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Recordings of Mahler Symphony No. 4
Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel). -
Multivalent Form in Gustav Mahlerʼs Lied Von Der Erde from the Perspective of Its Performance History
Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History Christian Utz All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 09/10/2017 Accepted: 19/11/2017 Published: 27/02/2018 Last updated: 27/02/2018 How to cite: Christian Utz, “Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History,” Musicologica Austriaca: Journal for Austrian Music Studies (February 27, 2018) Tags: 20th century; Analysis; Bernstein, Leonard; Das Lied von der Erde; Klemperer, Otto; Mahler, Gustav; Performance; Performance history; Rotational form; Sonata form; Strophic form; Walter, Bruno This essay is an expanded version of a paper presented at the symposiumGustav Mahler im Dialog, held at the Gustav Mahler Musikwochen in Toblach/Dobbiaco on July 18, 2017. The research was developed as part of the research project Performing, Experiencing and Theorizing Augmented Listening [PETAL]. Interpretation and Analysis of Macroform in Cyclic Musical Works (Austrian Science Fund (FWF): P 30058-G26; 2017–2020). I am grateful for advice received from Federico Celestini, Peter Revers, Thomas Glaser, and Laurence Willis. Files for download: Tables and Diagrams, Video examples 1-2, Video examples 3-4, Video examples 5-8, Video examples 9-10 Best Paper Award 2017 Abstract The challenge of reconstructing Gustav Mahlerʼs aesthetics and style of performance, which incorporated expressive and structuralist principles, as well as problematic implications of a post- Mahlerian structuralist performance style (most prominently developed by the Schoenberg School) are taken in this article as the background for a discussion of the performance history of Mahlerʼs Lied von der Erde with the aim of probing the model of “performance as analysis in real time” (Robert Hill). -
Voyager's Gold Record
Voyager's Gold Record https://en.wikipedia.org/wiki/Voyager_Golden_Record #14 score, next page. YouTube (Perlman): https://www.youtube.com/watch?v=aVzIfSsskM0 Each Voyager space probe carries a gold-plated audio-visual disc in the event that the spacecraft is ever found by intelligent life forms from other planetary systems.[83] The disc carries photos of the Earth and its lifeforms, a range of scientific information, spoken greetings from people such as the Secretary- General of the United Nations and the President of the United States and a medley, "Sounds of Earth," that includes the sounds of whales, a baby crying, waves breaking on a shore, and a collection of music, including works by Mozart, Blind Willie Johnson, Chuck Berry, and Valya Balkanska. Other Eastern and Western classics are included, as well as various performances of indigenous music from around the world. The record also contains greetings in 55 different languages.[84] Track listing The track listing is as it appears on the 2017 reissue by ozmarecords. No. Title Length "Greeting from Kurt Waldheim, Secretary-General of the United Nations" (by Various 1. 0:44 Artists) 2. "Greetings in 55 Languages" (by Various Artists) 3:46 3. "United Nations Greetings/Whale Songs" (by Various Artists) 4:04 4. "The Sounds of Earth" (by Various Artists) 12:19 "Brandenburg Concerto No. 2 in F Major, BWV 1047: I. Allegro (Johann Sebastian 5. 4:44 Bach)" (by Munich Bach Orchestra/Karl Richter) "Ketawang: Puspåwårnå (Kinds of Flowers)" (by Pura Paku Alaman Palace 6. 4:47 Orchestra/K.R.T. Wasitodipuro) 7. -
Otto Klemperer Curriculum Vitae
Dick Bruggeman Werner Unger Otto Klemperer Curriculum vitae 1885 Born 14 May in Breslau, Germany (since 1945: Wrocław, Poland). 1889 The family moves to Hamburg, where the 9-year old Otto for the first time of his life spots Gustav Mahler (then Kapellmeister at the Municipal Theatre) out on the street. 1901 Piano studies and theory lessons at the Hoch Conservatory, Frankfurt am Main. 1902 Enters the Klindworth-Scharwenka Conservatory in Berlin. 1905 Continues piano studies at Berlin’s Stern Conservatory, besides theory also takes up conducting and composition lessons (with Hans Pfitzner). Conducts the off-stage orchestra for Mahler’s Second Symphony under Oskar Fried, meeting the composer personally for the first time during the rehearsals. 1906 Debuts as opera conductor in Max Reinhardt’s production of Offenbach’s Orpheus in der Unterwelt, substituting for Oskar Fried after the first night. Klemperer visits Mahler in Vienna armed with his piano arrangement of his Second Symphony and plays him the Scherzo (by heart). