DOCSLIB.ORG

Table of Contents Welcome to the CD Sheet Music™ Edition of Violin Concertos, the Ultimate Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Table of Contents Welcome to the CD Sheet Music™ Edition of Violin Concertos, the Ultimate Collection Sheet TM Version 2.0 CDMusic 1 Violin Concertos The Ultimate Collection Table of Contents Welcome to the CD Sheet Music™ edition of Violin Concertos, The Ultimate Collection. This Table of Contents is interactive. Click on a composer below or in the bookmarks sec- tion on the left side of the screen to go to that section of the Table of Contents. Then, click on the title of a work to open the sheet music. Once the music is open, the bookmarks be- come navigation aids to find sections of the work (or to switch between the piano accom- paniment and the solo part). Return to the Table of Contents by clicking on the bookmark or using the “back” button of Acrobat Reader. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Composers on this CD-ROM (click on a composer to go to that section of the Table of Contents) ACCOLAY BUSONI BACH CHAUSSON BEETHOVEN DELIUS BÉRIOT DVOŘÁK BRAHMS ELGAR BRUCH GLAZOUNOV © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 CDMusic 2 Composers on this CD-ROM (con’t.) GOLDMARK SARASATE KREUTZER SEITZ LALO SIBELIUS MENDELSSOHN, FELIX SITT MENDELSSOHN, LUDWIG SPOHR MOZART STRAUSS NARDINI TARTINI NIELSEN TCHAIKOVSKY PAGANINI VIEUXTEMPS PROKOFIEV VIOTTI RODE WIENIAWSKI SAINT-SAËNS The complete Table of Contents begins on the next page Sheet TM Version 2.0 CDMusic 3 J. B. ACCOLAY FERRUCCIO BUSONI Concerto No. 1 in A Minor Concerto in D Major, Op. 35a J. S. BACH ERNEST CHAUSSON Concerto No. 1 in A Minor, BWV 1041 Poème, Op. 25 Concerto No. 2 in E Major, BWV 1042 Concerto in D minor for 2 Violins, FREDERICK DELIUS BWV 1043 Concerto (1916) Concerto in G minor (arr. of Keyboard Concerto in F Minor), BWV 1056) ANTONÍN DVOŘÁK Concerto in A Minor, Op. 53 LUDWIG VAN BEETHOVEN Romance in F Minor, Op. 11 Concerto in D Major, Op. 61 Romance in G Major, Op. 40 EDWARD ELGAR Romance in F Major, Op. 50 Concerto in B Minor, Op. 61 CHARLES BÉRIOT ALEXANDER GLAZOUNOV Concerto No. 7 in G Major, Op. 76 Concerto in A Minor, Op. 82 Concerto No. 9 in A Minor, Op. 104 KARL GOLDMARK JOHANNES BRAHMS Concerto No. 1 in A Minor, Op. 28 Concerto in D Major, Op. 77 Cadenza for Brahms’ Violin Concerto RODOLPHE KREUTZER by Adolf Busch Concerto No. 13 in D Major Cadenza for Brahms’ Violin Concerto by Joseph Joachim ÉDOUARD LALO Concerto for Violin and Cello, Op. 102 Symphonie Espagnole, Op. 21 Concerto in F Major, Op. 20 MAX BRUCH Concerto No. 1 in G Minor, Op. 26 FELIX MENDELSSOHN Concerto No. 2 in D Minor, Op. 44 Concerto in E Minor, Op. 64 Scottish Fantasy, Op. 46 LUDWIG MENDELSSOHN Student Concerto in D Major, Op. 213 Sheet TM Version 2.0 CDMusic 4 WOLFGANG AMADEUS MOZART FRIEDRICH SEITZ Concerto No. 1 in Bb Major, K. 207 Student Concerto No. 1 Concerto No. 2 in D Major, K. 211 Student Concerto No. 3, Op. 12 Concerto No. 3 in G Major, K. 216 Student Concerto No. 4, Op. 15 Concerto No. 4 in D Major, K. 218 Student Concerto No. 5, Op. 22 Concerto No. 5 in A Major, K. 219 Concerto No. 6 in Eb Major, K. 268 JEAN SIBELIUS Concerto No. 7 in D Major, K. 271a Concerto in D Minor, Op. 47 Concertone in C Major 2 Violins, K. 190 HANS SITT Concertino, Op. 31 PIETRO NARDINI Concerto in E Minor LOUIS SPOHR Concerto No. 2 in D Minor, Op. 2 CARL NIELSEN Concerto No. 8 in A Minor, Op. 47 Concerto, Op. 33 RICHARD STRAUSS NICCOLÒ PAGANINI Concerto in D Minor, Op. 8 Concerto No. 1 in D Major, Op. 6 GIUSEPPE TARTINI SERGEI PROKOFIEV Concerto in D Minor Violin Concerto No. 1 in D Major, Op. 19 PETER ILYICH TCHAIKOVSKY Concerto in D Major, Op. 35 PIERRE RODE Concerto No. 6 in Bb Major HENRI VIEUXTEMPS Concerto No. 7 in A Major Concerto No. 2 in F# Minor, Op. 19 Concerto No. 8 in E Minor GIOVANNI BATTISTA VIOTTI CAMILLE SAINT-SAËNS Concerto No. 22 in A Minor Concerto No. 3 in B Minor, Op. 61 Concerto No. 23 in G Major Introduction and Rondo Concerto No. 24 in D Major Capriccioso, Op. 28 HENRI WIENIAWSKI PABLO DE SARASATE Concerto No. 2 in D Minor, Op. 22 Carmen Concert Fantasy, Op. 25.
