DOCSLIB.ORG

NICOLA BENEDETTI ELGAR VIOLIN CONCERTO London Philharmonic Orchestra Vladimir Jurowski EDWARD ELGAR 1857–1934

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NICOLA BENEDETTI ELGAR VIOLIN CONCERTO London Philharmonic Orchestra Vladimir Jurowski EDWARD ELGAR 1857–1934 NICOLA BENEDETTI ELGAR VIOLIN CONCERTO London Philharmonic Orchestra Vladimir Jurowski EDWARD ELGAR 1857–1934 Violin Concerto in B minor Op.61 1 I Allegro 17.28 2 I Andante 11.36 3 III Allegro molto 18.42 4 Sospiri Op.70 4.10 5 Salut d’amour Op.12 3.09 6 Chanson de nuit Op.15 No.1 3.41 NICOLA BENEDETTI violin London Philharmonic Orchestra Vladimir Jurowski Petr Limonov piano (4–6) 3 ELGAR'S VIOLIN MUSIC Out of all the instruments Edward Elgar of moving between notes, the use of played, the violin was his speciality. vibrato as a constant tonal element, and Trombone and bassoon filled in useful so on – were developed by a number of gaps, while his improvisatory piano playing young players, but are chiefly identified (which he said “would madden with envy with the Austrian violinist Fritz Kreisler, all existing pianists”) served to summon the dedicatee of Elgar’s concerto. Elgar up the harmonies of his inner orchestra; met Kreisler in Leeds in 1904, and again but it was the violin that gave him the in Norwich the next year, and very soon invaluable stimulus of playing in the Three began to sketch the concerto. It had Choirs Festival (under no less a master to take a back seat while he wrote than Dvořák on one occasion); the violin The Kingdom (1906) and the mighty First that he studied with a top London teacher; Symphony (1908), but in January 1910, the violin which dominates his earliest Elgar played through the concerto’s slow opus numbers, with Op.15 bringing the movement with a friend, Lady Speyer, a running total to 18 separate pieces. The pupil of Ysaÿe. A still closer friend, Elgar’s writer of HMV’s programme notes to the most important platonic muse, Alice Stuart 16-year-old Menuhin’s legendary 1932 Wortley, daughter of the painter Millais, recording of the Violin Concerto, with the wife of the MP for Sheffield, and herself composer himself conducting, knew what a composer of songs and a fine pianist, the instrument meant to Elgar: “Elgar heard the music in February. Elgar sent has not only written this concerto, he has her some of the themes, calling them lived it”. “Windflower”, and in the middle of March Elgar lived through a time of particular he transferred the epithet to Alice herself change in violin playing – the very first – it became her lasting nickname, usefully steel E string (in place of the usual sheep avoiding confusion with the composer’s gut) dates from around the time of his wife, also named Alice. Always ready concerto, 1910. The new ideas – ways to hint publicly at his private depths, 4 5 Elgar prefaced the score with a Spanish The biggest and most famous surprise is orders, to see which worked best. Sospiri, quotation from the French novel Gil Blas: the cadenza. Normally a concerto cadenza composed just before the Great War, was “Aqui está encerrada el alma de .....” (Here is unaccompanied and comes near the dedicated to Reed. is enshrined the soul of .....). Elgar’s five end of the first movement. Elgar’s is Salut d’amour, an engagement dots are usually taken to refer to A-l-i-c-e accompanied (by muted horns and gently present for the composer’s wife in 1888, Stuart Wortley. The wilder reaches of thrummed strings, a technique specially was an early success with the public. speculation, though entertaining, cast little invented to suggest the Aeolian harp that Chanson de nuit (sent to Novello’s in 1897, new light on hung outside the composer’s window – it but perhaps composed earlier) is Elgar’s the music. was one of his maxims that music was very own Air on the G String. Elgar is one of the few composers everywhere around us), and it comes near David Owen Norris to whom an unknown piece can be the end of the last movement. As to its confidently ascribed at a first hearing, material, it lovingly muses on the beautiful often within a few seconds. The first strains we’ve heard already, set against six notes of the concerto identify it different harmonies – a wonderful insight immediately, not just as Elgar, but as a into those evenings when Elgar would piece inspired by the violin. Its semitone extemporise at the piano on the material intervals, its rising and falling – imagine he had created during the day’s work at how dull that would be on the piano. his desk. Writing to his Windflower, Elgar (Elgar’s piano pieces, though few in described the cadenza: “the music sings number, show an acute ear for the of memories and hope”. quite different sort of tune that works Many of the details of the concerto