DOCSLIB.ORG

American Viola Society Newsletter No. 19, November 1980

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Viola Society Newsletter No. 19, November 1980 American Chapter ~ .~ of the t " INTERNATIONALE VIOLA FORSCHUNGSGESELLSCHAFT --_._.,-------_._-_...~-- ............ _--- --------- ~ November NE~'''SLETTER 19 1980 -----------_... _-----,._-----------,------'*' GRAZ - THE EIGHTH INTERN-ATIONAL VIOLA CONGRESS by A. Baird Knechtel, Islington Graz, the second largest city lnAustr1a after Vienna, was host to the Eighth International Viola Congress, July 2 - 6, 19800 Th1s was my first visit to a European congress and 1t held several surprises for me. Sessions wer·e conducted in the Hochschule fUr Muslk. on Prof. Franz Zeyrlnger' s t'home turf.·t Zeyrlnger 1s virtually the father of viola societies which have sprung up internationally in the past ten years or so. U.S.A., Canada, Eng­ land, West Germany, New Zealand. Japan, Australia, Scotland, and as of this summer, Italy, all now have vl:f)la· societies (br~nches of the Internat10nale Viola Forschungsgesellschaft)--a very- exciting situation 1ndeed~ The program was varied and interesting, and there were appearances by ex.. ponents of not only the viola itself, but on otherlnstruments related to the vi ola. Among- the se were the viola d' amore, v iola de gamba, baryton, viola pomposa, and even an arpegglorie~ You will re'membe-r that-the viola pomposa is tile lnstrume nt with flve s trlngs for which J.S. Bach composed the last "cello" suite. The arpege10ne 1s of course the instrument invented in schubert's time by one stauffer and for which Schubert wrote the lovely "Arpesglonet' Sonata in A Minor in 1824. At this congress there was a concomitant emphasis on music of the 18th and 19th centuries; what was contemporary was generally c·onserva­ tlve in style. These are observat-lons which oepend on taste for the 1r posi­ tive or negative implications. Most comwen'ts I heard regarding theuse of tl re l a tlves of the viola" were generally positive. lhe opening concert, at 8:00 p.m. on July 2nd, featured religious ~us1c with viola in prominent roles. ~t was held at the Stadtpfarke Klrche in the heart of downtown Graz.- The Pro Arte-Ensemble Graz, with viola soloist Hans Gutmeyer, was directed by Karl Ernst Hoffmann 1n five works: J.S. Bach's cantata, E~~1/V 18., ftGleich wle der Regen und Schnee vom Himmel rl!llt, tt which._ includes 4 violas in the lnstrumentatlon; Michael Haydn's "Ave Regina" for Bass, Viola solo" and Strings; a Recitative"and Aria by Franz Aumann {1728- AMERICAN VIOLA SOCIETY, INC,: Dr. I~yron Rosenblum, President J 39-23 47th st., Sunnyside, N.Y. 11104; Dr. Maurice Riley, Vice-President, 512 Roosevelt Blvd., Ypsilanti, MI. 48197; Dr. Ann Woodward, Treasurer, PO Box 1134, Chapel Hill, NO, 27514. Editor of the American Chapter New'slatter: Myron Rosenblum. Inte rna t10nale Viola Forschungs~ese llschaft (IVFG): A-5020 salzburg J c/o Hochschule tlMozarteulIl, tt Austria. -2- 1797) for Tenor, Viola solo, a.nd strings; a first performance of the cantata, tt "Per mondo m1g11ore for Chorua, Viola 8010 ,.Strings by Franz ~o.rl~.E:~~,~ (born, 1921; text by G.F. qbermyer); and Benedetto Marcello's Psalm 50, "M1serere mel Deus lJ for Alto, Tenor, Bass, Cho'ru8, 2 Violas, and Bs.sso continuo. I found the ~~, and <!Pl:~ll~~t,,,works the most musically satistying and worth looking ln~o. On Thursday morning, the congress started in earnest with. a presentation by students of the Hochschule of the Brandenburg Concerto No.6 by J.S. Bach. students from the Kammerorchester of the Hochschule (a d 1fferent group), dlrect~d by Walter Klaslnc, gave a performance of three concertos: two by contemporary composers Jan Zdenek Bartos (born, 1908) and Walter Skolaud (born, 1910), Czech and Austrian re'spe'ctlvely, 'and a ·t1rst_·pert'·orma.nce in Austria of the Double Concerto by Johann Gottl1eb Graun (1702-1771) for Violin and Viola. In these concerti, all the young performers acquitted them- selves quite nobly. Conferences have their orga.n1za,tlonal proble'ms and this one was no ex­ ception; at the last minute two accompanists fell 111 and could not perform, causing the complete cancellation of the reeltal scheduledef:·swlss viola music by the Hunga.rlan-born virtuoso Andras von Toszeghl, and B. change to a 8010 