Load more

Recommended publications
  • 9 September 2021
    9 September 2021 12:01 AM Uuno Klami (1900-1961) Serenades joyeuses Finnish Radio Symphony Orchestra, Jussi Jalas (conductor) FIYLE 12:07 AM Johann Gottlieb Graun (c.1702-1771) Sinfonia in B flat major, GraunWV A:XII:27 Kore Orchestra, Andrea Buccarella (harpsichord) PLPR 12:17 AM Claude Debussy (1862-1918) Violin Sonata in G minor Janine Jansen (violin), David Kuijken (piano) GBBBC 12:31 AM Peter Ilyich Tchaikovsky (1840-1893) Slavonic March in B flat minor 'March Slave' BBC Philharmonic, Rumon Gamba (conductor) GBBBC 12:41 AM Maria Antonia Walpurgis (1724-1780) Sinfonia from "Talestri, Regina delle Amazzoni" - Dramma per musica Batzdorfer Hofkapelle, Tobias Schade (director) DEWDR 12:48 AM Wolfgang Amadeus Mozart (1756-1791) Sonata for piano (K.281) in B flat major Ingo Dannhorn (piano) AUABC 01:00 AM Luigi Boccherini (1743-1805) Quintet for guitar and strings in D major, G448 Zagreb Guitar Quartet, Varazdin Chamber Orchestra HRHRT 01:19 AM Carl Nielsen (1865-1931) Symphony No.3 (Op.27) "Sinfonia espansiva" Janne Berglund (soprano), Johannes Weisse (baritone), Stavanger Symphony Orchestra, Niklas Willen (conductor) NONRK 02:01 AM Claude Debussy (1862-1918) Estampes, L.100 Kira Frolu (piano) ROROR 02:14 AM Fryderyk Chopin (1810-1849) Etude in C minor Op.10'12 'Revolutionary' Kira Frolu (piano) ROROR 02:17 AM Fryderyk Chopin (1810-1849) Etude in E major, Op.10'3 Kira Frolu (piano) ROROR 02:20 AM Fryderyk Chopin (1810-1849) Etude in C minor Op.25'12 Kira Frolu (piano) ROROR 02:23 AM Constantin Silvestri (1913-1969) Chants nostalgiques,
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 12, 1892-1893
    FORD'S GRAND OPERA HOUSE, BALTIMORE. BOSTON SYMPHONY ORCHESTRA. ARTHUR NIKISCH, Conductor. Twelfth Season, 1892-93. ONLY CONCERT IN BALTIMORE THIS SEASON, Monday Evening, October 31, 1892, At Eight o'clock. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C A. ELLIS, MANAGER. The Mason &. Hamlin Piano has been exhibited in three Great World's Competitive Exhibitions, and has received the HIGHEST POSSIBLE AWARD at each one, as follows : AMSTERDAM, . 1888. NEW ORLEANS, . 1888. JAMAICA, . ... 1891. Because of an improved method of construction, in- troduced in 1882 by this Company, the Mason Sc Hamlin PIANOFORTES Are more durable and stand in tune longer than any others manufactured. CAREFUL INSPECTION RESPECTFULLY INVITED. BOSTON. NEW YORK. CHICAGO. Local Representatives, OTTO SUTRO & CO., - BALTIMORE (2) Boston Fords _ i 4i// Grand Opera Symphony f| House. \Jl Of Ifc/O Li CjL Season of 1892-93. Mr. ARTHUR NIKISCH, Conductor. Monday Evening, October 31, At Eight. PROGRAMME. " Karl Goldmark ------ Overture, " Sakuntala " K. M. von Weber - Aria from " Oberon," " Ocean, thou mighty monster y Richard Wagner - Vorspiel and "Liebestod" (Prelude and " Love-death') y " from " Tristan und Isolde Franz Liszt - - - - Song with Orchestra, "Loreley" Ludwig van Beethoven - - Symphony in C minor, No. 5, Op. 67 Allegro con brio (C minor), - 2-4. Andante con moto (A-flat major), - - 3-8. | Scherzo, Allegro (C minor), - 3-4. i Trio (C major), - 3-4. Finale, Allegro (C major), - 4-4. Soloist, Miss EMMA JUCH, (3) : SHORE LINE BOSTON TA NEW YORK NEW YORK TO1 \J BOSTON Trains leave either city, week-days, except as noted DAY EXPRESS at 10.00 A.M.