idiomatically on that instrument.) So much were worked out with the leader of does that opening phrase embody the the London Symphony Orchestra, spirit of the violin, that Elgar’s first colossal W.H. (Billy) Reed. And not just technical surprise, of using it as a closing theme details, like the famous leap of a twelfth for the first entry of the soloist, seems on the G string (“Good for you!” perfectly normal. Throughout its length, exclaimed the delighted composer, as the concerto subtly reconciles us to he wrote it into the manuscript), but the surprise after surprise. As Elgar wrote piece’s architecture too: Reed described at the very beginning of his first draft: walking round the study, playing from “This is going to be good!” various bits of music paper in different 6 7 Elgar lui envoya certains thèmes qu’il pièces pour piano du compositeur, pour OEUVRES POUR VIOLON D’ELGAR nomma windflowers (« anémones ») et peu nombreuses qu’elles soient, révèlent à la mi-mars appliqua l’attribut à Alice un sens aigu du type de mélodies assez elle-même – Windflower devint ainsi différent qui convient à cet instrument). durablement le surnom de sa muse, ce Cette phrase initiale incarne tellement Parmi les divers instruments dont jouait de mi en acier (à la place de l’habituelle qui permettait d’éviter toute confusion l’esprit du violon que lorsqu’elle revient Edward Elgar, le violon tenait la première corde en boyau) est contemporaine de la avec son épouse dont le prénom était comme thème conclusif lors de la place. Si sa connaissance du trombone composition de son concerto (1910). De également Alice. Toujours prêt à soulever première entrée du soliste, première et du basson lui était utile, et si ses nouvelles idées – diverses manières de légèrement le voile sur les profondeurs surprise colossale que nous réserve la improvisations au piano (qui, disait-il, se déplacer entre les notes, l’utilisation de son être, le compositeur préfaça sa partition, cela semble parfaitement normal. « feraient baver d’envie tous les pianistes du vibrato comme une composante de partition d’une citation espagnole du Tout au long de l’œuvre, Elgar nous vivants ») lui permettaient de convoquer la sonorité, etc. – furent explorées par roman de Lesage L’Histoire de Gil Blas habitue subtilement à une surprise après les harmonies de son orchestre intérieur, un certain nombre de jeunes interprètes, de Santillane : « Aqui está encerrada el l’autre. Comme il l’écrivit au tout début c’est le violon qu’il avait travaillé avec mais c’est surtout au violoniste autrichien alma de ..... » (« Ici est enfermée l’âme de sa première ébauche : « Cela promet un éminent professeur londonien, c’est Fritz Kreisler, le dédicataire du Concerto de ..... »). On a coutume d’interpréter les d’être réussi ! » le violon qui lui donnait une précieuse d’Elgar, qu’on les associe. Elgar fit la cinq points comme une référence aux cinq La surprise la plus grande et la plus motivation pour jouer au fameux Festival connaissance de Kreisler à Leeds en lettres du prénom d’Alice Stuart Wortley. célèbre est la cadence. Normalement, des trois chœurs (en une occasion sous la 1904, le croisa à nouveau à Norwich D’autres suppositions plus aventureuses, une cadence de concerto est sans direction de nul autre que Dvořák), et c’est l’année suivante et commença peu si elles sont divertissantes, ne nous accompagnement et située peu avant la le violon qui domine ses premiers numéro après à esquisser son concerto. Durant apprennent pas grand-chose de nouveau fin du premier mouvement. Ici, elle se d’opus – les quinze premiers totalisent la composition de The Kingdom (1906) sur l’œuvre. trouve dans la dernière partie du finale et dix-huit pièces avec cet instrument. La et de la puissante Première Symphonie Elgar est l’un des rares compositeurs est accompagnée par des cors bouchés et notice du disque légendaire de 1932 où (1908), il dut mettre son ébauche de côté auquel on peut attribuer un morceau le doux murmure des cordes (un tremolo figure son concerto pour violon avec mais dès janvier 1910 en déchiffrait le inconnu avec certitude dès la première pizzicato particulier que le compositeur le jeune Menuhin de seize ans et lui- mouvement lent avec une amie, Lady écoute, souvent au bout de quelques imagina pour suggérer la harpe éolienne même à la baguette nous révèle ce que Speyer, élève d’Ysaÿe. Une amie encore secondes seulement. Les six premières suspendue devant sa fenêtre, lui dont l’instrument signifiait pour lui : « Elgar n’a plus proche, sa grande muse platonique, notes du Concerto pour violon trahissent l’une des maximes était que la musique pas seulement composé ce concerto, il l’a Alice Stuart Wortley, fille du peintre John immédiatement non seulement la se trouve partout autour de nous).
