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Volkmar Andreae Wurde Am 5
Andreae, Volkmar (05. 07. 1879 - 18. 06. 1962) Biographie Volkmar Andreae wurde am 5. Juli 1879 in Bern geboren und verstarb am 18. Juni 1962 in Zürich. Er war Sohn des Apothekers Philipp Andreae und der Adelina Perroni. Andreae verbrachte die Jugend in Bern, hatte ab dem fünften Lebensjahr bei Selma Stämpfli und bis zur Matur 1897 an der Musikschule Bern bei Ernst Denhof und Dominik von Reding Klavierunterricht. Bei Karl Munzinger (1842-1911) wurde Andreae in Komposition und Theorie unterrichtet. Die weitere Ausbildung zwischen 1897-1900 erfolgte am Kölner Konservatorium gleichzeitig mit Fritz Brun. Andreae studierte bei Franz Wüllner (1832-1902) Komposition und bei Friedrich Wilhelm Franke (1862-1932). Um 1900 übernahm Volkmar Andreae die Tätigkeit eines Solorepetitors an der Münchner Hofoper. Danach kehrte er nach Bern zurück, wo er für kurze Zeit an der dortigen Universität Philosophie studierte. 1901 erfolgte die Einberufung zum Militärdienst. 1899 hatte Andreae bereits die Rekrutenschule absolviert und plante, sich ganz dem Militärdienst zu widmen. Die Freunde Joseph Viktor Widmann und Friedrich Hegar konnten ihn aber davon abhalten. Besonders während des Ersten Weltkriegs war Andreae oftmals wegen Militärdienst von den Dienstpflichten in der Zürcher Tonhalle entbunden. Er kommandierte seit 1913 das Schützenbataillon 3. Mit der Kantate "Charons Nachen" op. 3 trat Andreae am 22. Dezember 1901 erstmals in Bern auf. Ab November 1902 (bis 1949) leitete Andreae den "Gemischten Chor Zürich". Er hatte die Nachfolge von Hermann Suter (1870-1926) angetreten, der als Leiter der "Allgemeinen Musikgesellschaft" nach Basel gewechselt war. Kurz danach wurde Andreae neben Carl Attenhofer (1837-1914) zweiter Direktor des "Männerchors Zürich". -
Boston Symphony Orchestra Concert Programs, Summer, 1947-1950
BOSTON SYMPHONY ORCH ESTRA MUSIC DIRECTOR. AT TANGLEWOOD 1948 « The Steinway is the1 official pian~ Arkansas Philharmonic «—— Buffalo Philharmonic Chattanooga Symphony Cleveland Orchestra Columbus Philharmonic Dallas Symphony Detroit Symphony Duluth Civic Symphony El Paso Symphony s'teinway . instrument of the Ft. Wayne Symphony Harrisburg Symphony immortals ! For excellence of Hollywood Bowl, Los Angeles Houston Symphony workmanship, resonance of tone, responsiveness Indianapolis Symphony Kansas City Symphony to the player's touch, and durability of construction, Los Angeles Symphony Louisville Philharmonic the Steinway, from the smallest, lowest priced Miami Symphony Minneapolis Symphony vertical, grand, to the Steinway concert the Nat. Orchestral Assoc, of N.Y. Nat. Symphony, Wash., D.C. overwhelming choice of concert artists New Jersey Symphony New Orleans Civic Symphony and symphony orchestras, has no equal. It is New York Philharmonic Symphony Philadelphia Orchestra the recognized standard by which all other Pittsburgh Symphony Portland Symphony pianos are judged. It is the best . Robin Hood Dell Concerts, Phila. Rochester Symphony and you cannot afford anything but the best. St. Louis Symphony San Antonio Symphony Seattle Symphony Stadium Concerts, N. Y. City in Massachusetts and New Hampshire Syracuse Symphony Vancouver Symphony new Steinway pianos are sold ONLY by M'Steinert & Sons Jerome F. Murphy, President 162 Boylston St., Boston Branches in Worcester, Springfield and Wellesley Hills # * 'Serkshire Festival SEASON 1948 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN historical and descriptive notes by John N. Burk COPYRIGHT, I948, BY BOSTON SYMPHONY ORCHESTRA, INC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Henry B. -