    [Show full text]
  • PILGRIMS of '48 One Man's Part in the Austrian Revolution of 1848 and a Family Migration to America
    PILGRIMS OF '48 One Man's Part in the Austrian Revolution of 1848 and a Family Migration to America By JOSEPHINE GOLDMARK WITH A PREFACE BY JOSEF REDLICH Professor of Comparative Public Law in Harvard University New Haven • Yale University Press LONDON • HUMPHREY MlLFORD · OXFORD UNIVERSITY PRESS 1980 PUBLISHED ON THE MARY CADY TEW FUND Pilgrims of '48 ~l oseph Gold mark In the coat of the Academic Legion, 1848 COPYRIGHT 1980 BY YALE UNIVERSITY PRESS PRINTED IN THE UNITED STATES OF AMERICA All rights reserved. This book may not be re­ produced, in whole or in part, in any form, ex­ cept by written permission from the publishers. C , ~, , '\ aµ.epai o E1TtA0£1TO£ , ,I. , µ.apropec; uo'YwraTo£ PINDAR BUT THE DAYS THAT COME AFTER BEAR TRUEST WITNESS. Preface ISS GoLDMARK's book is, in my opinion, a Mvery original piece of historical writing. The first part portrays old Austria, particularly old Vienna, the leading men of the Vienna Revo­ lution of 1848, and the principal events of that fateful year. The author achieves this by con­ necting the biography of her father, one of the most prominent men of the Vienna Revolution, with a very careful description of the social, po­ litical, and cultural features of old Austria and the life of her people. For this purpose the au­ thor makes full use of the original sources of the history of the Revolution which she has studied in the libraries and archives of Vienna. More­ over, she combines with it very interesting source material from the letters and papers of her own father and her family.
    [Show full text]
  • Karl Goldmark on Early Recordings Discography of the 78 Rpm Recordings of Goldmark’S Compositions
    SZABÓ, Ferenc János (Institute for Musicology, RCH, Hungarian Academy of Sciences) 1 September, 2017 Carl Goldmark on Early Recordings. Discography of the 78 rpm recordings of Goldmark’s compositions. OTKA/NKFIH K108.306 Ferenc János Szabó Institute for Musicology (Research Centre for the Humanities, Hungarian Academy of Sciences) Karl Goldmark on Early Recordings Discography of the 78 rpm recordings of Goldmark’s compositions This discography is the first attempt to compile a systematic list of early recordings of Karl Goldmark’s compositions. Up to now, these early recordings were not in the focus of the musicological research. There are only a few Goldmark monographies1 or bibliographies2 and they do not discuss the sound recordings, except the latest one, written by Johannes Hofer, which listed many recordings and their reissues, mainly from the second half of the 20th and the first years of the 21st century.3 Even Goldmark himself did not mention the sound recordings of his works in his memoires.4 The early recordings of Goldmark’s works are mostly unknown, except some famous ones, for example the recordings from Die Königin von Saba made in Vienna after the highly successful revival directed by Gustav Mahler,5 and, of course, the recordings of Enrico Caruso which were reissued many times on LP and CD because of the popularity of the performer. The rest of the recordings are part only of the knowledge of the specialized gramophone disc collectors and opera aficionados who are interested in the recordings of opera singers of the past.6 Based on the recording dates, two waves of recording activity of Goldmark’s oeuvre can be distinguished during the first half of the twentieth century.
