DOCSLIB.ORG

Lyric Theatre Artur Rurinstein

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lyric Theatre Artur Rurinstein LYRIC THEATRE 1963-64 SEASON Baltimore, Maryland ,w> f.f., Æp J» Jr W . ■ F UNDER THE AUSPICES OF HARRY RAERNSTEIN, III S. IIVROK presents a ARTUR RURINSTEIN til Friday, March 13, 1964 1104 N. Charles Street Free Parking — any parking lot Under the Auspices of HARRY BAERNSTEIN III S. HUROK presents ARTUR KIBINSTi: IN PIANIST FOR YOUR ENJOYMENT Diamondback Lounge Hawaiian Room LORD BALTIMORE EMERSON HOTEL Around-the-clock favorite. At A charming Hawaiian fantasy. luncheon it is a popular meeting Polynesian cuisine by native cooks place for folks—at night it fea­ —also American food. Luncheon tures informal dancing. and dinner. Dancing in the evening. NO COVER, NO MINIMUM AT EITHER HOTEL Free parking for dinner guests SCHULER SCHOOL OF FINE ARTS For Beginning and Advanced Students * BASIC DRAWING, STILL-LIFE AND LANDSCAPE PAINTING PORTRAIT, LIFE AND SCULPTURE * DAY, EVENING AND SUMMER SCHOOLS (APPROVED BY STATE DEPARTMENT OF EDUCATION) 5 East Lafayette Ave. REGISTER NOW ! MUlberry 5-3568 I Grand Sonata No. 3 in B flat Major (posthumous) Franz Schubert Molto moderato Andante sostenuto Scherzo Allegro ma non troppo Carnaval, Opus 9 .......................................................... Robert Schumann Preamble, Pierrot, Arlequin, Valse Noble, Eusebius, Florestan, Coquette, Répliqué, Papillons, Lettres Dansantes, Chiarina, Chopin, Estrella, Reconnaissance, Pantalon et Colombine, Valse Allemande, Paganini, Aveu, Promenade, Pause, Marche des Da- vidsbuendler Contre les Philistins. INTERMISSION parfums MARCEL ROCHAS IF YOU WANT TO SPEAK ANY LANGUAGE IN THE WORLD speak to BERLITZ ENROLL NOW! PHARMACY 521 N. Charles St. PL 2-0767 PIKESVILLE MEDKAL CENTER 6 Central SAVINGS BANK FOUNDED 1854 Where generations of Baltimoreans have saved for more than 100 years. • DOWNTOWN • MONDAWMIN • TOWSON il Vaises nobles et sentimentales Maurice Ravel Ballade in G Minor, Opus 25 Two Etudes .... Frederic Chopin Andante spianato and Grande Polonaise brillante, Opus 22 * * # * * STEINWAY PIANO RCA VICTOR RECORDS Exclusive Management: HUROK CONCERTS INC. 730 Fifth Ave., New York 19, N.Y. • NEW HIGHER DIVIDEND—paid QUARTERLY • SAVE BY THE 20th—EARN FROM THE 1st • FREE GIFTS—Open your account by mail Accounts insured Yor bridge Federal to $10,000 an instrumentality Savings and Loan of the U. S. Government YORK and RIDGELY ROADS • CL 2-0100 7 interior designers ■ fine, unusual \ furniture ARTUR RUBINSTEIN BIOGRAPHY Artur Rubinstein was born in 1889 in Lodz, Poland, the youngest of seven children by nine years. He was, to quote him, “the Benjamin of his father,” who owned a hand-loom factory. Artur displayed musical talent at the age of three. His uncle wrote to Joseph Joachim, the great Hungarian violinist and friend of Brahms, who pronounced the child’s talent extraordinary but warned against forcing his development. Two years later, Artur gave a concert for charity in Warsaw and at eight studied in that city with Prof. Rozycki. In a few months, however, he had absorbed all that teacher could provide. By a stroke of luck, Artur’s sister was going to Berlin to prepare for her marriage and took her prodigy brother to be presented to Joachim. The vener­ able pedagogue