Fritz Brun in 1953 Photo: Martin Hesse Guild Gmbh Courtesy of the Fritz Brun Estate Switzerland GUILD MUSIC GMCD 7420 BRUN – Volume 9
GUILD MUSIC GMCD 7420 BRUN – Volume 9 GMCD 7420 2016 Guild GmbH © 2016 Guild GmbH Fritz Brun in 1953 photo: Martin Hesse Guild GmbH courtesy of the Fritz Brun Estate Switzerland GUILD MUSIC GMCD 7420 BRUN – Volume 9 A GUILD DIGITAL RECORDING • Recording Producer: David Hernando Rico Konzert für Violoncello und Orchester (d-moll, 1947) • Balance Engineer: Martin Roller 1 I. Allegro moderato 13:25 • Musical supervision: Anton Steinecker 2 II. Andante sostenuto, con sentimento 6:02 • Recorded in 2015 at Studio I, Slovak Radio, Bratislava: 3 III. Allegro animato 8:37 August 25-27 (tracks 1-3), August 22-24 (tracks 4 and 5) and August 18 (tracks 6-10) • Final master preparation: Reynolds Mastering, Colchester, England 4 Verheissung (Johann Wolfgang von Goethe) 9:26 • Cover: The Sun (1912) by Edward Munch – courtesy of Munch Museet, Oslo for mixed choir, orchestra and organ (1915) • Design: Paul Brooks, [email protected] 5 Grenzen der Menschheit (Johann Wolfgang von Goethe) 6:10 • Art direction: Guild GmbH for male choir and orchestra (1932) • Executive co-ordination: Guild GmbH • 90% of this recording was generously sponsored by Dr. Hans Brun (1922-2007) Fünf Lieder für eine Altstimme (1913-1916) • The remaining 10% was jointly sponsored by following institutions: arr. Adriano for string sextet (2014) SWISSLOS – Kanton Luzern, Kulturförderung 6 I. Lebensgenuss (Friedrich Hölderlin) 3:47 SWISSLOS – Kultur Kanton Bern, Erziehungsdirektion 7 II. Die Entschlafenen (Friedrich Hölderlin) 1:36 Stadt Bern, Präsidialdirektion, Abteilung Kulturelles 8 III. Abendständchen (Clemens Brentano) 1:19 9 IV. Es wehet kühl und leise (Friedrich Schlegel) 1:46 The song texts and biographies are available on guildmusic.com – see the listing for GMCD 7420 10 V. -
La Couleur Du Temps – the Colour of Time Salzburg Whitsun Festival 29 May – 1 June 2020
SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli La couleur du temps – The Colour of Time Pauline Viardot-Garcia (1821 – 1910) Photo: Uli Weber - Decca Salzburg Whitsun Festival 29 May – 1 June 2020 (SF, 30 December 2019) The life of Pauline Viardot-Garcia – singer, musical ambassador of Europe, outstanding pianist and composer – is the focus of the 2020 programme of the Salzburg Whitsun Festival. “The uncanny instinct Cecilia Bartoli has for the themes of our times is proven once again by her programme for the 2020 Salzburg Whitsun Festival, which focuses on Pauline Viardot. Orlando Figes has just written a bestseller about this woman. Using Viardot as an example, he describes the importance of art within the idea of Europe,” says Festival President Helga Rabl-Stadler. 1 SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli Pauline Viardot not only made a name for herself as a singer, composer and pianist, but her happy marriage with the French theatre manager, author and art critic Louis Viardot furthered her career and enabled her to act as a great patron of the arts. Thus, she made unique efforts to save the autograph of Mozart’s Don Giovanni for posterity. Don Giovanni was among the manuscripts Constanze Mozart had sold to Johann Anton André in Offenbach in 1799. After his death in 1842, his daughter inherited the autograph and offered it to libraries in Vienna, Berlin and London – without success. In 1855 her cousin, the pianist Ernst Pauer, took out an advertisement in the London-based journal Musical World. Thereupon, Pauline Viardot-García bought the manuscript for 180 pounds. -
