Press Release for Download
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Eugene Ormandy Commercial Sound Recordings Ms
Eugene Ormandy commercial sound recordings Ms. Coll. 410 Last updated on October 31, 2018. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 October 31 Eugene Ormandy commercial sound recordings Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 - Page 2 - Eugene Ormandy commercial sound recordings Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, Eugene, 1899-1985 -
The 2009/10 Concert Season Marks the 200Th Anniversary of the Births of Both Felix Mendelssohn and Robert Schumann
May 5, 2010 at 9:00 on PBS Emanuel Ax, Yo-Yo Ma, Itzhak Perlman @ the Penthouse The 2009/10 concert season marks the 200th anniversary of the births of both Felix Mendelssohn and Robert Schumann. Musicians everywhere have been commemorating those anniversaries all season long. Our next Live From Lincoln Center, on Wednesday evening May 5, will join the world-wide celebration with a very special program originating in Lincoln Center's unique Kaplan Penthouse. More about the program and performers in a moment. Some 70 years ago RCA Victor Records brought together three of its reigning instrumental masters for the purpose of recording some of the cornerstones of the Trio literature for piano, violin and cello. They were violinist Jascha Heifetz, pianist Artur Rubinstein, and cellist Emanuel Feuermann. So important was that pairing that a feature article about their collaboration appeared in what was then the leading weekly publication in the country, Life Magazine. The writer dubbed the Heifetz-Rubinstein-Feuermann combination "The Million Dollar Trio", and the resultant recordings are regarded as classics to this day. And another spectacular threesome played together in the White House during the Presidency of John F Kennedy: violinist Isaac Stern; cellist Pablo Casals; and pianist Mieczyslaw Horszowski. If one were to try to emulate those combinations with artists of today, the choices inevitably would be Itzhak Perlman, violin; Emanuel Ax, piano; and Yo-Yo Ma, cello. And it is precisely those three who will form our Trio on May 5! The three of them are old friends who enjoy each others company socially as well as musically. -
Download Booklet
110638 bk Schnabel 30/05/2003 1:04 pm Page 4 Producer’s Note ADD This disc brings together the first and last recordings Schnabel made in his only complete Beethoven concerto cycle Great Pianists • Schnabel 8.110638 on disc. The performance of Für Elise included here is not the often-reissued 1938 version included in the original Beethoven Sonata Society set, but rather the 1932 “filler” side for the First Concerto. Although this was somewhat dimly recorded, I have tried not to filter the surface hiss excessively, so that what highs there are in the original recording would remain. The discs used for this transfer were all mid-1930s scroll-label American Victor “Z” shellacs, the quietest pressings on which these recordings were available. BEETHOVEN Mark Obert-Thorn Piano Concerto No. 1 Piano Concerto No. 2 Bagatelle in A minor “Für Elise” Artur Schnabel, piano London Philharmonic Orchestra London Symphony Orchestra Malcolm Sargent The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards Historical Recordings 1932-35 in the field of historical recordings. 8.110638 4 110638 bk Schnabel 30/05/2003 1:04 pm Page 2 Great Pianists • Artur Schnabel with a later interest in Mozart. Brahms, too, held an open the first movement, before the principal theme of BEETHOVEN (1770-1827): Piano Concertos Nos. -
The Cadenza in Cello Concertos: History, Analysis, and Principles of Improvisation Boyan Bonev