was so impressed that he assumed responsibility for young Uiannult, fur. FINEST CUSTOM CLOTHES HAND-TAILORED IN HONG KONG Each garment made to your measurements and specifications by the best craftsmen in Hong Kong. Choose from a large selection of highest quality British woolens. Fit guaranteed. American styling. Delivery in approximately 4 weeks. Suits $79 to $130 Topcoats $89 to $155 Prices include duty and air freight Exclusive Agents WALTER E. HARTMAN 306 WATER STREET JJailU'S Kitit. President BALTIMORE 2—PLAZA 2-2885 Hong Kong oZ4e (Horizon of the Orient in (furniture, Wallpapers, oCamps, Screens, (Paintings and Accessories INTERIORS Modern 509 N. Charles St. Traditional LE 9-4320 Oriental Incorporated 1847 Eutaw Savings Bank Eutaw and Fayette BRANCHES: The Alameda at Belvedere Reisterstown Road at Rogers York Road at Dunkirk 1233 Eudowood Plaza ASSETS..............OVER $100,000,000 Member Federal Deposit Insurance Corporation Artur’s musical future—and sent him to study piano technique with Prof. Heinrich Barth, himself a pupil of Bulow, Taussig and Liszt. The amazing child was also placed with Max Bruch and Robert Kahn for instruction in composition and harmony. At eleven, he made his formal debut in Berlin, playing the Mozart Con­ certo in A major, with his muscial godfather, Joachim, conducting the orchestra. By the time he was fifteen, young Rubinstein had spread his talents to encompass most of Germany and Poland, playing once in Warsaw with the orchestra under the direction of Emil Mlynarski, whose daughter Aniela, as yet unborn, was in later years to marry the brilliant soloist. Some Volkswagen owners look down on other Volkswagen owners. When you graduate from a Volkswagen It's also short They still don’t worry about freezing or Sedon to a Volkswagen Station Wagon, We saved 4 feet of hood in front by boiling,- the engine is air-cooled. you really step up in the world. putting the engine in back. They still go a long way on a gallon of The Station Wagon stands a good foot Big as it is inside, it's only 9 inches longer gas (about 24 miles) and a very long woy taller than other cars. than the Volkswagen Sedan. on a set of tires (about 30,000 miles!. And if holds more than the biggest con­ So people who move up to the high- And it just tickles them to drive one ventional wagon you can find. slung model still feel very much at home. Volkswagen and be able to look down on But the VW Wagon isn't only tall. They park in the same little spots. a million others. fmp&’ttel Cm W. AUTHORIZED VOLKSWAGEN DEALERSHIP 1212 EAST TWENTY-FIFTH STREET TUXEDO 9-7617 Joachim also sent his young charge to visit Paderewski who was so en­ chanted with the youth’s ability that he prevailed upon him to prolong his stay for three months. Rubinstein, a stripling of sixteen and already a specialist in Chopin, Beethoven, Brahms and Liszt, first came to America in January, 1906, under the auspices of William A. Knabe. At the time, Charles Henry Meltzer wrote of him, “He has the intelligence of maturity and the wit of a ‘boulevardier’.” His first American appearance was in Philadelphia with the Philadelphia Orchestra at the beginning of the month, and his New York debut in Carnegie Hall was made on January 8, 1906, with the same orchestra under the direction of Fritz Scheel. In Philadelphia Rubinstein played the E Minor Concerto of Chopin; in New York he chose the G Minor Concerto of Saint-Saëns. TIIE LONDON SHOP j Antique and Period Furniture 1 Irish Waterford Glass i ----------------- --- -------------------- . ! Oriental Export China j 1 Oil Paintings and Prints j j Distinctive Gifts Shop Hours: Monday through Saturday 10-5 ? 