Load more

Recommended publications
  • August 2016 Vol.19, No. 5 the Elgar Society Journal the Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected]
    Journal August 2016 Vol.19, No. 5 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] August 2016 Vol. 19, No. 5 President Editorial 3 Julian Lloyd Webber FRCM Frank Schuster – Elgar’s patron 4 Richard Smith Vice-Presidents Who is the real soul of the Violin Concerto? 19 Diana McVeagh Richard Westwood-Brookes Dame Janet Baker, CH, DBE Leonard Slatkin Theology applied to music: The Dream of Gerontius revisited 26 Sir Andrew Davis, CBE Lino Bianco Donald Hunt, OBE Christopher Robinson, CVO, CBE Bach in Gerontius? A Discussion 35 Andrew Neill Hugh Morris Sir Mark Elder, CBE Martyn Brabbins ‘A confusion of ideas’ – Rootham, Elgar and ‘For the Fallen’ 39 Tasmin Little, OBE Martin Bird CD reviews 53 Martin Bird, Richard Westwood-Brookes, Andrew Neill, Michael Plant Chairman Steven Halls Letters 60 David Morris Vice-Chairman Stuart Freed 100 Years Ago 61 Treasurer Helen Whittaker Secretary George Smart The Editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Elgar’s snapshot of Frank Schuster on board HMS Surprise, Autumn 1905 (Arthur Reynolds collection) Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Editorial required, are obtained.
    [Show full text]
  • Vol. 15, No.6 November 2008
    Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May Song • Dream Children • Coronation Ode • Weary Wind of the West • Skizze • Offertoire • The Apostles • In The South (Alas- sio) • Introduction and Allegro • Evening Scene • In Smyrna • The Kingdom • Wand of Youth • HowElgar Calmly Society the Evening • Pleading • Go, Song of Mine • Elegy • Violin Concerto in B minor • Romance • Symphony No.2 •ournal O Hearken Thou • Coronation March • Crown of India • Great is the Lord • Cantique • The Music Makers • Falstaff • Carissima • Sospiri • The Birthright • The Windlass • Death on the Hills • Give Unto the Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlight Express • Le Drapeau Belge • The Spirit of England • The Fringes of the Fleet • The Sanguine Fan • Violin Sonata in E minor • String Quartet in E minor • Piano Quintet in A minor • Cello Concerto in E minor • King Arthur • The Wanderer • Empire March • The Herald • Beau Brummel • Severn Suite • Solilo- quy • Nursery Suite • Adieu • Organ Sonata • Mina • The Spanish Lady • Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pas- tourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Gavotte • Salut d'Amour • Mot d'Amour • Bizarrerie • O Happy Eyes • My Love Dwelt in a Northern Land • Froissart • Spanish Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • The Snow • Fly, Singing Bird • From the Bavarian Highlands • The Light of Life • King Olaf • NOVEMBERImperial March 2008 Vol. • The15, No. Banner 6 of St George • Te Deum and Benedictus • Caractacus • Variations on an Original Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson de Ma- tin • Three Characteristic Pieces • The Dream of Gerontius • Ser- enade Lyrique • Pomp and Circumstance • The Elgar Society The Elgar Society Journal Founded 1951 362 Leymoor Road, Golcar, Huddersfield, HD7 4QF Telephone: 01484 649108 Email: [email protected] President Richard Hickox, CBE November 2008 Vol.