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 The Cadenza in Cello Concertos: History, Analysis, and Principles of Improvisation Boyan Bonev Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE CADENZA IN CELLO CONCERTOS – HISTORY, ANALYSIS, AND PRINCIPLES OF IMPROVISATION By BOYAN BONEV A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester 2009 The members of the Committee approve the Treatise of Boyan Bonev defended on May 7, 2009. __________________________________ Gregory Sauer Professor Directing Treatise ___________________________________ Jane Piper Clendinning Outside Committee Member __________________________________ Eliot Chapo Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank my major professor Gregory Sauer, and my committee members Jane Piper Clendinning and Eliot Chapo, for their help and support. iii TABLE OF CONTENTS List of Figures………………………………………………………………………………... v Abstract………………………………………………………………………………………. vi INTRODUCTION…………………………………………………………………………... 1 I. HISTORY OF CADENZAS IN CELLO CONCERTOS ………………………………..... 4 II. ANALYSIS OF AD LIBITUM CADENZAS …………………………………………….. 15 Biographical Sketch of the Authors of the Cadenzas……………………………….... 18 Analyses of Cadenzas for the Concerto for Cello and Orchestra in C Major by Joseph Haydn……………………………………………………………………….... 19 Analyses of Cadenzas for the Concerto for Cello and Orchestra in D Major by Joseph Haydn……………………………………………………………………….... 22 III. PRINCIPLES OF IMPROVISATION…..……………………………………………….. 30 CONCLUSION……………. ………………………………………………………………... 40 APPENDICES………………………………………………………………………………... 41 1. CADENZAS FOR THE CONCERTO FOR CELLO AND ORCHESTRA IN C MAJOR BY JOSEPH HAYDN …………………………………………………………………………… 41 2. -
July 1947) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1947 Volume 65, Number 07 (July 1947) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 65, Number 07 (July 1947)." , (1947). https://digitalcommons.gardner-webb.edu/etude/182 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. tmm *rv>- THE- FIFTEENTH ANNUAL Bach Festival CHARLES IVES, American composer, of the Baldwin-Wallace College Con- has been awarded the Pulitzer Prize for servatory of Music was held in Berea, 1946, for a “distinguished musical com- Ohio, June 6 and 7. Under the direction position in the larger forms of chamber, of Dr. Albert Riemenschneider, the festi- orchestral, or choral music.” Mr. Ives’ val included a number of the shorter prize winning work was his Symphony No. cantatas, with the Mass in B Minor being first performed in New York in April 3, perforated on the second day. The various of last year. programs enlisted the services of the Baldwin-Wallace A Cappella Choir, the i'sucilvlvrdecital THE OUTDOOR CONCERT season has ^Oonc^S Cdoncenonceri ananad Opera Workshop, and the Festival or- s. -
V Międzynarodowy Konkurs Muzyczny Im. Michała Spisaka
V Międzynarodowy Konkurs Muzyczny im. Michała Spisaka Specjalności: trąbka, róg, puzon Bazylika NMP Anielskiej w Dąbrowie Górniczej Akademia Muzyczna im. Karola Szymanowskiego w Katowicach 5-14 września 2011 ...myślę stale o Zagłębiu i Dąbrowie Górniczej, bo przecież nie zapomina się nigdy swego rodzinnego miasta (słowa Michała Spisaka z listu do Jana Ziemby) The 5rd Michał Spisak International Music Competition Disciplines: trumpet, horn, trombone Basilica of St. Mary of the Angels in Dąbrowa Górnicza Karol Szymanowski Academy of Music in Katowice 5-14 September 2011 ...I constantly think of Zagłębie and Dąbrowa Górnicza, because, after all, you can never forget your hometown (Michał Spisak’s words from a letter to Jan Ziemba) Patronat Honorowy Konkursu The Honour Patronage of the Competition: Bogdan Zdrojewski Minister Kultury i Dziedzictwa