1500-02 BOLTON STREET SET THE STAGE FOR YOUR FINANCIAL SECURITY. SAVE AT yieinml fedeial Sewing AND LOAN ASS’N • A FEDERALLY CHARTERED INSTITUTION Accounts insured by an agency of the U. S. Gov’t BALTIMORE & CHARLES ST. (Old Sun Bldg.) NORTHWOOD SHOPPING CENTER PERRING PLAZA SHOPPING CENTER 10 !TTTTtTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT7TTTT7TTTTTT7TTTTii 4 4 ► 4 ► 4 ► 4 p 4 ► 4 ► 4 ► 4 t- t Piano JAMARA Piano 4 4 t Nightly flOOM . Nightly 4 4 4 ► 4 ► LOUNGE 4 ► 4 ► & BAR 4 ► 4 ► 4 ► — 4 Centre near Calvert Baltimore, Maryland Only a few months before, in introducing him to the Concert Society of Paris (a fraternal organization of professional musicians) Saint-Saëns had said: “Allow me to introduce to you one of the greatest artists I know. I foresee for him an admirable career, and to say it all in a few words — he is worthy of the great name he bears.” A week after his Carnegie Hall appearance, on January 15, Rubinstein gave a recital at the Old Casino Theatre playing the D Minor Toccata and Fugue of Bach, the “Waldstein” sonata of Beethoven, and Schumann’s Sym­ phonic Etudes. During the first tour which lasted three months, he gave seventy-five concerts. After leaving America, Rubinstein gave no concerts for several 12 YEARS OLD WHISKY Melrose BLENDED WITH GRAIN NEUTRAL SPIRITS RARE Rarely has so magnificent a whisky been in the marketplace. Enjoy our superb quality more than ever—at its new price. QT. % PROOF, 40% STRAIGHT WHISKY TWELVE YEARS OLD OR MORE-60% GRAIN NEUTRAL SPIRITS, ©1963, MELROSE DIST. CO., N.Y SUCCESSOR TO GEDALIAH COHEN ^biCLmonds • ^lddafc/ie6 * jewelry Outstanding Quality At Outstanding Savings 323 N. HOWARD ST. (Second Floor) MUIberry 5-4534 Open Monday thru Saturday — Thurs. Eve til 9 years. When he reappeared in Berlin in 1910 he was asked where he had been and what he had been doing. “Oh,” he replied, “I have been dead for a few years.” Actually, he had been in Paris devoting those years to incessant study and (to quote him) to hurdling the greatest obstacle in the path of a prodigy, that of shedding my immaturity.” He succeeded in planting his feet firmly in the music of the classics and the moderns and in establishing his personal and pianistie freedom. BALLERINAS KNOW KING’S CONTRIVANCE International Cuisine in a Country Setting JUNIOR SHOES LUNCHEON • COCKTAILS . DINNER • MONDAWMIN MAU • REISTERSTOWN RD. PLAZA EXCELLENT WINE LIST • HILLENDALE All OREN EVERY EVENING On Route 32, East of Route 29, Reisterst'n Plaza Open Sat. 'til 5:30 at Simpsonville in Howard County PHONE NO. 9-5105 For Reservations: KEystone 1-5131 Headquarter! for Balanced Design Dancewear 2biitinctiue dining. tempting gourmet dishes served piping hot from the Charcoal Grate. Unexcelled wines and liquors from our world-famous bar. LUNCHEON—DINNER—SUPPER -BELVEDERE HOTEL I I Falstaff Room I He concertized extensively throughout Europe during the next half-dozen years, playing in Moscow and also in St.