work recital by Ulrich von Wrochem. There was a concert by the Hungarian Harp Trio which featured the violist! viola d'smore player Gustav Szered1-S&upe .. vlo1-1nlst Maria Vermes, and harpiat Anna. S. Molnar in performances of Handel,Martinu, and othera--most of it rather dull. At 4:30 p.m., Ulrich DrUnerfrom stuttgart lectured on the ttDevel~opment of the Viola Etude" with assistance from Werner Erbrecht, solo violist of tf~e Rund funk-Sinfon1e Orohe sters saarbrUcken. The se two artists went on to play 3 stUcke fUr 2 Vlo1en by Xaver Thoma (born, 1949) and Tele­ mann I s Duet in G Ma,jor for Viola and Viola Pomposa. There W8.S also a per­ formance of Alessandro Rolla's "Paganln1-Duo" for V1011-n and Viola. The evening's recital by Ulr1ch von Wrocham, as I stated before, featured un­ aCcompanied works by this young German-born virtuoso, now at the Milan Con­ servatory. He provided us with a few laughs when he coyly appeared at the sta.ge entrance with his tie and tails, waving an umbrella with a copy of John Cage' 8 59! Seconds for Viola Alone on the shaft. A little pizzazz never hurt a viola recital, it seems! Von Wrochem also delivered the Khatcha,turlan 8010 sonata, the Berl0 Seouenza VI and the Bach Cha'conne in fine fashion. This was a very interesTIng andreward,.lng recital. Friday featured several lectures 1n German (no doubt of great interest to those who speak the language with much greater fluency than I). The sUbjects were: two lectures by pre 111. suppan, ttMuslc in 5tyrla" ·and "otto S1egl: His Life and Work,tt and a lecture-demonstration by Prof. Richard R. Et'rat1 with assistance by Walter I~hrer of tl1e Zurioh Tonha.lle Orchester, "The Interpre­ tation of the Sonatas and Part1tas for Violin solo and the Suites for Violon­ cello Solo. It At 3:00 P .. ID. there was 8. lecture-recital by Dr. Myron Rosenblum, president of the Am'2r1can Chapter of the IVFG I on the topic of the small but interesting body of literature for viola d'amore and viola. He was shortly joined by two of his friends and colleagues, Daniel Thomason, viola d'amore player and Franz Zeyrlnger, violi8t, with Ingeborg Ertel at.the cembalo. Works by Schuchbaus"r'(18th .aelit.),F.W. Rust (1732-17~6) and A. Arcidiacono (born, ' 1915) were performed. The performance of the Schuchbauer was heard -·for the first time in Austria. Only at the annual viola congresses are we l1kely to hear such works, the music of composers whose obscurity 1& net alway~ jUs~ tifled. A. recital of new music followed at 4:30 p.rIl., with a student from the Hochschule fUr Musik in Vienna, Herbert Hefer, performing works by Alfred Uhl (born,. 1909), Eberhard Werdln (born, 1911), and Erich Mitzerllch (born, 1906). Uhl was present at this recital, and indeed at most of the sessions. On Saturday morning, a real treat was in store for those of us who love to play the schubert "ArpegE1one U sonata, but have little actual knowledge of the original instrument for which the sonata was written. Alfred Lessing -3- performed the work o~ a facsimile arpegg10ne accompanied by Ingeborg Ertel at the aB.mme rklav1er. The e ffe'ct was re markable; to hear this music played in Schubert's homeland on the instruments for which it was orlg1na.l1y in­ tended was an extraordinary experience: La.tar, Prof. Lessing, assisted by two colleagues from the DUsseldorf symphony, performed works in various combinations for baryton, viola d'amore, viola da gamba, and cello. This was indeed a most interesting presentation. After the recital, there was a general meeting of the International Viola Reaearch Society during which ten topios w'ere discussed. The name change of the American cha.pter to American Viola. Society was approved and indeed there was considerable discussion as to whether or not the German and Austrian chapters might not do well to follow the lead of the Americans. Ulrich von ~rochem of the Milan Conservatory has undertaken the formation of an Italian chapter of the IVFG, the ninth one to be formed. Franz Zeyrlnger was re­ soundingly re-elected as president, but there were certa1n changes in the executive which should promote greater facility in holding international meetings. It was brought to the attention of those present that the next congresses will be held 1n Toro~to, Canada at the Faculty or Music from June 11-14, 1981 and