    [Show full text]
  • The Coalescence of Cloud Atlas
    THE COALESCENCE OF CLOUD ATLAS Hyunsol Claire Yun TC 660H Plan II Honors Program The University of Texas at Austin May 2017 __________________________________________ Brian Doherty Department of English Supervising Professor __________________________________________ Elliott Antokoletz Department of Music Second Reader ABSTRACT Author: Claire Yun Title: The Coalescence of Cloud Atlas Supervising Professors: Brian Doherty and Elliott Antokoletz Cloud Atlas, David Mitchell’s 2004 book, is the subject of the following study of the invented notion of coalescence. Just as the six disjunctive yet intertwined stories of Cloud Atlas “coalesce” to form a cohesive novel, so does the work of multiple artists “coalesce” to form David Mitchell’s idiomatic artistry—what might be called his creative soul. In his manipulation of style, character, and genre, David Mitchell has clearly and outspokenly coalesced influential works of literature into his own literature. Less clear is how David Mitchell has also coalesced influential works of music into both his literature and his (fictional) music, the Cloud Atlas Sextet. This thesis seeks to elucidate this intra- and inter-artform coalescence—literature to literature, music to literature, music to music, and literature to music—and thereby celebrate the essential and transcendent bond between the inspirer and the inspired, the coalescer and the coalesced, the lover and the loved. ACKNOWLEDGMENTS To all of the music teachers, composers, and performers I’ve coalesced (I’m saying goodbye)— To Drs. Brian Doherty and Elliott Antokoletz, who went above and beyond in their roles— And most of all, to my parents, who have given me everything— Thank you. 3 Table of Contents ABSTRACT ...................................................................................................................................
    [Show full text]
  • The Up-Hill Fight for the Viola: Two Different Strands of Development of the Viola in Britain from 1885 to 1960, and a Recently Discovered Work
    2014 © Valerie Dart, Context 38 (2014): 53–57. RESEARCH REPORT The Up-hill Fight for the Viola: Two Different Strands of Development of the Viola in Britain from 1885 to 1960, and a Recently Discovered Work Valerie Dart My research began with an interest in finding new viola repertoire. Realising that there was a wealth of British viola music that didn’t get much attention, and finding it often to be out of print, I started to become interested in researching this field. Being British myself, and having studied with Cecil Aronowitz, one of Britain’s finest viola and chamber music players, I have a natural connection with this music and have become quite passionate about this research and am excited by every new discovery. The research will look at the difficulties facing British viola players and composers in the late nineteenth and the early twentieth centuries; how performers and composers worked together to raise the standard of viola playing in Britain, inspiring and encouraging writing for the viola, both as a solo instrument and as a more prominent orchestral instrument; and how they brought about a change of attitude in the musical community towards the viola. The leading figures, Lionel Tertis and William Primrose, are well known. Their autobiographies and the writings of scholars such as John White, David Dalton and Maurice Riley, give insight into the plight of the viola at this time. British viola repertoire went through a stage of being neglected until only fairly recently. Some of today’s foremost viola soloists—Roger Chase, Lawrence Power, Martin Outram, Sarah Jane Bradley, Simon Rowland Jones and others—have lately revived some of this beautifully lyrical and passionate music.
    [Show full text]
  • Ouvrir La Préface (PDF)
    Vorwort in Brinkwells, kurz nachdem Elgar sich antragen, aber das Gefühl hat, es wäre dort „eingerichtet“ hatte, und bemerk­ nicht richtig für sie, diese anzunehmen.“ te: „Bei meinem ersten Besuch war die Zwei Tage später starb Marie Joshua Vi o linsonate bereits weit fortgeschritten. jedoch ganz unerwartet. Als Elgar die Die Sonate für Violine und Klavier op. 82 Der ganze erste Satz war schon geschrie­ traurige Nachricht erhielt, band er eine von Edward Elgar (1857 – 1934) gehört ben, außerdem die Hälfte des zweiten – Erinnerung an das Hauptthema von mit dem Streichquartett op. 83, dem Kla­ er beendete ihn übrigens während mei­ Satz II – in Alice Elgars Worten „eine vierquintett op. 84 und dem Cellokon­ nes Aufenthalts – sowie der Anfang des wunderbar sanfte Klage“ – in Satz III zert op. 85 zu den letzten vier vollende­ Schlusssatzes. Wir spielten das Stück (T. 160–179) der Sonate ein. Bemer­ ten bedeutenden Werken des englischen häufig bis zur leeren Seite durch und er kenswert an dieser Passage ist auch das Komponisten. Alle vier Werke ent stan­ fragte dann: ,Und was nun?‘ Dann gin­ Zitat aus den (als „Enigma“­Variatio­ den in den Jahren 1918/19. Zu dieser gen wir hinaus, um den Wald zu erkun­ nen bekannten) Variations on an Origi- Zeit lebte Elgar in Brinkwells, einem den oder im Fluss Arun zu angeln“ (Wil­ nal Theme op. 36, das Elgar in T. 166 f. ländlichen Häuschen im tiefsten West liam Henry Reed, Elgar as I knew him, im Klavierpart einfügte und typogra­ Sussex; dorthin hatte er sich zurückge­ London 1936, S. 62 f.).