Load more

Recommended publications
  • Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russi
    ‘I wish for my life’s roses to have fewer thorns’: Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russia Abstract Heinrich Neuhaus (1888—1964) was the Soviet era’s most iconic musicians. Settling in Russia reluctantly he was dismayed by the policies of the Soviet State and unable to engage with contemporary narratives of selfhood in the wake of the Revolution. In creating a new aesthetic territory that defined himself as Russian rather than Soviet Neuhaus embodied an ambiguous territory whereby his views both resonated with and challenged aspects of Soviet- era culture. This article traces how Neuhaus adopted the idea of self-reflective or ‘autobiographical’ art through an interdisciplinary melding of ideas from Boris Pasternak, Alexander Blok and Mikhail Vrubel. In exposing the resulting tension between his understanding of Russian and Soviet selfhood, it nuances our understanding of the cultural identities within this era. Finally, discussing this tension in relation to Neuhaus’s contextualisation of the artistic persona of Dmitri Shostakovich, it contributes to a long- needed reappraisal of his relationship with the composer. I would like to gratefully acknowledge the support of the Guildhall School that enabled me to make a trip to archives in Moscow to undertake research for this article. Dr Maria Razumovskaya Guildhall School of Music & Drama, London Word count: 15,109 Key words: identity, selfhood, Russia, Heinrich Neuhaus, Soviet, poetry Contact email: [email protected] Short biographical statement: Maria Razumovskaya completed her doctoral thesis (Heinrich Neuhaus: Aesthetics and Philosophy of an Interpretation, 2015) as an AHRC doctoral scholar at the Royal College of Music in London.
    [Show full text]
  • PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 the Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr
    PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 The Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr. Richard Benjamin THE GRAMMY® FOUNDATION eonard Bernstein is cele­ brated as an artist, a CENTER FOP LEAR ll I IJ G teacher, and a scholar. His Lbook Findings expresses the joy he found in lifelong learning, and expounds his belief that the use of the arts in all aspects of education would instill that same joy in others. The Young People's Concerts were but one example of his teaching and scholarship. One of those concerts was devoted to celebrating teachers and the teaching profession. He said: "Teaching is probably the noblest profession in the world - the most unselfish, difficult, and hon­ orable profession. But it is also the most unappreciated, underrat­ Los Angeles. Devoted to improv­ There was an entrepreneurial ed, underpaid, and under-praised ing schools through the use of dimension from the start, with profession in the world." the arts, and driven by teacher each school using a few core leadership, the Center seeks to principles and local teachers Just before his death, Bernstein build the capacity in teachers and designing and customizing their established the Leonard Bernstein students to be a combination of local applications. That spirit Center for Learning Through the artist, teacher, and scholar. remains today. School teams went Arts, then in Nashville Tennessee. The early days in Nashville, their own way, collaborating That Center, and its incarnations were, from an educator's point of internally as well as with their along the way, has led to what is view, a splendid blend of rigorous own communities, to create better now a major educational reform research and talented expertise, schools using the "best practices" model, located within the with a solid reliance on teacher from within and from elsewhere.
    [Show full text]
  • Visions&Voices: Porgy and Bess
    Visions and Voices and the USC Libraries have collaborated to create a series of resource guides that allow you to build on your experiences at many Visions and Voices events. Explore the resources listed below and continue your journey of inquiry and discovery! Porgy and Bess USC LIBRARIES RESOURCE GUIDE Tuesday, April 29, 2014, Ahmanson Theatre, Los Angeles ROSS SCIMECA of the USC Libraries has selected the following resources to help you learn more about Porgy and Bess. Introduction Porgy and Bess premiered in 1935 on Broadway in New York City. The work is a collaboration among George Gershwin, DuBose Heyward and Ira Gershwin based on Heyward’s novel and play, both named Porgy. Gershwin considered Porgy and Bess an “American folk opera,” musically integrating blues and jazz into the classical opera genre. However, the work was not really accepted as an opera until the Houston Grand Opera mounted the complete score in 1976. Nine years later, the Metropolitan Opera performed it. Porgy and Bess is now internationally recognized as a profound and unique work that it is quintessentially American in expression. The performance you will be attending is the most recent Broadway production, which opened in January 2012 and closed September 23, 2012. It was nominated for ten Tony Awards, winning Best Revival of a Musical and Best Performance by an Actress in a Leading Role in a Musical (Audra McDonald). Synopsis The following synopsis comes from the musical’s official website at porgyandbessthemusical.com/story: On a quiet evening in Charleston’s Catfish Row, Clara and her husband Jake sing a lullaby (“Summertime”) to their baby.
