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B&F Magazine Issue 31
No. 31 A VIOLIN BY PIETRO GIOVANNI GUARNERI, MANTUA, 1709 superb instruments loaned to them by the Arrisons, gave spectacular performances and received standing ovations. Our profound thanks go to Karen and Clement Arrison for their dedication to preserving our classical music traditions and helping rising stars launch their careers over many years. Our feature is on page 11. Violinist William Hagen Wins Third Prize at the Queen Elisabeth International Dear Friends, Competition With a very productive summer coming to a close, I am Bravo to Bein & Fushi customer delighted to be able to tell you about a few of our recent and dear friend William Hagen for notable sales. The exquisite “Posselt, Philipp” Giuseppe being awarded third prize at the Guarneri del Gesù of 1732 is one of very few instruments Queen Elisabeth Competition in named after women: American virtuoso Ruth Posselt (1911- Belgium. He is the highest ranking 2007) and amateur violinist Renee Philipp of Rotterdam, American winner since 1980. who acquired the violin in 1918. And exceptional violins by Hagen was the second prize winner Camillo Camilli and Santo Serafin along with a marvelous of the Fritz Kreisler International viola bow by Dominique Peccatte are now in the very gifted Music Competition in 2014. He has hands of discerning artists. I am so proud of our sales staff’s Photo: Richard Busath attended the Colburn School where amazing ability to help musicians find their ideal match in an he studied with Robert Lipsett and Juilliardilli d wherehh he was instrument or bow. a student of Itzhak Perlman and Catherine Cho. -
TESTAMENT Booklet Note English
TESTAMENT booklet note English SBT 1310 Maurice Gendron which formed most of the basis of the pastiche, but persuaded Pablo Casals to conduct his recording of it. Gendron published a number of The French school of cello playing had a most distinguished history in the transcriptions and was a superb deviser of cadenzas for classical twentieth century. First came Maurice Maréchal (1892-1964) and then the concertos such as those by Haydn – he also made the first critical edition trio of Pierre Fournier (1906-86), André Navarra (1911-88) and Paul of the D major Concerto. He taught in Saarbrücken (from 1954), at the Tortelier (1914-90). They have often been represented as the Three Menuhin School and at the Paris Conservatoire (1970-87), but acquired a Musketeers of the cello; and their d’Artagnan was the slightly younger reputation as a tyrannical taskmaster and did not produce any notable Maurice Gendron. For various reasons his career did not have the staying pupils. In the early 1970s he suffered a fearful car accident in which a power of theirs, and so this reissue – which takes us back to quite an shoulder was severely damaged. He fought his way back and in 1985 early stage in his progress – is particularly timely. reappeared in London for a 40th anniversary recital, but was not the same Born in Nice on 26 December 1920, Gendron was brought up in a force as before. He died on 20 August 1990 at the riverside home in poor household by his mother and grandmother, his father having Grez-sur-Loing where he and his wife, a former violinist, had lived for deserted them. -
Thomas Dausgaard Viviane Hagner Thomas Dausgaard Dirigent Viviane Hagner Violine
05.06.2009 THOMAS DAUSGAARD VIVIANE HAGNER THOMAS DAUSGAARD DIRIGENT VIVIANE HAGNER VIOLINE SAISON 2008/2009 ABONNEMENTKONZERT D8 Freitag, 5. Juni 2009, 20 Uhr Hamburg, Laeiszhalle, Großer Saal THOMAS DAUSGAARD Das NDR Sinfonieorchester ist mit dem Programm dieses Abends DIRIGENT am 07.06.2009 in Neubrandenburg zu Gast; dieses Konzert wird live ab 16 Uhr auf NDR Kultur gesendet. Thomas Dausgaard ist seit August 2004 Chief Con- ductor des Danish National Symphony Orchestra/ Dirigent: THOMAS DAUSGAARD DR, mit dem er im Rahmen weltweiter Tourneen Solistin: VIVIANE HAGNER VIOLINE u. a. in Berlin, Wien, Paris, Amsterdam und London auftrat und zahlreiche Werke auf Tonträger ein- ANTONÍN DVOŘÁK (1841–1904) Scherzo capriccioso Des-Dur op. 66 (1883) spielte. Im Januar 2009 leitete der dänische Diri- Allegro con fuoco gent die Eröffnungskonzerte der neuen, von Jean Nouvel entworfenen Copenhagen Concert Hall, dem neuen Sitz des Danish National Symphony SERGEJ PROKOFJEW (1891–1953) Violinkonzert Nr. 2 g-moll op. 63 (1935) Orchestra/DR. Weiterhin ist Dausgaard seit 1997 Music Director des Swedish Chamber Orchestra, I. Allegro moderato das sich unter seiner Leitung zu einem internatio- II. Andante assai. Allegretto. Andante assai nal bedeutenden Klangkörper entwickelte und mit III. Allegro, ben marcato dem er ebenfalls zahlreiche von der Kritik hochge- lobte CDs einspielte (u. a. das orchestrale Gesamt- werk Beethovens und die Sinfonien Schumanns). Pause Im Oktober 2005 unternahmen Dausgaard und das Swedish Chamber Orchestra eine erfolgreiche Japan-Tournee, zu den jüngst vergangenen Gast- dirigierte das St. Petersburg Philharmonic Or - JEAN SIBELIUS (1865–1957) Sinfonie Nr. 2 D-Dur op. 43 (1901/1902) spielen zählen Konzertreisen nach Italien, Deutsch- chestra. -
Antonio Stradivari "Servais" 1701
32 ANTONIO STRADIVARI "SERVAIS" 1701 The renowned "Servais" cello by Stradivari is examined by Roger Hargrave Photographs: Stewart Pollens Research Assistance: Julie Reed Technical Assistance: Gary Sturm (Smithsonian Institute) In 184.6 an Englishman, James Smithson, gave the bines the grandeur of the pre‑1700 instrument with US Government $500,000 to be used `for the increase the more masculine build which we could wish to and diffusion of knowledge among men.' This was the have met with in the work of the master's earlier beginning of the vast institution which now domi - years. nates the down‑town Washington skyline. It includes the J.F. Kennedy Centre for Performing Arts and the Something of the cello's history is certainly worth National Zoo, as well as many specialist museums, de - repeating here, since, as is often the case, much of picting the achievements of men in every conceiv - this is only to be found in rare or expensive publica - able field. From the Pony Express to the Skylab tions. The following are extracts from the Reminis - orbital space station, from Sandro Botticelli to Jack - cences of a Fiddle Dealer by David Laurie, a Scottish son Pollock this must surely be the largest museum violin dealer, who was a contemporary of J.B. Vuil - and arts complex anywhere in the world. Looking laume: around, one cannot help feeling that this is the sort While attending one of M. Jansen's private con - of place where somebody might be disappointed not certs, I had the pleasure of meeting M. Servais of Hal, to find the odd Strad! And indeed, if you can manage one of the most renowned violoncellists of the day . -
Suite No. 1 in G Major, BWV 1007
Suite No. 1 in G Major, BWV 1007 [18:08] (1 Prelude [2:47]; 2 Allemande [5:00]; 3 Courante [2:28]; 4 Sarabande [2:57]; 5 Minuet I and II [3:27]; 6 Gigue [1:30]) Suite No. 2 in D Minor, BWV 1008 [20:13] (7 Prelude [3:42]; 8 Allemande [3:43]; 9 Courante [2:01]; 10 Sarabande [4:55]; 11 Minuet I and II [3:18]; 12 Gigue [2:34]) Suite No. 6 in D Major, BWV 1012 [33:35] (13 Prelude [5:27]; 14 Allemande [8:52]; 15 Courante [3:52]; 16 Sarabande [5:48]; 17 Gavotte I and II [5:00]; 18 Gigue [4:37]) Suite No. 3 in C Major, BWV 1009 [22:50] (1 Prelude [3:58]; 2 Allemande [3:45]; 3 Courante [3:10]; 4 Sarabande [4:43]; 5 Bourrée [I and II 4:14]; 6 Gigue [2:59]) Suite No. 4 in E flat major, BWV 1010 [26:04] (7 Prelude [5:20]; 8 Allemande [4:39]; 9 Courante [3:34]; 10 Sarabande [4:26]; 11 Bourrée I and II [5:24]; 12 Gigue [2:40]) Suite No. 5 in C minor, BWV 1011 [28:08] (13 Prelude [6:30]; 14 Allemande [6:57]; 15 Courante [2:14]; 16 Sarabande [4:41]; 17 Gavotte I and II [5:08]; 19 Gigue [2:33]) "Nothing in the world is more precious to me than these suites". So commented the great Russian cellist Rostropovich as he reflected on a lifetime of association with these works although he did not record them as a complete cycle until he was 63. -
110988 Bk Menuhin 19/07/2004 11:42Am Page 4
110988 bk Menuhin 19/07/2004 11:42am Page 4 Ward Marston ADD In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on Great Violinists • Menuhin 8.110988 BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four MOZART decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Violin Sonatas In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm K. 376 and K. 526 recordings. His aim is to promote the importance of preserving old recordings and make available the works of great musicians who need to be heard. -
Boston Symphony Orchestra Concert Programs, Season 126, 2006-2007, Subscription, Volume 02