Narodowego Minister of Culture and National Heritage Zbigniew Podraza Prezydent Miasta Dąbrowa Górnicza Mayor of Dąbrowa Górnicza prof. Tomasz Miczka Rektor Akademii Muzycznej im. Karola Szymanowskiego w Katowicach Rector of the Karol Szymanowski Academy of Music in Katowice Organizatorzy Konkursu / Organizers of the Competition: Urząd Miejski w Dąbrowie Górniczej City Hall in Dąbrowa Górnicza www.idabrowa.pl, www.spisak.idabrowa.pl Akademia Muzyczna im. Karola Szymanowskiego w Katowicach Karol Szymanowski Academy of Music in Katowice www.am.katowice.pl Pałac Kultury Zagłębia w Dąbrowie Górniczej Zagłębie Palace of Culture in Dąbrowa Górnicza www.palac.art.pl Marcin Bazylak Pełnomocnik Prezydenta Miasta / Plenipotentiary of the City Mayor Przewodniczący Komitetu Organizacyjnego Konkursu / Chairman of the Organizing Committee of the Competition prof. Zygmunt Tlatlik Dyrektor Artystyczny Konkursu / Artistic Director of the Competition Zastępca Sekretarza Jury / Deputy Secretary of the Jury prof. -
Il Secolo Di Mahler
2 IL SECOLO DI MAHLER Cari amici, anche indagini in un passato più remoto, come quello degli ultimi esempi della gloriosa tradi- il 18 maggio 1911 moriva Gustav Mahler. zione della Tragédie lyrique, incarnati da Gluck, La sua musica ha conosciuto una popolarità Lemoyne, Rodolphe Kreutzer e Granges de sempre crescente solo a partire dalla seconda Fontenelle, musicisti che dall’Ancien Régime si metà del Novecento, come il compositore stesso spingono fino all’eclissi dell’epoca napoleonica. aveva profetizzato, nella sua celebre autodefini- Ancora qualche segnalazione, relativa alle zione di «inattuale». Oggi è uno degli autori più nostre dirette dal Teatro Verdi di Firenze per la eseguiti dalle orchestre e dai direttori di tutto il Stagione dell’Orchestra della Toscana: il 5 mag- mondo, e uno dei più amati dal pubblico. gio trasmetteremo il concerto diretto dal celebre Lo celebreremo la sera del giorno del flautista Patrick Gallois e il 19 quello affidato a Centenario con la trasmissione delle sue ultime Giuliano Bellincampi con la voce solista di tre grandi composizioni. Grazie al lavoro assi- Monica Bacelli, che interpreterà pagine di De duo e appassionato di Luca Berni e al prestigio Falla e una selezione dei Lieder dal Knaben conquistato dalla nostra emittente, possiamo Wunderhorn di Mahler. Infine, il 26 maggio, offrirvi le registrazioni in differita dei bei con- l’ORT sarà diretta dal violinista Sergey Krylov, certi organizzati dal Palazzetto Bru-Zane di impegnato nel Concerto in mi minore di Venezia, dove ha sede il «Centre pour la musi- Mendelssohn e nella Quarta Sinfonia di que romantique française». Ogni domenica sera, Beethoven. -
ARSC Journal
A COMPLETE DISCOGRAPHY OF THE RECORDI~GS OF EMANUEL FEUERMANN by Jon Samuels Copyright@ 1980 by Jon Samuels, All Rights Reserved. Emanuel Feuermann was born in Galicia, Kolomea (then controlled by the Austrian Empire, now part of the Soviet Union) on November 22, 1902. He died less than forty years later in New York City on May 25, 1942. It was an especially tragic loss, because it was so totally unnecessary, occurring as the result of a minor operation. Despite his short life, he left a lasting impression on the music world, convincing a significant portion of them that he was not only the greatest 'cellist of the twentieth century, but perhaps its finest string instrumentalist as well. It seems ironic that Feuermann, who spent much of his career in the shadow of the reknowned older 'cellist, Pablo Casals, should have his life cut down just after he had established his own world-wide reputation and that the then-retired Catalan should renew his concert career and continue to perform for more