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. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
Art Song Terms Lotte Lehmann Was Renowned for Her Lieder Interpretations, but What Does the Word Lieder Mean? It Means Simply German Art Songs
Art Song Terms Lotte Lehmann was renowned for her Lieder interpretations, but what does the word Lieder mean? It means simply German art songs. Art song's brief description: a poem set to music, usually for trained voice and piano with a duration of about three minutes. In German the word for such classical song is Lied (singular) and Lieder (plural). It is the German practice to capitalize their nouns. But this concise definition really doesn't touch the soul of Lieder. The elements (a quartet if you like: poet, composer, singer and pianist) work together, each complimenting the other. Many scholars have suggested that really great poetry shouldn't be set in song; it should stand on its own merits. And it is certainly true that epic poetry is seldom set to music. But lyric poetry, of whatever language, has inspired composers right down to our own times to set and even enhance a poem, often making it more accessible, highlighting elements that only music can. Lyric poetry tends to be short, concise, often deals with love, nature and other elements favored by the Romantic artists of the 18th and 19th Centuries. But though Lieder may have reached a climax in expression, appreciation and perfection during the 19th Century, art song is indeed still being written, performed and recorded today. In fact, this may be seen as another golden age of art song performance because it has become too expensive to record operas, thus many gifted singers record art song recitals instead. There is a dichotomy between the “bel canto” (beautiful singing) demands of opera, especially those of Bellini, Donizetti and Rossini, and the intimate, word-centered requirements of Lieder singing. -
Von Dr. Benjamin-Gunnar Cohrs (2006/Rev.2010)
SYMPHONISCHES PRÄLUDIUM – C OMPOSED BY ANTON BRUCKNER ? von Dr. Benjamin-Gunnar Cohrs (2006/rev.2010) Symphonisches Praeludium in C Minor »Rudolf Krzyzanowski cop. 1876« / »von Anton Bruckner« Facsimile and Score, edited by Wolfgang Hiltl. Doblinger/Vienna, 2002; STP 704, ISMN 012-18981-7 (score on sale; orchestral parts on hire) The history of this ouverture-like symphonic movement in C-minor of 293 bars length, ascribed to Anton Bruckner, is most curious: After the Second World War, the Viennese composer Heinrich Tschuppik discovered an unknown, music manuscript in the estate of his uncle, the composer Rudolf Krzyzanowski (5 April 1859 – 21 June 1911). He was a pupil of Anton Bruckner and is known to Brucknerians because he, together with Gustav Mahler, prepared the Piano Arrangement of Bruckner's Third Symphony. The manuscript constitutes an orchestral score of 43 pages, bearing the inscript »Rudolf Krzyzanowski cop. 1876« on the first page, and on the last page, in large, blue letters, »von Anton Bruckner«. Tschuppik immediately reported in public about his finding («Ein neu aufgefundenes Werk Anton Bruckners», in: Schweizerische Musikzeitung 88/1948, p. 391; «Bruckners Sinfonisches Praeludium », in: Sueddeutsche Zeitung , 8 September 1949). He also prepared his own, clean copy of the score, copied out orchestral parts, and also arranged a four stave particello of the movement in two copies. Tschuppik had also shown the piece to Bruckner scholars Max Auer and Franz Graeflinger, and as well to the Swiss conductor Volkmar Andreae. Their opinion on Bruckner's authorship was positive, and Andreae agreed to give the first performance of the piece – meanwhile entitled Sinfonisches Praeludium by Tschuppik – with the Vienna Philharmonic (23 January 1949). -