BOSTON SYM PHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR BERNARD HAITINK CONDUCTOR EMERITUS SEIJI OZAWA MUSIC DIRECTOR LAUREATE • a (tie. Leaa richer J [fH1*V?*!?n w If John Hancock is proud to support the Boston Symphony Orchestra. the future is yours A World-Class Alcohol and Drug Treatment Program lliii View from The McLean Center, Princeton, MA E McLEAN CENTER AT FERNSIDE A comprehensive residential treatment program. Expertise in treating co-occurring psychiatric disorders. Highly discreet and individualized care for adults. Exceptional accommodations in a peaceful, rural setting. McLean Hospital: A Legacy of Compassionate Care and Superb Clinical Treatment wvvw.mclean.harvard.edu • 1-800-906-9531 McLean Hospital is a psychiatric teaching facility of Harvard Medical School, an affiliate of Partners Massachusetts General Hospital and a member of H E A I T H L \ R F Partners HealthCare. REASON #75 transplan exper s It takes more than just a steady hand to perform a successful organ transplant. The highly complicated nature of these procedures demands the utmost in experience and expertise. At Beth Israel Deaconess Medical Center, we offer one of the most comprehensive liver, kidney and pancreas transplant programs available today. Our doctors' exceptional knowledge and skill translate to enhanced safety and care in transplant surgery - and everything that goes into it. For more information on the Transplant Center, visit www.bidmc.harvard.edu or call 1-800-667-5356. A teaching hospital of Beth Israel Deaconess Harvard Medical School Medical Center Official | Hospital of the Boston Red Sox Affiliated with Joslin Clinic | A Research Partner of Dana-Farber/Harvard Cancer Center James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007 Trustees of the Boston Symphony Orchestra, Inc. -
View PDF Online
MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
Violin Detective
COMMENT BOOKS & ARTS instruments have gone up in value after I found that their soundboards matched trees known to have been used by Stradivari; one subsequently sold at auction for more than four times its estimate. Many convincing for- KAMILA RATCLIFF geries were made in the nineteenth and early twentieth centuries, but the science did not exist then. Forgers now are aware of dendro- chronology, and it could be a problem if they use wood from old chalets to build sophisti- cated copies of historical instruments. How about unintentional deceit? I never like to ‘kill’ a violin — reveal it as not what it seems. But if the wood does not match the claims, I investigate. I was recently sent photos of a violin supposedly made by an Italian craftsman who died in 1735. The wood dated to the 1760s, so I knew he could not have made it. But I did see strong cor- relations to instruments made by his sons and nephews who worked in the 1770s. So Peter Ratcliff restores and investigates violins from his workshop in Hove, UK. I deduced that the violin might have been damaged and an entirely new soundboard made after the craftsman’s death. The violin Q&A Peter Ratcliff was pulled from auction, but not before it had received bids of more than US$100,000. Will dendrochronology change the market? Violin detective I think it already has, and has called into Peter Ratcliff uses dendrochronology — tree-ring dating — to pin down the age and suggest the question some incorrect historical assump- provenance of stringed instruments. -
Stradivari Violin Manual
Table of Contents 1. Disclaimer .................................................................................................................. 1 2. Welcome .................................................................................................................... 2 3. Document Conventions ............................................................................................... 3 4. Installation and Setup ................................................................................................. 4 5. About STRADIVARI VIOLIN ........................................................................................ 6 5.1. Key Features .................................................................................................... 6 6. Main Page .................................................................................................................. 