    [Show full text]
  • Download the Festival Leaflet
    Friday 10 – Sunday 12 March 2017 WELCOME The RNCM Chamber Music Festival plays a huge role in the story of the College and is one of the UK’s most substantial chamber music events. Chamber music is at the core of what we do – the RNCM has a proud tradition of chamber ensemble training and our alumni appear with high profile ensembles such as the Elias, Heath and Navarra String Quartets plus the Gould Piano Trio to name just a few. This year, we take a journey through Hungary’s rich musical heritage, exploring works from 1800 to the present day. The Festival will include the masterworks of Béla Bartók, Zoltán Kodály, Ernő Dohnányi, György Kurtág and György Ligeti, lesser known gems by Karl Goldmark, Ferenc Farkas and Sándor Veress, and composers such as Haydn, Brahms and Liszt who were all influenced by Hungarian folk music. The Festival will also examine the educational legacy of Kodály and Bartók and the Hungarian string playing tradition. Eminent musicians such as Gábor Takács-Nagy, the Keller and Talich Quartets, Kathryn Stott, Principal Horn of the London Philharmonic Orchestra John Ryan, RNCM alumni the Aurora Percussion Duo and RNCM tutors will perform alongside other renowned performers from across Europe and we will be showcasing exceptional students from the RNCM, Junior RNCM, the Royal Irish Academy of Music, St Mary’s Music School and Chetham’s School of Music. So please join us and embrace the spirit of the csárdás! Jeremy Young artistic director With the generous support of Fri 10 Mar 10am – 10.30am Forman Lecture Theatre 2pm – 4pm RNCM Concert Hall FESTIVAL INTRODUCTION SERENADES WITH JEREMY YOUNG Ferenc Farkas Serenade for wind quintet Join the Festival’s Artistic Director Sándor Veress String Quartet No 2 and Head of Chamber Music Jeremy Young, Aaron Breeze New work for saxophone as he talks about his inspiration for quartet programming this year’s Festival.
    [Show full text]
  • Spring 2019 Newsletter
    SPRING 2019 Newsletter INAUGURAL MONTEUX NYC WINTER WORKSHOP & Report by Trustee and Alumna, CONCERTS A HUGE SUCCESS! NYC-based Flutist, Allison Kiger. After 75 years of success in Hancock, Maine, the Monteux School and Music Festival remains a mystery to many in the musical community who have never attended the School. To help the School fulfill its mission of preparing conductors and musicians for an orchestral career and to continue to attract the best applicants, audiences and donors, Allison developed the first Winter Workshop and Concerts which took place in Lincoln Center, New York City, from January 2-5, 2019. WORKSHOP GOALS: among the orchestral music community and network with musicians and teachers who can • Showcase Music Director Michael Jinbo as a help with recruiting performing conductor with a fully professional orchestra and also as a conducting teacher in a • Provide a professional performance opportunity major city and exposure for workshop conductors • Fulfill the mission of the School to train • Provide workshop conductors with a fully conductors and orchestra musicians professional concert video for future applications • Increase awareness of the Monteux School • Provide a convenient opportunity for alumni to gather and network in a major city RESULTS: Michael Jinbo’s teaching and coaching was very effective with the conductor students and his knowledge, clarity, authenticity and humor were well-appreciated. All of the conductors made noticeable improvement and seemed truly humbled, appreciative and musically challenged by the experience. Michael was also Michael Jinbo with student conductors at the Monteux Winter Workshop, NYC, January, 2019 Continued on Page 7 FROM MARC THAYER ALUMNI UPDATE Executive Director From Monteux Alumnus, David A.