Bruckner Symphony Cycles (Not Commercially Available As Recordings) Compiled by John F
Bruckner Symphony Cycles (not commercially available as recordings) Compiled by John F. Berky – June 3, 2020 (Updated May 20, 2021) 1910 /11 – Ferdinand Löwe – Wiener Konzertverein Orchester 1] 25.10.10 - Ferdinand Loewe 1] 24.01.11 - Ferdinand Loewe (Graz) 2] 02.11.10 - Martin Spoerr 2] 20.11.10 - Martin Spoerr 2] 29.04.11 - Martin Spoerr (Bamberg) 3] 25.11.10 - Ferdinand Loewe 3] 26.11.10 - Ferdinand Loewe 3] 08.01.11 - Gustav Gutheil 3] 26.01.11- Ferdinand Loewe (Zagreb) 3] 17.04.11 - Ferdinand Loewe (Budapest) 4] 07.01.11 - Hans Maria Wallner 4] 12.02.11 - Martin Spoerr 4] 18.02.11 - Hans Maria Wellner 4] 26.02.11 - Hans Maria Wallner 4] 02.03.11 - Hans Maria Wallner 4] 23.04.11 - Franz Schalk 5] 05.02.11 - Ferdinand Loewe 6] 21.02.11 - Ferdinand Loewe 7] 03.03.11 - Ferdinand Loewe 7] 17.03.11 - Ferdinand Loewe 7] 02.04.11 - Ferdinand Loewe 8] 23.02.11 - Oskar Nedbal 8] 12.03.11 - Ferdinand Loewe 9] 24.03.11 - Ferdinand Loewe 1910/11 – Ferdinand Löwe – Munich Philharmonic 1] 17.10.10 - Ferdinand Loewe 2] 14.11.10 - Ferdinand Loewe 3] 21.11.10 - Ferdinand Loewe (Fassung 1890) 4] 09.01.11 - Ferdinand Loewe (Fassung 1889) 5] 30.01.11 - Ferdinand Loewe 6] 13.02.11 - Ferdinand Loewe 7] 27.02.11 - Ferdinand Loewe 8] 06.03.11 - Ferdinand Loewe (with Psalm 150 -Charles Cahier) 9] 10.04.11 - Ferdinand Loewe (with Te Deum) 1919/20 – Arthur Nikisch – Leipzig Gewandhaus Orchestra 1] 09.10.19 - Artur Nikisch (1. -
Michael Finnissy (Piano)
MICHAEL FINNISSY (b. 1946) THE HISTORY OF PHOTOGRAPHY IN SOUND CD1: 1 Le démon de l’analogie [28.29] 2 Le réveil de l’intraitable réalité [20.39] Total duration [49.11] CD2: 1 North American Spirituals [23.41] 2 My parents’ generation thought War meant something [35.49] Total duration [59.32] CD3: 1 Alkan-Paganini [13.37] 2 Seventeen Immortal Homosexual Poets [34.11] 3 Eadweard Muybridge-Edvard Munch [26.29] Total duration [74.18] CD4: 1 Kapitalistisch Realisme (met Sizilianische Männerakte en Bachsche Nachdichtungen) [67.42] CD5: 1 Wachtend op de volgende uitbarsting van repressie en censuur [17.00] 2 Unsere Afrikareise [30.35] 3 Etched bright with sunlight [28.40] Total duration [76.18] IAN PACE, piano IAN PACE Ian Pace is a pianist of long-established reputation, specialising in the farthest reaches of musical modernism and transcendental virtuosity, as well as a writer and musicologist focusing on issues of performance, music and society and the avant-garde. He was born in Hartlepool, England in 1968, and studied at Chetham's School of Music, The Queen's College, Oxford and, as a Fulbright Scholar, at the Juilliard School in New York. His main teacher, and a major influence upon his work, was the Hungarian pianist György Sándor, a student of Bartók. Based in London since 1993, he has pursued an active international career, performing in 24 countries and at most major European venues and festivals. His absolutely vast repertoire of all periods focuses particularly upon music of the 20th and 21st Century. He has given world premieres of over 150 pieces for solo piano, including works by Julian Anderson, Richard Barrett, James Clarke, James Dillon, Pascal Dusapin, Brian Ferneyhough, Michael Finnissy (whose complete piano works he performed in a landmark 6- concert series in 1996), Christopher Fox, Volker Heyn, Hilda Paredes, Horatiu Radulescu, Frederic Rzewski, Howard Skempton, Gerhard Stäbler and Walter Zimmermann. -