than thirty years after Feuermann's untimely demise. Due to this, many people are completely unaware of the legacy Feuermann has bequeathed to us, through his fairly extensive recordings. A fact that should not be overlooked in comparing the recordings of Casals and Feuermann, however, is that Casals cut his first discs (in 1915) at the same age (thirty-nine) that Feuermann cut his last. Yet in listening to Feuermann's playing, one becomes aware that it is unmatched, that the uniquely rich "Feuermann tone" demonstrates the way the 'cello can and should be played. -
The Philadelphia Orchestra
No. Lf THE INSTITUTE AT THE ACADEMY OF MUSIC THE PHILADELPHIA ORCHESTRA Opera House Wednesday Evening, November 5, 1941 THE BROOKLYN INSTITUTE OF ARTS AND SCIENCES COMPRISING TIIB BROOKLYN MUSEUM, TIIB BROOKLYN CHILDREs's MUSEUM, THB BROOKLYN BOTANIC CARDBN, AND TIIB INSTITUTE AT Tllll ACADEMY 01' MUSIC EDWARD C. BLuM, Chairman of tiJe Board )AMES G. McDoNALD, President Pf'RMANENT MliMOERSIIIP, $2500 LII'B MBMBERSHIP1 $500 .. CONTRIBUTING MEMBERSHIP, $100 PER YEAR SUSTAINING MEMBERSIIIP, $25 PER YEAR THE INSTITUTE AT THE ACADEMY OF MUSIC 30 LAFAYBTT!l AVIlNUil-BROOKLYN-STsRLINC 3-6700 ADRIAN VAN SINDEREN, Chairman, yoven1in9 Committee Juuus BLOOM, .A~~ocit1tc Ditector ANNUAL MEMBERSIIIP, $10. MEMBERSIIIP PRIVII ECIJS TNCLUDB FREB ADMISSION TO MORB THAN TWO HUNDRilD EVENTS: LECTURES, RECITAT.S PRO 1 CRAMS FOR YOUNC PEOPI.ll1 MOTION PICTURES, FIELD TRIPS, llTC. MEMBIJRSHIP MAY 813 TAKEN OUT ANY TIME DURING TIIB YEAR. THE BROOKLYN ACADEMY OF MUSIC 30 LAI'AYBTTB AVIJNUE-BROOKLYN-STBRLING 3-6700 \'(/ILLIAM T. HuNTER, Chairman, Buil.lirr9 Committee HGRBGRT T Swm, ~farragirrg Superiuteuclenl THE OPBRA HOUSE, MUSIC HALL, AND BALLROOM OF THE ACADEMY OF MUSIC ARB AVAILABLB I'OR CONCBRTS1 PLAYS, LBCTURBS1 DANCGS, AND OTlltlR EVENTS. INQUIRE: MANAGING SUPERINTBNDilNT. Plllll!Ci\TION AND ADHRTISING OFFICES CONCERT PROGRAM MAGAZINES SICMUND GoTTLOBER, J>uhlisher 30 Lafayette Ave., Brooklyn, STerling 3-6700 258 fifth Ave., Manhattan, CAledonia 5-6690 WALTBR H. MoRIN, Production Jltanager FREDA Roves, .Atlverlising Director PUBLISH tlRS OF STADIUM CONCERTS REVIEW BERKSIIIRE SYMPHONIC fESTIVAL PROGRAM ESSEX COUNTY SYMPHONY SOCIETY MAGAZINE WESTCHESTER COUNTY MUSIC CENTER CONCERT NEWS THE PROGRAM AND MAGAZINE OF BROOKLYN ACADEMY OF MUSIC 3 BROOKLYN SYMPHONY ORCHESTRA 1 9 4 1 DEBUT SEASON 1 9 4 2 ,. -
Toscanini PASC 549
[ru □i@ DIGITAL AUDIO Toscanini PASC 549 conducts Richard Strauss X'RPASC 549 ton;r... ra, sea.. aramna,i#th.i:i n in i Toscanin i was an early champion of the music of Richard Strauss and he continued to conduct his works throughout his long career. The two men knew each other and met on more than one occasion. When Toscan -ini heard Strauss was working on an operatic version of Salome he corresponded with the composer about giving the Italian premiere. This eventually became a point of contention between the two men. Toscanini wished to give the Italian premiere at La Scala but Strauss had already signed a contract giving Tu ri n the honour. This episode undoubtedly soured the relationship between them, and when Strauss accepted an offer to conduct at Bayreuth in 1933 after Toscanin i had refused to return due to the festival's Nazi ties, Toscan ini allegedly said 'To Strauss the composer I lift don quixote my hat, to Strauss the man I put it on again.' emanuel feuermann, cello ~" In real ity, Toscanini's interest in Strauss as a composer was limited. He never conducted anything Strauss composed after Salome and when he attended the premiere of Arabe/la in Vienna in 1933 he described it as 'wretched stuff.' tod und verklarung His love of Strauss's earlier compositions remained, particularly his tone poems mostly composed in a prolific decade between 1888 and 1898, and demonstrates how Toscan ini was able to separate music from composer. For his part, Strauss had a strong admiration for Toscanin i as a conductor, once rema rking to his assistant, George Szell, salome that after hearing Toscanini conduct he was inclined never t o conduct himself agai n. -