in stuttgart, \~est Germany 1n 1982. As I mentioned before, this oongress was beset by some.dlft1c:ult·1es. The American Air Force String Orchestra which graclouslyperformed for the con­ gress had been in Egypt just previous to the 5th, and Larry Laffoon,one of the first-stand violists, was taken 111. Laffoon had been scheduled to per­ form the Telemann Concerto in G Major tor" 2~ Viola's with Mary Atwood--but be­ cause of his"iM"1sposition, Prot'. Robert Slaughter It saved the daytt by play­ ing La.ffoon' s part exquisltely. He then we.nt on to partner Dr. Myron Rosenblum In:;::~a.f1ne performance'~" of the Concerto 1n D for VIola d.'amore, Viola, and Strings by Christoph Graupner. The highlight of the evening was Slaughter's inspired performance of the Henk Bad1ngs Concert2 for Viola.
Load more

Recommended publications
  • 20Th-Century Repertory
    Mikrokosmos List 665. - 2 - January 2021 ....20TH-CENTURY REPERTORY 1 Adam, Claus: Vcl Con/ Barber: Die Natali - Kates vcl, cond.Mester 1975 S LOUISVILLE LS 745 A 12 2 Adams, John: Shaker Loops, Phrygian Gates - McCray pno, Ridge SQ, etc 1979 S 1750 ARCH S 1784 A 10 3 Baaren, Kees van: Musica per orchestra; Musica per organo/Brons, Carel: Prisms DONEMUS 72732 A 8 (organ) - Wolff organ, cond.Haitink , (score enclosed) S 4 Badings: Con for Orch/H.Andriessen: Kuhnau Var/Brahms: Sym 4 - Regionaal 2 x REGIONAAL JBTG A 15 Jeugd Orkest, cond.Sevenhuijsen live, 1982, 1984 S 7118401 5 Bax: Sym 3, The Happy Forest - London SO, cond.Downes (UK) (p.1969) S RCA SB 6806 A 8 6 Bernstein, Elmer: Summer and Smoke (sound track) - cond.comp S ENTRACTE ERS 6519 A 8 7 Bernstein, Elmer: The Magnificent Seven - cond.comp S LIBERTY EG 260581 A 8 8 Bernstein, Elmer: To Kill a Mockingbird (film music) - Royal PO, cond.E.Bernstein FILMMUSIC FMC 7 A 25 1976 S 9 Bernstein, Elmer: Walk on the Wild Side (soundtrack) - cond.comp S CHOREO AS 4 A 8 10 Bernstein, Ermler: Paris Swings (soundtrack) S CAPITOL ST 1288 A 8 11 Bolling: The Awakening (soundtrack) S ENTRACTE ERS 6520 A 8 12 Bretan, Nicolae: Ady Lieder - comp.pno & vocal (one song only), L.Konya bar, MHS 3779 A 8 F.Weiss, M.Berkofsky pno S 13 Castelnuovo-Tedesco: The Well-Tempered Guitars - Batendo Guitar Duo (gatefold) 2 x ETCETERA ETC 2009 A 15 (p.1986) S 14 Casterede, Jacques: Suite a danser - Hewitt Orch (light music) 10" DISCOPHILE SD 5 B+ 10 15 Dandara, Liviu: Timpul Suspendat, Affectus, Quadriforium III
    [Show full text]
  • Everything Essential
    Everythi ng Essen tial HOW A SMALL CONSERVATORY BECAME AN INCUBATOR FOR GREAT AMERICAN QUARTET PLAYERS BY MATTHEW BARKER 10 OVer tONeS Fall 2014 “There’s something about the quartet form. albert einstein once Felix Galimir “had the best said, ‘everything should be as simple as possible, but not simpler.’ that’s the essence of the string quartet,” says arnold Steinhardt, longtime first violinist of the Guarneri Quartet. ears I’ve been around and “It has everything that is essential for great music.” the best way to get students From Haydn, Mozart, Beethoven, and Schubert through the romantics, the Second Viennese School, Debussy, ravel, Bartók, the avant-garde, and up to the present, the leading so immersed in the act of composers of each generation reserved their most intimate expression and genius for that basic ensemble of two violins, a viola, and a cello. music making,” says Steven Over the past century america’s great music schools have placed an increasing emphasis tenenbom. “He was old on the highly specialized and rigorous discipline of quartet playing. among them, Curtis holds a special place despite its small size. In the last several decades alone, among the world and new world.” majority of important touring quartets in america at least one chair—and in some cases four—has been filled by a Curtis-trained musician. (Mr. Steinhardt, also a longtime member of the Curtis faculty, is one.) looking back, the current golden age of string quartets can be traced to a mission statement issued almost 90 years ago by early Curtis director Josef Hofmann: “to hand down through contemporary masters the great traditions of the past; to teach students to build on this heritage for the future.” Mary louise Curtis Bok created a haven for both teachers and students to immerse themselves in music at the highest levels without financial burden.