Furtwängler Broadcasts/Recordings
Furtwängler Broadcasts & Broadcast Recordings 1927-1954 1st version: February 20, 2002 Latest revision: July 5, 2019 This list of Furtwängler broadcasts/broadcast recordings is based on various private and official lists in my possession. Most of the lists were given to me by Frau Elisabeth Furtwängler during visits in Clarens in the 1970s. I have not tried to verify stations missing from the lists. I have given RRG (Reichsrundfunk Gesellschaft) as source for many WWII broadcasts, which were transmitted from Berlin, Vienna, Bayreuth, or Prague. Many of the dates of these broadcasts stem from an Italian list (from Bologna), written in perfect German! Broadcasts of commercial recordings (78 rpms and LPs) are not included. In November/December 2003, I was asked by Angelo Scottini, Piacenza, Italy, to include his list of Italian broadcasts. January 1, 2004, René Trémine gave permission to include all broadcasts mentioned in his Furtwängler concert listing 1906-1954. April 21, 2008, Norbert Kleekamp forwarded information on the Meistersinger broadcasts from Bayreuth August 1943. February 1, 2010, I included the recorded broadcasts in my discography up to 1945. November 2012, René Trémine sent me a list of amendments, added on January 10, 2013. February 18, 2018, I added broadcasts from the Danish Radio (DR), from the BBC, and from the RRG. March 9, 2018, a few amendments by Stéphane Topakian were added. A few corrections were added on March 25, 2018. March 27, 2018 some broadcasts from the Swedish Radio (SR) were added. Broadcasts up to the end of 1947 from the Austrian database ANNO were added July 1, 2018. -
ARSC Journal
SCHUMANN AND BRAHMS: LIEDER ON RECORD, 1901-1952. HMV RLS 1547003, 8 discs. SCHUMANN: Der Nussbaum (Fritz Schrlidter, tenor); Ich grolle nicht (Felia Litvinne, soprano); Ich hab' im Traum geweinet (Nicolai Figner, tenor, in Russian); Er, der Herrlichste von allen (Marie Knilpfer-Egli, sopra no); Intermezzo (Lilli Lehmann, soprano); Wanderlied (Willi Birrenkoven, tenor); Die beiden Grenadiere (Vittorio Arimondi, basso, in Italian); Volksliedchen, Der Schatzgraber, Der Soldat (Therese Behr-Schnabel, mezzo-soprano); Die Lotosblume, Du bist wie eine Blume (Giuseppe Borgatti, tenor, in Italian); Die Lotosblume, (Leo Slezak, tenor); Friili lingsnacht, Die Rose, die Lilie (Lydia Lipkowska, soprano, in Russian); Ich grolle nicht (Erik Schmedes, tenor); Frauenliebe und -leben (Julia Kulp, contralto); Die beiden Grenadiere (Feodor Chaliapin, basso, in Russian); Widmung (Frieda Hempel, soprano); Wanderlied, Du bist wie eine Blume (Friedrich Schorr, baritone); An den Sonnenschein, Volksliedchen, (Ursula van Diemen, soprano); Unterm Fenster (Lucrezia Bori, soprano; John McCormack, tenor, in English); So wahr die Sonne scheinet (Jo Vincent, soprano, Louis van Tulder, tenor); Die beiden Grenadiere, Lied eines Schmiedes (Sir George Henschel, baritone); In der Fremde (Alice Raveau, contralto, in French); Aus den 8stlichen Rosen (Richard Tauber, tenor); Ich will meine Seele tauchen, Im Rhein, im heiligen Strome (Thom Denijs, baritone); Zum Schluss, Fruhlingsnacht, Wer machte dich so krank?, Alte Laute (Elena Gerhardt, mezzo-soprano); Der Nussbaum, In