociaciones culturales; música; institucionalización; Bahía Blanca; Historia regional. Cultural associationism and academic musical consumption in Bahía Blanca (1930-1959). Abstract This article aims to analyze the cultural associationism that had the objective of promoting academic music in Bahía Blanca during the mid-20th century and focuses mainly on the Asociación Bernardino Rivadavia (ABR) and the Asociación Cultural (AC). With different profiles and objectives, both institutions advertised these events in a sustained and continues manner.
    [Show full text]
  • Norman Treigle Papers
    NORMAN TREIGLE PAPERS 23 Boxes, 34 audiotape reels, 24.73 linear feet Special Collections & Archives J. Edgar & Louise S. Monroe Library Loyola University New Orleans ColleCtion 20 NORMAN TREIGLE PAPERS Reference Code Collection 20 Name and LoCation of Repository Special Collections and Archives, J. Edgar & Louise S. Monroe Library, Loyola University New Orleans Title Norman Treigle Papers Date 1940s-1970s Extent 23 boxes, 34 audiotape reels, 24.73 linear feet Name of Creator Norman Treigle, (1927-1975) Administrative/BiographiCal History Adanelle Wilfred (Norman) Treigle was born in New Orleans on March 6, 1927, the youngest of five children born to Wilfred and Claudia (Fischer) Treigle. His introduction to music was through his mother, who played both piano and organ, and his singing career began as a boy soprano in a church choir. At 16, “Addie” graduated from Alcee Fortier High School where he had been active in musical and dramatic presentations. He served in the U.S. Navy during the last two years of World War II and returned to New Orleans in 1945. A career in business was eclipsed by music as the young bass-baritone performed in churches and synagogues and with musical and theatrical groups. He married his childhood sweetheart, Loraine Siegel, in 1946, and the following year their son, Norman, was born. 2 Determined to pursue a musical career, Treigle entered Loyola University where he studied with Elisabeth Wood for seven years. He won the New Orleans Opera House Auditions of the Air in 1947 and made his operatic debut with the company as the Duke of Verona in Roméo et Juliette.
    [Show full text]
  • Trust Invigorating Collaborations Art Beacon Collection Compelling Visitors Resource Education Community Treasure Supporters Pa
    TRUST INVIGORATING COLLABORATIONS ART BEACON COLLECTION COMPELLING VISITORS RESOURCE EDUCATION COMMUNITY TREASURE SUPPORTERS PASSION SCHOLARS STUDENTS MIA MEMBERS ENGAGE ANNUAL REPORT 2007– 08 The Minneapolis Institute of Arts is dedicated to national leadership in bringing art and people together to discover, enjoy, and understand the world’s diverse artistic heritage. Table of Contents 2 A Treasure for All—Director’s Foreword 4 A Resource for Inquisitive Minds 8 A Beacon for Art Lovers and Learners 12 A Passion for Dedicated Supporters 15 A Trust for the World at Large 16 Donor Support 16 Director’s Circle 17 Patrons’ Circle 19 Contributors’ Circle 26 Corporate and Foundation Grants 26 Special Gifts and Sponsorships 27 Friends of the Institute and Curatorial Council Event Sponsors 27 Matching Gift Companies 27 Memorials and Tributes 29 Gifts to Endowment 29 Named Endowment Funds for Operations and Programs 30 Friends Endowment Fund for Education 30 Named Endowment Funds for Works of Art 31 Gifts of Art and Funds for Art Acquisition 32 New Century Society 33 Bequests 33 Honor Roll 37 Exhibitions 38 Acquisitions 48 Publications 49 Board of Trustees 49 Museum Staff 52 Financial Statements 53 Museum Information This annual report is for the period from July 1, 2007, through June 30, 2008. Please note: Artworks appearing in this report may not always be on public view, but you will likely find them, along with many others, on the museum’s Web site, www.artsmia.org. Cover: Yoshimoto Nara, Your Dog, 2002, Gift of Dr. George T. Shea and Gordon Locksley, Courtesy of the artist + Blum and Poe, Los Angeles Inside front cover: Docent-led tours and MIA events bring generations together to explore art in the galleries.
    [Show full text]
  • Federico Mompou
    cÉÇÉêáÅç=jçãéçì má~åç=jìëáÅ=J=aáëÅçîÉêáÉë j~êíáå=gçåÉë Martin Jones 24 NI 5877 NI 5877 1 Federico Mompou Also Available NI5724/7 (1893-1987) Federico Mompou The Piano Music - Volume One Martin Jones Piano Music - Volume 2 Disc Two 72.05 Dialogues Discoveries Trois Variations Souvenirs de l’Exposistion Pessebres Préludes Martin Jones Variations sur un thème de Chopin Disc Three 64.16 Canción y Danza Paisajes Disc Four 68.55 Chanson de Berceau Musica Callada Disc One 72.45 Book One 2-9 Impresiones intimas Book Two 10-17 Suburbis Book Three 18-22 Scenes d’enfants Book Four 23-29 Recorded by Nimbus Records at Wyastone Leys, Monmouth, U.K. Charmes 23 June & 31 October – 1 November 2011 Cants Mágics c © 2012 Wyastone Estate Limited 2012 Wyastone Estate Limited. Fêtes Lointaines Cover photo: istockphoto.com 2 NI 5877 NI 5877 23 Also available on Nimbus: Piano music played by Martin Jones DISC 1 1 Impressions de muntanya (1910) 3.43 Carl Czerny, The Sonatas for Solo Piano Dansa del poble Volume One, Sonatas 5, 6, 8 and 9 NI 5832/3 El repòs dins del temple [1.24] Volume Two, Sonatas 1, 2, 7 and 11 NI 5863/4 Pastoral [2.44] 2 Dues Impressions (1915/16) 2.16 Volume Three, Sonatas 3, 4 and 10 NI 5872/3 Barri de platja Enrique Granados, The Complete Published Works for Solo Piano NI 1734 Camí de muntanya [1.15] Karol Szymanowski, Complete Piano Music NI 1750 3 Impressions sobre la vida d’un miner (1914) 6.57 Primeres hores del matí Percy Grainger, ‘Dished up for piano’, Complete Piano Music NI 1767 Treballs i records [2.24] Felix Mendelssohn, Complete
    [Show full text]
  • Rezensionen Für
    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.
    [Show full text]
  • 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.
    [Show full text]
  • Concerto 05.04
    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
    [Show full text]