    [Show full text]
  • Jewish Secularity and Edgar Zilsel's Geniereligion
    Yale Journal of Music & Religion Volume 6 Number 2 Sound and Secularity Article 2 2020 Assimilating to Art-Religion: Jewish Secularity and Edgar Zilsel’s Geniereligion (1918) Abigail Fine University of Oregon Follow this and additional works at: https://elischolar.library.yale.edu/yjmr Part of the Cultural History Commons, German Language and Literature Commons, Jewish Studies Commons, Musicology Commons, and the Other Religion Commons Recommended Citation Fine, Abigail (2020) "Assimilating to Art-Religion: Jewish Secularity and Edgar Zilsel’s Geniereligion (1918)," Yale Journal of Music & Religion: Vol. 6: No. 2, Article 2. DOI: https://doi.org/10.17132/2377-231X.1169 This Article is brought to you for free and open access by EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Yale Journal of Music & Religion by an authorized editor of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. Assimilating to Art-Religion: Jewish Secularity and Edgar Zilsel’s Geniereligion (1918) Cover Page Footnote I wish to thank August Sheehy and Margarethe Adams for organizing the symposium that was the impetus for this project. This article was greatly enriched by incisive commentary from three anonymous reviewers who engaged with the work in detail. I am further indebted to Roy Chan for his thoughtful comments on a draft of this article. This article is available in Yale Journal of Music & Religion: https://elischolar.library.yale.edu/yjmr/vol6/iss2/2 Assimilating to Art-Religion Jewish Secularity and Edgar Zilsel’s Geniereligion (1918) Abigail Fine After fleeing the Nazis, many European From its first pages, Zilsel’s treatise set Jewish and Marxist scholars were fortunate out to destroy the Geniereligion—that is, the to find a new sense of belonging abroad, at parareligious cults of veneration that form institutions like the New School for Social around artists, scientists, pedagogues, and Research in New York City or among the other secular figures.
    [Show full text]
  • American Music Research Center Journal
    Volume 15 2005 UNIVERSITY OF COLORADO AT BOULDER AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 15 2005 Laurie J. Sampsel, Guest Editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado at Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Cassandra M. Volpe, Archivist Sister Mary Dominic Ray, O. P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music Joice Waterhouse Gibson, Research Assistant, 2004–2006 Ross Hagen, Research Assistant, 2005–2007 EDITORIAL BOARD Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert R. Fink Katherine Preston William Kearns Catherine Parsons Smith Karl Kroeger Helen Smith Victoria Lindsay Levine Jessica Sternfeld Kip Lornell Joanne Swenson-Eldridge Jeffrey Magee The American Music Research Center Journal is published annually. Subscription rate is $14.50 per issue ($16.50 outside U.S.). Please address all inquiries to Laurie J. Sampsel, College of Music, University of Colorado at Boulder, 301 UCB, Boulder, CO 80309-0301. ISSN 1058-3572 © 2005 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro - posals from the scholarly community. All articles should be addressed to Laurie J. Sampsel, College of Music, University of Colorado at Boulder, 301 UCB, Boulder, CO 80309-0301. Each separate article should be submitted in two copies, on 81/2-by-11-inch paper, double-spaced, with 1" margins.
    [Show full text]
  • Felixmendelssohngustav Mahler
    Catalog TOC <<Page>> FELIXMENDELSSOHN­GUSTAV MAHLER Two Borderline Cases ofGerman­Jewish Assimilation Eric Werner, New York For my revered old Firend Dr. Robert Weltsch I No more appropriate motto for this essay could be imagined than the deeply felt understanding expressed in the unforgettable words of the poet Else Lasker­Schueler: Hab mich so abgestroemt Von meines Blutes Mostvergorenheit. .. Und immer, immer noch der Widerhall in mir, Wenn fern im Ost Das morsche Felsgebein, Mein Volk Zu Gott schreit. This essay intends to examine two individual cases of the German­Jewish symbiosis, two borderline cases of attempted assimilation, whose protagonists have given us universally acclaimed works of art. They are ex­ treme­ or borderline ­ cases, because both men attempted integration, through assimilation, with German culture, not the German nation, for Mendelssohn was Prussian and Saxon, Mahler was Austrian ­ and both came close to the realization of it. In the case of Mendelssohn, the attempt succeeded as far as the Germans would ever permit it to succeed; in Mahler's case it failed, despite good­will on both sides. In Mendelssohn's case we find typical as well as atypical elements. He belonged to a fairly homogeneous social elite ofNorth­ German bankers and their descendants; yet his own descent from Moses Mendelssohn ­ who had certainly never been considered an apostate ­ was rather a retarding circumstance. Mahler's background was that of a petite bourgeoisie, ethnically and religiously quite separate from a society that itself was many­faceted in its religious beliefs and its everyday language, in a country that, like all of old Catalog TOC <<Page>> Felix Mendelssohn ­ Gustav Mahler 241 Austria, was anything but homogeneous and that showed no particular desire for harmonious mutual understanding.