    [Show full text]
  • Theology Applied to Music: the Dream of Gerontius Revisited
    ... reached a refined doctrinal and spiritual understanding of the Christian belief in life after death. In effect he had overcome various problems and interpretations of Calvinist and Anglican theology, and of Roman Catholic piety.6 Theology applied to music: It was not offensive to the Anglicans except for some doctrinal notion of the purgatory which The Dream of Gerontius revisited they found repugnant. The poem is about the journey of the soul of Gerontius, the pious dying old man, to judgment by God, a meditation of afterlife. It recalls the allegorical depiction of the journey through the metaphysical territory of the death, a recollection of the medieval epic poem Divina Commedia by Dante Alighieri (c.1265-1321). Vélez compared Newman’s work with another eschatological poem by Ettore Vernazza (c.1470-1524) entitled the Tratatto, commonly referred to Lino Bianco as Purgation and Purgatory, a work inspired by St Catherine of Genoa (1447-1510).7 Vélez notes similarities and differences between The Dream of Gerontius and Purgation and Purgatory. Both poems ... The theme of Cardinal John Henry Newman’s The Dream of Gerontius is the Roman Catholic theology of death and the redemption of a sinner. It is a respectable piece of writing in poetical language, develop a rich notion of purgatory as a spiritual purification of the soul. For them purgatory is a numerously reprinted and translated in French and German. It formed the basis of Edward Elgar’s condition in which the soul experiences great sorrow for past sins, mixed with great joy because it is 8 libretto and music bearing the same title as Newman’s work.1 The scope of this article is to explore assured of its salvation.
    [Show full text]
  • BRITISH VIOLA REPERTOIRE. Revised July
    BRITISH VIOLA REPERTOIRE 1885- 1970 and beyond COMPOSER DATES COMPOSITION, Date, Dedication, Performance PUBLISHER RECORDINGS Allen, Hugh Percy 1869-1946 Sonata for viola and piano in D min 1936 RD Alwyn, William 1905-1985 Ballade for Vla and Pno 1939 pr.WF, w.WF and MF ed JWh and IG CMP NAX 2007 RC Alwyn, William 2 Folk Tunes cello/viola and pno/harp 1936 OUP/ Lengn Alwyn, William Pastoral Fantasia for Viola and string orch. 1939/40 WF CMP [also score/parts] CH ST NAX PD DE SJB Alwyn, William Sonata Impromptu for Violin and Viola 1939 wr.FG and WF CMP CH NAX SJB NAX MM RC Alwyn, William Sonatina for viola and piano 1941 SJB SR Alwyn, William Sonatina No 2 1944 NA MO JR Arnold, Malcolm 1921-2006 Concerto for Vla and Ch. Orch op.108 1971 d. RB and NS FS Conifer 1992 RG +LM Arnold, Malcolm Duo for flute and viola, op 10 1945 FS Arnold, Malcolm Trio for flute, viola and bassoon, Op. 6 1942/3 Nov, Paterson’s Arnold, Malcolm Sonata for viola and piano, op.17, 1947 Lengn 1948 NAX MO Ashton, Algernon 1859-1937 Sonata in A minor for vla and pno op 44,1891 d.E.Kreuz Sim Berlin BL, PIVA, IMSLP Ashton, Algernon Landler and Tarantella Stainer Bainton, Edgar 1880-1956 Sonata for Viola 1922 NAX SJB, bms MO? Balfour, Ian b.1924 Concerto No. 1 for viola and orchestra 1988 SMC Balfour, Ian Concerto No. 2 for viola and orchestra 1989 SMC Balfour, Ian Concerto No. 3 for viola and orchestra 2003 SMC Balfour, Ian Impromptu for flute and viola 1984 SMC Balfour, Ian Impromptu for oboe and viola 1999 SMC Balfour, Ian Impromptu for viola and double bass SMC Balfour, Ian In Memoriam III for vla and perc.