    [Show full text]
  • Emerson String Quartet Calidore String Quartet
    Emerson String Quartet and Calidore String Quartet Emerson String Quartet Eugene Drucker / Violin Philip Setzer / Violin Lawrence Dutton / Viola Paul Watkins / Cello Calidore String Quartet Jeffrey Myers / Violin Ryan Meehan / Violin Jeremy Berry / Viola Estelle Choi / Cello Thursday Evening, October 5, 2017 at 7:30 Rackham Auditorium Ann Arbor Ninth Performance of the 139th Annual Season 55th Annual Chamber Arts Series PROGRAM Richard Strauss Capriccio, Op. 85 (excerpt) String Sextet Calidore String Quartet, Mr. Dutton, Mr. Watkins Anton Bruckner String Quintet in F Major, WAB 112 (excerpt) Adagio Emerson String Quartet, Mr. Berry Dmitri Shostakovich Two Pieces for String Octet, Op. 11 Prelude: Adagio Scherzo: Allegro molto Calidore String Quartet, Emerson String Quartet Intermission Felix Mendelssohn Octet in E-flat Major, Op. 20 Allegro moderato con fuoco Andante This evening’s performance is made possible by endowed support from the Ilene H. Forsyth Chamber Scherzo: Allegro leggierissimo Arts Endowment Fund, which supports an annual UMS Chamber Arts performance in perpetuity. Presto Media partnership is provided by WGTE 91.3 FM and WRCJ 90.9 FM. The Emerson String Quartet appears by arrangement with IMG Artists. Emerson String Quartet, Calidore String Quartet The Calidore String Quartet appears by arrangement with Opus 3 Artists. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. 3 CAPRICCIO, OP. 85 (EXCERPT) (1941­­­–42) hands of Strauss’s official librettist, music of that period. At the same Joseph Gregor, however, the opera time, Strauss remained faithful to his Richard Strauss did not progress to the composer’s own post-Romantic idiom, which no Born June 11, 1864 in Munich, Germany satisfaction and was temporarily one handled more beautifully or more Died September 8, 1949 in Garmisch-Partenkirchen set aside in favor of other projects.
    [Show full text]
  • TOC 0245 CD Booklet.Indd
    ADOLF BUSCH AND THE PIANO by Jakob Fichert It’s hardly a secret that Adolf Busch (1891–1952) was one of the greatest violinists of the twentieth century. But only specialists, it seems, are aware that he was also a very fne composer, even though these two artistic identities – performer and composer – were of equal importance to him. In recent years some of his chamber works, his organ music and parts of his symphonic œuvre have been recorded, allowing some appreciation of his stature as a creative fgure. But Busch’s music for solo piano has yet to be discovered – only the Andante espressivo, BoO1 37 22 , has been recorded before now, by Peter Serkin, Busch’s grandson, and that in a private recording, not available commercially. Tis album therefore presents the entirety of Busch’s piano output for the frst time. Busch’s writing for solo piano forms a kind of huge triptych, with the Sonata in C minor, Op. 25, as its central panel; another major work, a Fantasia in C major, BoO 20, was written early in his career; and a later Suite, Op. 60b, dates from the time of his full maturity. Busch also wrote more than a dozen smaller piano pieces, in which he seems to have experimented with various genres in pursuit of the development of his musical language, with four Intermezzi, a Scherzo and other character pieces among them. One can hear the infuence of Brahms, Mendelssohn, Busoni and – especially – Reger, but with familiarity Busch’s style can be heard to be distinctive and personal, displaying a unique and highly expressive world of sound.