    [Show full text]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of Music Volume 2 of 2 Heinrich Schenker and the Radio by Kirstie Hewlett Thesis for the degree of Doctor of Philosophy December 2014 1 1 Appendices 1 1 Contents Appendix 1: References to Radio Broadcasts.............................................................. 1 1924 ........................................................................................................................................................................ 3 1925 ......................................................................................................................................................................11 1926 ......................................................................................................................................................................53
    [Show full text]
  • Karl Goldmark Suite Für Violine Und Klavier Nr
    Karl Goldmark Suite für Violine und Klavier Nr. 2 · Klaviertrio Nr. 1 Thomas Albertus Irnberger Michal Kaňka Pavel Kašpar Karl Goldmark (1830–1915) Suite No. 2 for Violin and Piano in E-fl at major, Op. 43 Suite Nr. 2 für Violine und Pianoforte Es-Dur op. 43 1 I Allegro moderato – Cantabile 8:53 2 II Andante – Allegro moderato – Langsam 9:34 3 III Allegro ma non troppo 5:47 4 IV Allegro con fuoco – Più animato 7:55 Trio for Fortepiano, Violin and Cello No. 1 in B-fl at major, Op. 4 Trio für Pianoforte, Violine und Violoncello Nr. 1 B-Dur op. 4 5 I Schnell 8:01 6 II Adagio. Langsam, doch nicht schleppend 8:20 7 III Scherzo. Bewegt 4:34 8 IV Finale. Schnell 7:52 Thomas Albertus Irnberger violin / Violine Michal Kaňka cello / Violoncello Pavel Kašpar piano / Klavier 2 Der Kantorensohn vom Balaton 100 Jahre zuvor dem jungen Musiker der Aufstieg Karl Goldmarks Klaviertrio Nr. 1 und Violin- zu einem der geschätzten Musiker seiner Zeit. Am suite Nr. 2 18. Mai 1830 in der ungarischen Kleinstadt Keszthely am Westufer des Plattensees (Balaton) in eine ärmliche Obwohl er selbst zu diesem Zeitpunkt längst Kantorenfamilie, geboren, war er von Kindheit an verstorben war, stellte die Zäsur, die der National- einfachste Verhältnisse gewohnt, wie er später in sozialismus mit seiner Rassen- und Kulturpolitik seinen Memoiren anschaulich festhielt: „Mein Vater in die Wahrnehmung der Werke Karl Goldmarks hatte […] ein Gehalt von 200 fl. [Gulden, Anm.] jährlich (1830–1915) brachte, einen gewaltigen Bruch und 12 lebende Kinder um sich, mit den verstorbenen dar, der nahtlos in die nach 1945 erfolgenden 21 oder 24, ich bin darüber nicht genauer informiert.
    [Show full text]
  • San Diego Symphony a Jacobs Masterworks Concert
    SAN DIEGO SYMPHONY A JACOBS MASTERWORKS CONCERT November 16, 17, 18, 2012 R. STRAUSS Don Juan, Opus 20 GOLDMARK Violin Concerto in A minor, Op. 28 Allegro moderato Air: Andante Moderato: Allegretto INTERMISSION BEETHOVEN Symphony No. 6 in F Major, Op. 68: Pastoral Awakening of Cheerful Feelings upon Arrival in the Country Scene by the Brook Merry Gathering of Country Folk Thunderstorm Shepherd’s Song; Glad and Grateful Feelings after the Storm Don Juan, Opus 20 RICHARD STRAUSS Born June 11, 1864, Munich Died September 8, 1949, Garmisch-Partenkirchen The summer of 1888 found the 24-year-old Strauss at something of an impasse. There was no question of his prodigious talent. Already he was the composer of some magnificent songs, and his First Symphony–completed when he was 20–had been premiered in New York City. But as a composer, he was still searching for an authentic voice. His career as a conductor was also stalled. He had succeeded Hans von Bülow as conductor of the superb Meiningen Orchestra at just the moment that orchestra was being downsized, and he ended up as third conductor of the Munich Court Opera, where he was stuck conducting the operas that did not interest the other conductors (and often did not interest Strauss). In these years Strauss found himself drawn toward descriptive music, particularly to the conception of the “symphonic poem” as that had been shaped by Franz Liszt. Strauss’ own movement in the direction of representational music was tentative: first (1886) came Aus Italien, written in response to an Italian holiday and more travelogue than drama.
    [Show full text]