    [Show full text]
  • Download Booklet
    And the Bridge is Love English Music for Strings Julian Lloyd Webber English Chamber Orchestra AND THE BRIDGE IS LOVE And the Bridge is Love On 7th May, 1888 the Worcestershire Musical Union, Billy Reed and make sketches for his future compositions. Edward Elgar (1857-1934): conducted by the Reverend Edward Vine Hall, gave the One of the works that he composed at ‘Plâs Gwyn’ was 1 Introduction and Allegro for Strings, Op. 47 (1905) 13:58 first performance of Three Pieces for String Orchestra by his Introduction and Allegro, Op. 47. Elgar’s friend August 2 Sospiri, Op. 70 (1914) 5:10 Edward Elgar. A year and a day later, on 8th May 1889, Jaeger, who worked for Novello, had suggested that he Elgar married his former piano pupil, Alice Roberts, at the write a brilliant scherzo-like piece to give the strings of the 3 William Lloyd Webber (1914-1982): The Moon (1950) 4:31 Brompton Oratory in London. As their third wedding newly-formed LSO a chance to display their virtuosity and anniversary approached, Elgar composed a Serenade for this was the result. Elgar took as his inspiration a Welsh Strings for Alice and it seems quite likely that this three- song he had remembered hearing when on holiday in 4 Howard Goodall (b. 1958): And the Bridge is Love (2008) 11:40 movement work is based on the material of the earlier Cardiganshire and a similar one he had heard, nearer three pieces. The first performance of the Serenade is home, while walking in the Wye Valley.
    [Show full text]
  • Brodsky and His Circle : European Cross-Currents in Manchester Chamber Concerts, 1895-1929
    BRODSKY AND HIS CIRCLE : EUROPEAN CROSS-CURRENTS IN MANCHESTER CHAMBER CONCERTS, 1895-1929 GEOFFREY EDWARD THOMASON A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Awarded for a Collaborative Programme of Research at the Royal Northern College of Music by the Manchester Metropolitan University January 2016 In memoriam Anthony Thomas Hodges (1934-2002) He opened Pandora’s box CONTENTS Acknowledgments 1 Abstract 3 Introduction 6 Chapter 1. Chamber music in Manchester before Brodsky – The Hallé tradition 26 Chapter 2. Brodsky in Europe – Building a repertoire, building the circle 55 Chapter 3. American interlude 88 Chapter 4. Brodsky in Manchester – Renewing links 106 Chapter 5. The Brodsky Quartet Concerts to 1914 133 Chapter 6. Brodsky, Beethoven and the Brotherhood 174 Chapter 7. A tale of two citizens 204 Chapter 8. After the war – The final Brodsky Quartet Concerts 240 Chapter 9. The Brodsky Quartet at the Tuesday Mid-day Concerts 271 Conclusion 302 Bibliography 310 Appendix 1 – Adolph Brodsky timeline 341 Appendix 2 – Concerts given by the Brodsky Quartet 347 Appendix 3 – Resumé of the principal chamber concerts to which 377 Adolph Brodsky contributed Illustrations Fig.1 – Teutonic satire 190 Fig.2 – The Excursionist 194 Fig.3 – The triumph of culture 195 Fig.4 – The fight for right 196 1 ACKNOWLEDGEMENTS Of those to whom thanks and acknowledgement are due, pride of place must go to the Royal Northern College of Music for providing support on so many levels. Not the least of these is its generosity in funding my research and the numerous conference presentations it has given rise to.
    [Show full text]
  • DOMENICO SCARLATTI (1685–1757) Three Sonatas
    DOMENICO SCARLATTI (1685–1757) Three Sonatas Domenico Scarlatti was a member of a large family of musicians almost as prolific as the German Bachs. He was the sixth of 10 children of Alessandro Scarlatti (1660–1725), the composer of many operas, cantatas and oratorios. Domenico—an almost exact contemporary of Johann Sebastian Bach (1685–1750) and George Frideric Handel (1685–1759)—became the most famous of the Scarlatti children, especially for his more than 550 keyboard sonatas; he also composed operas, oratorios, cantatas and other sacred vocal works. Alessandro guided his son’s early career. Domenico received his first appointment in 1701 as organist and composer at the royal chapel in Naples, where Alessandro was the maestro di cappella. Domenico’s first compositions were operas written during his years in Naples. On his father’s insistence, he left Naples in 1705 to go to Venice, an important operatic center. After four years Scarlatti moved to Rome and held several positions between 1709 and 1719. In 1719 Scarlatti left his native Italy to assume responsibilities at the patriarchal chapel in Lisbon, Portugal. In addition, he was charged with the musical training of King John V’s children. The Infanta Maria Barbara was a particularly gifted keyboard player, and it was for her that Scarlatti wrote many sonatas. After Maria Barbara’s marriage to the Spanish Crown Prince Fernando in 1729, Scarlatti moved to the Spanish court in Madrid, remaining there for the rest of his life. Scarlatti’s keyboard sonatas are single-movement works in the binary, or two-part, form common to many Baroque dances.