    [Show full text]
  • June 1911) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1911 Volume 29, Number 06 (June 1911) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 29, Number 06 (June 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/570 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]. 361 THE ETUDE -4 m UP-TO-DATE PREMIUMS _OF STANDARD QUALITY__ K MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by JAMES FRANCIS COOKE », Alaska, Cuba, Porto Kieo, 50 WEBSTER’S NEW STANDARD 4 DICTIONARY Illustrated. NEW U. S. CENSUS In Combination with THE ETUDE money orders, bank check letter. United States postage ips^are always received for cash. Money sent gerous, and iponsible for its safe T&ke Your THE LAST WORD IN DICTIONARIES Contains DISCONTINUANCE isli the journal Choice o! the THE NEW WORDS Explicit directions Books: as well as ime of expiration, RENEWAL.—No is sent for renewals. The $2.50 Simplified Spelling, „„ ...c next issue sent you will lie printed tile date on wliicli your Webster’s Synonyms and Antonyms, subscription is paid up, which serves as a New Standard receipt for your subscription.
    [Show full text]
  • The Voice of the Viola in Times of Oppression Ásdís
    The Voice of the Viola in Times of Oppression Ásdís Valdimarsdóttir viola Marcel Worms piano The Voice of the Viola Felix Mendelssohn Bartholdy (1809-1847) in Times of Oppression Sonata for viola and piano (1824) Ásdís Valdimarsdóttir 1 6’45 Adagio - Allegro viola 2 6’23 Menuetto (Allegro molto) and Trio (Più lento) Marcel Worms 3 12’59 Andante con variazioni piano Hans Gál (1890-1987) Sonata op.101 for viola and piano (1941) 4 6’15 Adagio 5 5’31 Quasi menuetto, tranquillo 6 6’58 Allegro risoluto e vivace Dmitri Shostakovich (1906-1975) 7 1’39 Impromptu for viola and piano (1931) Paul Hindemith (1895-1963) Sonata for viola and piano (1939) 8 7’18 Breit, mit Kraft 9 5’02 Sehr lebhaft 10 4’05 Phantasie: sehr langsam,frei 11 7’35 Finale: leicht bewegt total time: 70’32 The Voice of the Viola in Times of Oppression 2 THE VIOLA is surely not the most assertive instrument Felix Mendelssohn-Bartholdy (1809-1847) Hans Gál (1890-1987) among the string family. It reaches neither the extreme Sonata for Viola and Piano (1824) Sonata op.101 for viola and piano (1941) height of the violin nor the rumbling depth and the Mendelssohn was only fifteen years old when he wrote Hans Gál was born in the vicinity of Vienna. Until his death, strength of the cello and contrabass. Its role is more his sonata for viola and piano. An opus number was late in the twentieth century and outside Central Europe, integrating than leading or polarising; and in brilliance, not assigned to the work by the young composer, and he let that Viennese origin resonate in his music.
    [Show full text]
  • View PDF Online
    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
    [Show full text]
  • Adolf Busch: the Life of an Honest Musician (2 Volume Set) Online
    yiMmZ (Ebook pdf) Adolf Busch: The Life of an Honest Musician (2 Volume Set) Online [yiMmZ.ebook] Adolf Busch: The Life of an Honest Musician (2 Volume Set) Pdf Free Tully Potter DOC | *audiobook | ebooks | Download PDF | ePub Download Now Free Download Here Download eBook #3756817 in Books Toccata Press 2010-09-17Original language:EnglishPDF # 1 3.97 x 7.32 x 9.02l, 7.55 #File Name: 09076895071408 pagesthe life and times of Adolf Busch, the "honest musician" | File size: 43.Mb Tully Potter : Adolf Busch: The Life of an Honest Musician (2 Volume Set) before purchasing it in order to gage whether or not it would be worth my time, and all praised Adolf Busch: The Life of an Honest Musician (2 Volume Set): 9 of 10 people found the following review helpful. An Exemplary Life and Musical History of the TimesBy Edgar SelfLong awaited, this biography of violinist, composer, quartet and trio leader, teacher, and conductor Adolf Busch (1891-1952), co-founder of the Marlboro School of Music, is a history of the violin, of concerts and chamber-music in the first half of the 20th century. The texts, research notes, copious illustrations, and appendices detail virtually every concert and associate of Busch's life with full descriptions of his musical and personal relations with Reger, Busoni, Tovey, Roentgens and hundreds of others, including those unsympathetic to him such as Furtwaengler, Sibelius, Edwin Fischer, and Elly Ney, for musical or political reasons. Busch's early immigration from Germany and his part in creating the Lucerne Festival and Palestine Symphony Orchestra, precursor of the Israel Philharmonic, before settling in the U.S.