    [Show full text]
  • GERSHWIN Porgy and Bess
    110287-88 bk Porgy US 14/07/2004 10:31am Page 12 Great Opera Recordings ADD 8.110287-88 Also available: GERSHWIN 2 CDs Porgy and Bess Winters • Williams • Matthews • Long • Coleman Orchestra and Chorus • Lehman Engel (Recorded 1951) 8.110219-20 8.110287-88 12 110287-88 bk Porgy US 14/07/2004 10:31am Page 2 Great Opera Recordings Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of George specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been GERSHWIN nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. (1898 – 1937) He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His Porgy and Bess philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard Opera in Three Acts with the greatest clarity. Lyrics by DuBose Heyward and Ira Gershwin There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and Libretto by DuBose Heyward piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and consistently achieves better results than restoration engineers working with the metal parts from the archives of the Porgy .
    [Show full text]
  • Janina Fialkowska Piano
    Série Dorothy Morton pour artistes invités Dorothy Morton Invited Guests Series Janina Fialkowska piano eenn collaborationcollaboration avecavec • inin collaborationcollaboration withwith 3344e SSérieérie CBC/McGillCBC/McGill • 3344tthh CCBC/McGillBC/McGill SeriesSeries ccbcmusic.ca/mcgillbcmusic.ca/mcgill Le lundi 25 février 2013 Monday, February 25, 2013 à 19 h 30, salle Pollack 7:30 pm, Pollack Hall COONCERTNCERT Six pièces lyriques / Six Lyric Pieces EDVARD GRIEG Arietta, Op. 12, No. 1 (1843-1907) Sommerfugl (Butterfl y), Op. 43, No. 1 Notturno, Op. 54, No. 4 Bekken (Brooklet), Op. 62, No. 4 Trolltog (March of the Dwarfs), Op. 54, No. 3 Efterklang (Remembrances), Op. 71, No. 7 4 Impromptus, D 935, Op. Posth. 142 FRANZ SCHUBERT en fa mineur / in F minor (1797-1828) en la bémol majeur / in A-fl at major en si bémol majeur / in B-fl at major en fa mineur / in F minor ~ entracte ~ Polonaise en mi bémol mineur / in E-fl at minor, Op. 26, No. 2 FRÉDÉRIC CHOPIN Scherzo no 4 en mi majeur / No. 4 in E major, Op. 54 (1810-1849) Valse en la bémol majeur / Waltz in A-fl at major, Op. 64, No. 3 Mazurka en do majeur / in C major, Op. 56, No. 2 Mazurka en do mineur / in C minor, Op. 56, No. 3 Scherzo no 1 en si mineur / No. 1 in B minor, Op. 20 CCee concertconcert estest enregistréenregistré parpar CBCCBC MusicMusic enen vidéovidéo pourpour diffusiondiffusion enen ligneligne (à(à cbcmusic.ca/mcgill)cbcmusic.ca/mcgill) etet enen audioaudio ppourour ddiffusioniffusion dansdans lele cadrecadre dede l'émissionl'émission IInn CConcertoncert aaniméenimée parpar PPaoloaolo PietropaoloPietropaolo lesles dimanchesdimanches à 1111 h 0000 ssurur lleses ondesondes dede CBCCBC RadioRadio 2 (93,5(93,5 FMFM à Montréal).Montréal).
    [Show full text]
  • A Listening Guide for the Indispensable Composers by Anthony Tommasini
    A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.