DVOŘÁK CELLO CONCERTO SAN ANTONIO SYMPHONY PRESENTS February 21 & 22, 2020 DVOŘÁK ANTONÍN DVOŘÁK Both
DVOŘÁK CELLO CONCERTO SAN ANTONIO SYMPHONY PRESENTS February 21 & 22, 2020 DVOŘÁK ANTONÍN DVOŘÁK both. The central part of this movement focuses CELLO CONCERTO (Born on September 8, 1841 in Nelahozeves, primarily on working through various aspects Bohemia (Czechia); of the first theme. When it comes time for the Died on May 1, 1904 in Prague, Bohemia (Czechia) expected restatement of both themes, Dvořák does the unexpected. He omits the main theme Concerto in B Minor for and takes us directly to the second and then to a Violoncello and Orchestra, joyous conclusion. February 21 & 22, 2020 | 8:00 PM Op. 104 HEB Performance Hall The slow movement begins tenderly with the clarinets and then the solo cello. After a short The Tobin Center for the Performing Arts Premiered: March 19, 1896 in London, England time with this beautiful theme, the entire orchestra crashes in. The cello then plays a moving melody Orchestration: solo cello accompanied by 2 flutes based on a song, “Leave Me Alone,” which Dvořák Ruth Reinhardt, conductor with piccolo, 2 oboes, 2 clarinets, 2 bassoons, wrote many years earlier. It was a favorite of his 3 horns, 2 trumpets, 3 trombones, tuba, timpani, sister-in-law, and he included it in the concerto Andrei Ioniţă, cello triangle, first and second violins, violas, cellos, when he learned that she was seriously ill. After an and basses extensive time dwelling on this tune, the movement returns to the opening theme. The cellist then DVOŘÁK Duration: 40 minutes launches into what is almost an accompanied Concerto in B minor for Cello and Orchestra, Op. -
Six Solo Pieces from Emanuel Feuermann's Repertoire for Cello
sample Piano Six Solo Pieces from Emanuel Feuermann’s Repertoire for Cello with Piano Accompaniment Compiled and Edited by Marion Feldman Table of Contents Piano Cello Acknowledgements.......................................................................................................... 2 About Emanuel Feuermann............................................................................................ 3 About Marion Feldman ................................................................................................... 6 A Conversation with Marika Hughes, Emanuel Feuermann’s Granddaughter ........... 7 Notes on Interpretation by Emanuel Feuermann ......................................................... 9 Manuscript: Adagio and Allegro........................................George Frideric Handel................... 2 Adagio and Allegro (from Concerto in G Minor, HWV 291, Op. 4, No. 3).. George Frideric Handel .... 11......... 6 At the Fountain, Op. 20, No. 2...........................................Karl Davidoff.................... 20....... 10 Hungarian Rhapsody, Op. 63.............................................David Popper ................... 30....... 14 Manuscript: Polonaise Brillante.........................................Frédéric Chopin .......................... 20 Polonaise Brillante..............................................................Frédéric Chopin .............. 42....... 24 Rondo ..................................................................................Antonin Dvoˇrák ............... 59....... 29