    [Show full text]
  • Symposium Records Cd 1109 Adolf Busch
    SYMPOSIUM RECORDS CD 1109 The Great Violinists – Volume 4 ADOLF BUSCH (1891-1952) This compact disc documents the early instrumental records of the greatest German-born musician of this century. Adolf Busch was a legendary violinist as well as a composer, organiser of chamber orchestras, founder of festivals, talented amateur painter and moving spirit of three ensembles: the Busch Quartet, the Busch Trio and the Busch/Serkin Duo. He was also a great man, who almost alone among German gentile musicians stood out against Hitler. His concerts between the wars inspired a generation of music-lovers and musicians; and his influence continued after his death through the Marlboro Festival in Vermont, which he founded in 1950. His associate and son-in-law, Rudolf Serkin (1903-1991) maintained it until his own death, and it is still going strong. Busch's importance as a fiddler was all the greater, because he was the last glory of the short-lived German school; Georg Kulenkampff predeceased him and Hitler's decade smashed the edifice built up by men like Joseph Joachim and Carl Flesch. Adolf Busch's career was interrupted by two wars; and his decision to boycott his native country in 1933, when he could have stayed and prospered as others did, further fractured the continuity of his life. That one action made him an exile, cost him the precious cultural nourishment of his native land and deprived him of his most devoted audience. Five years later, he renounced all his concerts in Italy in protest at Mussolini's anti-semitic laws.
    [Show full text]
  • The Busch Quartet Beethoven Volume 4 Mp3, Flac, Wma
    The Busch Quartet Beethoven Volume 4 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Beethoven Volume 4 Country: UK Released: 2009 Style: Classical MP3 version RAR size: 1345 mb FLAC version RAR size: 1648 mb WMA version RAR size: 1589 mb Rating: 4.6 Votes: 721 Other Formats: TTA XM DMF AHX AU AUD APE Tracklist Quartet No.13 In B Flat Op.130 1 I: Adagio Ma non Troppo 8:56 2 II: Presto 1:54 3 III: Andante Con Moto, Ma Non Troppo 5:23 4 IV: Alla Danza Tedesca: Allegro Assai 2:23 5 V. Cavatina: Adagio Molto Espressivo 7:00 6 VI. Finale: Allegro 8:27 Quartet No.15 In A Minor Op.132 7 I: Assai Sostenuto - Allegro 4:03 8 II: Allegro Ma Non Tanto 6:15 III: Heilger Dankesang Eines Genesenen An Die Gottheit, In Der 9 3:45 Lydischen Tonart: Molto Adagio - Andante - Mit Innigster EmpFundung 10 IV: Alla Marcia, Assai Vivace 4:26 11 V. Allegro Appassionato Companies, etc. Phonographic Copyright (p) – Dutton Recorded At – Abbey Road Studios Credits Cello – Herman Busch* Composed By – Ludwig van Beethoven Ensemble – The Busch Quartet Liner Notes – Tully Potter Remastered By – Michael Dutton* Viola – Karl Doktor Violin – Adolph Busch, Gösta Andreasson (tracks: Gösta Andreassen) Notes Tracks 1 to 6: Recorded at Liederkranz Hall, NY 13 & 16 June 1941 Tracks 7 to 11: Recorded at Abbey Road Studio no. 3, on 7 October 1937 Barcode and Other Identifiers Barcode: 7 65387 97942 3 Rights Society: MCPS SPARS Code: ADD Matrix / Runout: [Manufactured by kdg] 672.658 CDBP 9794 Mould SID Code: IFPI 3066 Related Music albums to Beethoven Volume 4 by The Busch Quartet Mendelssohn – Pacifica Quartet - The Complete String Quartets Beethoven - Alban Berg Quartett - Complete String Quartets Artur Schnabel, Ludwig van Beethoven - Beethoven the Complete Piano Sonatas on Thirteen Discs Beethoven, Paul Lewis - Complete Piano Sonatas John Lill - Beethoven Piano Sonatas Complete Vol I Beethoven, Juilliard String Quartet - Quartet In A Minor Op.