8 7. Snapshots ................................................................................................................ 10 7.1. Overview of Snapshots ................................................................................... 10 7.2. Saving a User Snapshot ................................................................................. 10 7.3. Loading a Snapshot ......................................................................................... 11 7.4. Deleting a User Snapshot ............................................................................... 12 8. Articulation .............................................................................................................. -
Reunion in Cremona
Reunion in Cremona Reunion in Cremona is the name of the exhibition that is taking place at the Museo del Violino from September 21 2019 and October 18 2020. It is a “reunion” indeed between historical instruments made by the great violinmakers of the past and their birthplace. Within important exhibition are displayed 8 masterpieces of cremonese classical violinmaking tradition and a bow attributed to the workshop of the famous Antonio Stradivari that the National Music Museum of Vermillion, South Dakota decided to house to the Museo del Violino during the renovation of its building and the expansion of the exhibiting areas. The NMM is one of the most important musical instruments museums in the world, with more than 15000 pieces divided into different collections. The “Witten- Rawlins Collection” is of particular interest for Cremona. The instruments will be not only on display in the Museo del Violino, but also will undergo a complete non-invasive sientific examination in the Arvedi Labsof the University of Pavia within the Museo del Violino. Antonio e Girolamo Amati- violino “The King Henry IV”, 1595 ca. (National Music Museum, Vermillion- South Dakota) Girolamo Amati- violino, 1609 (National Music Museum, Vermillion- South Dakota) Girolamo Amati- violino piccolo, 1613 (National Music Museum, Vermillion- South Dakota) Nicolò Amati- violino, 1628 (National Music Museum, Vermillion- South Dakota) Antonio Stradivari- mandolino coristo “The Cutler- Channel”, 1680 (National Music Museum, Vermillion- South Dakota) Antonio Stradivari- chitarra “The Rawlins”, 1700 (National Music Museum, Vermillion- South Dakota) attribuito alla bottega di Antonio Stradivari- archetto da violino, 1700 ca. (National Music Museum, Vermillion- South Dakota) Nicola Bergonzi- viola 1781 (National Music Museum, Vermillion- South Dakota) Lorenzo Storioni- violino 1/2, 1793 (National Music Museum, Vermillion- South Dakota) . -
PART I Dramatis Personae
PART I Chapter 1 Dramatis Personae Antonio Stradivari (c16491-18th December 1737) Antonio Stradivari lived and worked in the Italian town of Cremona, south-east of Milan. His earliest violins date from the mid-1660s and follow the example of his Cremonese predecessor Nicolò Amati (1596-1684) in terms of size, proportion, and style.2 Between 1690 and 1700 Stradivari produced violins with sound-boxes which were slightly longer than the norm of 355mm, but this ‘Long Pattern’ style was apparently abandoned at the start of his ‘Golden Period’ – approximately 1700. During the subsequent two decades he produced well-proportioned instruments with gentle and low arching across the front and back plates, the scrolls being outlined with black pigment to emphasise the edges of the spirals, and the instruments varnished with what some have claimed to have been a unique mixture of ingredients.3 By this time Antonio was certainly being helped in his workshop by two of his sons, Francesco and Omobono, and Roger Hargrave has suggested that Giuseppe Guarneri del Gesù also worked in the Stradivari workshop.4 Charles Beare has indicated that, after 1720, Carlo Bergonzi (1683-1747) also participated in making instruments under Stradivari’s direction;5 however, Tim Ingles has stated that ‘Bergonzi was probably working independently in the early 1720s’.6 After 1720 Antonio’s energy, manual dexterity, and eyesight diminished (by then he was approximately 70 years old) and instruments from his final years are less well finished, with a more pronounced arch across the body and a distinctively dark tone. Antonio apparently continued to work until his death in 1737.