    [Show full text]
  • Bergenpac.Org UPCOMING SHOWS on the TAUB STAGE at BERGENPAC
    2019-2020 bergenpac.org UPCOMING SHOWS ON THE TAUB STAGE AT BERGENPAC DECEMBER (CONT.) 2019 The Very Hungry Caterpillar featuring Dream Snow & Other 15 1pm & 4pm OCTOBER Eric Carle Favorites presented by PSE&G 3 8:00pm Vince Neil of Mötley Crüe presented by WDHA 17 7:00pm Lior Suchard: The Israeli Illusionist – ON SALE SOON! 4 8:00pm Steven Wright presented by Johl & Company 20 8:00pm A Christmas Carol The Musical presented by bergenPAC 5 8:00pm Michael Martocci presents Sinatra Meets The Sopranos 21 1pm & 4:30pm A Christmas Carol The Musical presented by bergenPAC 6 1:00pm Jeff Boyer’s Big Bubble Bonanza 22 1:00pm A Christmas Carol The Musical presented by bergenPAC 10 8:00pm Rick Wakeman: Grumpy Old Man Tour 11 8:00pm Explosion de la Salsa de Ayer 2020 JANUARY 13 7:30pm Gin Blossoms: The New Miserable Experience Satisfaction: The International Rolling Stones Tribute Show: 15 7:30pm So You Think You Can Dance Live! 2019 4 8:00pm Paint It Black 16 8:00pm TOTO: 40 Trips Around the Sun; Benzel-Busch Concert Series New Jersey Symphony Orchestra presents Winter Festival: My Fellow Supporters of the Arts, 9 7:30pm 19 8:00pm The Jim Breuer Residency: Comedy, Stories & More Vol. III Mozart’s Don Giovanni Sergio Mendes & Bebel Gilberto: The 60th Anniversary 11 8:00pm The Capitol Steps: The Lyin’ Kings I am excited to share Bergen Performing Art Center’s 2019-20 lineup 20 7:30pm of Bossa Nova with you today. Boasting a variety of headliners, up-and-comers and 12 3:00pm Neil Berg’s 104 Years of Broadway Mystery Science Theater 3000 Live: The Great Cheesy everything in between across the genres, we expect everyone will find 24 8:00pm 17 8:00pm The Simon & Garfunkel Story: A Tribute to Simon & Garfunkel something they love.
    [Show full text]
  • Ambassador Auditorium Collection ARS.0043
    http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity.
    [Show full text]
  • The English Chamber Orchestra Vladimir Ashkenazy Conductor and Pianist
    THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN The English Chamber Orchestra Vladimir Ashkenazy Conductor and Pianist JOSE-LuIS GARCIA, Leader FRIDAY EVENING, NOVEMBER 10, 1978, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Variations on a Theme of Frank Bridge BRITTEN Introduction and Theme Wiener Walzer Adagio Moto Perpetuo March Funeral March Romance Chant Aria Italiana Fugue and Finale Bourt!e Classique Concerto in F major for Piano and Orchestra, K. 459 MOZART Allegro Allegretto Allegro assai VLADIMIR ASHKENAZY, Pianist INTERMISSION Divertimento for Strings Allegro non troppo Molto adagio Allegro assai Symphony No. 5 in B-flat major SCHUBERT Allegro Andante con moto Menuetto Allegro vivace Vladimir Ashkenazy: London, Monitor, and RCA Records. ElIglish Chamber Orchestra: Columbia, Angel, DCC, LandOlt, Vallg1tard, Klavier, Philips, Lyrichord and RCA Records. Centennial Season - Twenty-seventh Concert lOOth Annual Choral Union Series PROGRAM NOTES by STEFAN DE HAAN Variations on a Theme of Frank Bridge BENJAMIN BRITTEN (1913-1977 ) This work has for many years been one of Britten's most widely admired compositions-and not without reason, for it contains the very essence of the composer's talents: his ability to limit himself in form and material and then to stretch the limits beyond all expectations, his scoring which imparts to the most banal chord an unmistakable "Britten sound," his sense of humor, his lyrical expressiveness, and the seriousness of his musical thought. The self-imposed limitations in the case of the Variations are the orchestration for strings alone, the concise form of the eleven movements and the harmonic simplicity is so characteristic of much of Britten's music.