    [Show full text]
  • ABRSM Woodwind Syllabus from 2022
    Qualification Specification: Practical Grades Woodwind from 2022 Contents Contents is automatic – if page numbers have changed, click into the contents text, then go to Layout>Update Table of Contents. 1. Introduction 3 About ABRSM 3 Each time you update, delete the extra text after “Aural Test requirements”, About this qualification specification 4 delete the extra instances of “3. Woodwind…”, About our Practical Music qualifications 4 delete the duplicate two lines at the top of page 2, Regulation and UCAS points (UK) 6 move “1. Introduction” above “About ABRSM”, Regulation (Europe) 8 del. “Music Performance” after FRSM, Regulation (Rest of world) 8 add page numbers to chapters 5 & 6 headers. Weird. 2. Practical Grades 9 Syllabuses 9 Exam Regulations 9 Malpractice and maladministration 9 Entry requirements 10 Exam booking 10 Access (for candidates with specific needs) 10 Exam content 10 In the exam 11 Special consideration 11 3. Woodwind Practical Grades Syllabus from 2022 12 Introducing the syllabus 12 Practical Grades: requirements and information 12 • Instruments 12 • Pieces 14 • Scales and arpeggios 16 • Sight-reading 18 • Aural tests 18 Scale and arpeggio patterns 19 Sight-reading parameters 23 Descant Recorder Syllabus 25 Treble Recorder Syllabus 35 Flute Syllabus 52 © 2021 by The Associated Board of the Royal Schools of Music All the syllabus information in this booklet, including repertoire and scale lists, is the copyright of ABRSM. No syllabus listing may be reproduced or published without the permission of ABRSM. Oboe Syllabus 68 Clarinet Syllabus 84 Bassoon Syllabus 100 Saxophone Syllabus 116 Aural test requirements 143 4. Assessment, marking & infringements 151 Assessment objectives 151 Mark allocation 155 Result categories 155 Synoptic assessment 155 Awarding 155 Marking criteria 156 Infringements 156 5.
    [Show full text]
  • How Lionel Tertis, Maurice Vieux, and Fyodor Druzhinin Expanded the Role of the Viola in the Twentieth Century
    ABSTRACT Title of Dissertation: FROM THIRD FIDDLE TO CENTER STAGE: HOW LIONEL TERTIS, MAURICE VIEUX, AND FYODOR DRUZHININ EXPANDED THE ROLE OF THE VIOLA IN THE TWENTIETH CENTURY Dana M. Rokosny, Doctor of Musical Arts, 2019 Dissertation directed by: Associate Professor, Katherine Murdock, School of Music Not until the turn of the twentieth century did the role of the viola begin to expand and eventually blossom into the prominence that it occupies today. Violists today enjoy the same idolizing attention that violinists and cellists have enjoyed for a few hundred years. Three violists are particularly important in the advancement of the viola during the twentieth century: Lionel Tertis (1876–1975), Maurice Vieux (1884–1951), and Fyodor Druzhinin (1932–2007). All contributed in expanding the role of the viola in the areas of virtuosity, pedagogy, and repertoire. This dissertation explores the significance of these three violists and provides a pathway to sources available relative to each artist. The performance aspect of this project included three recitals, each centered upon one of the three violists. Works included were selected from those dedicated to and/or commissioned by that violist, and works each violist composed or arranged for the instrument. The recital based upon Lionel Tertis included a movement from Ralph Vaughan Williams’ Suite; The River and the Old Irish Air composed and arranged by Tertis respectively; the Sonata for viola and piano by Sir Arnold Bax; a piece by William Henry Reed; a movement from York Bowen’s viola concerto; and Benjamin Dale’s work for six violas. The next was based upon the French violist, Maurice Vieux.
    [Show full text]