    [Show full text]
  • Naxcat2005 ABRIDGED VERSION
    CONTENTS Foreword by Klaus Heymann . 4 Alphabetical List of Works by Composer . 6 Collections . 88 Alphorn 88 Easy Listening 102 Operetta 114 American Classics 88 Flute 106 Orchestral 114 American Jewish Music 88 Funeral Music 106 Organ 117 Ballet 88 Glass Harmonica 106 Piano 118 Baroque 88 Guitar 106 Russian 120 Bassoon 90 Gypsy 109 Samplers 120 Best Of series 90 Harp 109 Saxophone 121 British Music 92 Harpsichord 109 Trombone 121 Cello 92 Horn 109 Tr umpet 121 Chamber Music 93 Light Classics 109 Viennese 122 Chill With 93 Lute 110 Violin 122 Christmas 94 Music for Meditation 110 Vocal and Choral 123 Cinema Classics 96 Oboe 111 Wedding 125 Clarinet 99 Ondes Martenot 111 White Box 125 Early Music 100 Operatic 111 Wind 126 Naxos Jazz . 126 Naxos World . 127 Naxos Educational . 127 Naxos Super Audio CD . 128 Naxos DVD Audio . 129 Naxos DVD . 129 List of Naxos Distributors . 130 Naxos Website: www.naxos.com NaxCat2005 ABRIDGED VERSION2 23/12/2004, 11:54am Symbols used in this catalogue # New release not listed in 2004 Catalogue $ Recording scheduled to be released before 31 March, 2005 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating. Our recordings receive favourable reviews in many other publications which, however, do not use a simple, easy to understand rating system.
    [Show full text]
  • Digital Booklet Porgy & Bess
    71 TRACKS THE AMADEUS QUARtet ReCORDINGS VOL. I BEETHOVEN Berlin, 1950-1967 recording producer: Wolfgang Gottschalk (Op. 127) Hartung (Op. 59, 2) Hermann Reuschel (Op. 18, 2-5 / Op. 59, 1 / Op. 130-133 / Op. 135 / Op. 29) Salomon (Op. 18, 1+6 / Op. 59, 3 / Op. 95) recording engineer: Siegbert Bienert (Op. 18, 5 / Op. 130-133 / Op. 29) Peter Burkowitz (Op. 18, 6) THE Heinz Opitz (Op. 18, 2 / Op. 59, 1+2 / Op. 127 / Op. 135) Preuss (Op. 18, 1 / Op. 59, 3 / Op. 95) Alfred Steinke (Op. 18, 3+4) AMADEUS QUARtet ReCORDinGS Berlin, 1950-1967 Eine Aufnahme von RIAS Berlin (lizenziert durch Deutschlandradio) recording: P 1950 - 1967 Deutschlandradio research: Rüdiger Albrecht remastering: P 2013 Ludger Böckenhoff rights: audite claims all rights arising from copyright law and competition law in relation to research, compilation and re-mastering of the original audio tapes, VOL. I BEETHOVEN as well as the publication of this CD. Violations will be prosecuted. The historical publications at audite are based, without exception, on the original tapes from broadcasting archives. In general these are the original analogue tapes, MstASTER RELEASE which attain an astonishingly high quality, even measured by today’s standards, with their tape speed of up to 76 cm/sec. The remastering – professionally com- petent and sensitively applied – also uncovers previously hidden details of the interpretations. Thus, a sound of superior quality results. CD publications based 1 on private recordings from broadcasts cannot be compared with these. AMADEUS-QUARtett further reading: Daniel Snowman: The Amadeus Quartet. The Men and the Music, violin I Norbert Brainin Robson Books (London, 1981) violin II Siegmund Nissel Gerd Indorf: Beethovens Streichquartette, Rombach Verlag (Freiburg i.
    [Show full text]