    [Show full text]
  • LEONARD Bernstein Pieces, Three of the Anniversaries, Short Compositions for BERNSTEIN Piano, and an Unpublished Piece That Siegel Debuted
    40 THE METROPOLITAN | THE EXTRAORDINAIRE | THE DOWNTOWNER | THE TOURIST | THE ARTIST | THE CRITIC | THE DINER | THE CRAFTMASTER | THE HIGHROLLER | THE GLADIATOR | THE YOUNGSTER | THE SHOWMAN | THE NIGHTOWL | THE THINKER CELEBRATING died in 1990. In Scottsdale, Siegel will play four lesser-known LEONARD Bernstein pieces, three of the Anniversaries, short compositions for BERNSTEIN piano, and an unpublished piece that Siegel debuted. He is the only pianist who has played it professionally. “Lenny called the Anniversaries, ‘snapshots in sound, showing his intro- spective, private side rather than the extroverted personality many associate with him,” he says. The pieces are in honor of Copland, Johnny Mehegan, a jazz Pianist Jeffrey Siegel pianist Bernstein liked to listen to in Manhattan’s musical-rich Greenwich Village, and for Helen Coates, his per- honors the composer on sonal secretary. his birth centennial MESSAGE OF THE MAESTRO Siegel met Bernstein as a young man through a mutual friend, American David M. Brown » The Entertainer! wide: symphonic and orchestral music, for Siegel’s Keyboard Conversations, mezzo-soprano, Jenny Tourel, who ballet, film and theater, choral works, which the young septuagenarian also escorted the young pianist back stage to eonard Bernstein’s 100th opera, chamber music and piano pieces. performs in 20 other cities annu- meet with him. Then, in a series of sub- birthday is a west side story Specifically, other well-known ally, including New York, Chicago, scription concerts in November 1988, and an east side story; one compositions include the “Serenade for Philadelphia, Cleveland, Minneapolis, conducted by Zubin Mehta, he spoke of joy uptown, downtown Violin, Strings, Harp and Percussion,” Houston, Dallas, Denver, Washington, at length with Bernstein, as they often and everywhere great the “The Three Dance Episodes from D.C.
    [Show full text]
  • Carmel Music Society
    Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna
    [Show full text]
  • Marist CLS Favorite Concertos January 11, 2021
    Marist CLS Favorite Concertos January 11, 2021 Paul Stoddard Zoom reminders • Use the View icon to change from gallery to speaker if you want. • When I share my screen (which will be most of the class) you will see my Power Point slides and YouTube videos in the main window. • If you want to ask a question: - Click the Raise Hand icon (you can find it after you click the Participants button). - Or, type your question in the Chat • Keep yourself muted unless asking your question after I call on you. Thanks! 2 Concertos (Concerti if you speak Italian) ✢ Music for an instrumental soloist and orchestra. The vast majority are for piano or violin soloist. ✢ Cello is a distant third. There are also some for clarinet, flute, oboe, French horn, trumpet, etc. ✢ Other instruments have only a few, although in the 20th century composers started writing them for all kinds of odd instruments. (See the list “Concertos for other instruments” at the end of the Wikipedia article.) 3 Concertos – your favorites and mine Mozart ✢ Violin Concerto No 5 played by Anne Sophie-Mutter ✢ Piano Concerto No 17 played by Lenny (Mozart wrote 27) ✢ Piano Concerto No 21, 2nd movement played by Yeol Eum Son ✢ One of my favorites, Piano Concerto No 22 played by Mitsuko Uchida ✢ Horn Concerto No 4 E flat major K 495 played by Radek Baborák (Mozart wrote 5 for Horn, 1 for bassoon) ✢ Clarinet Concerto K.622 played by Richard Stoltzman ✢ Sinfonia Concertante (violin & viola) played by Perlman and Zuckerman ✢ Concerto for Flute Harp and Orchestra in C major, K 299 5 Musical Forms – understanding structure v Classical pieces are long.
    [Show full text]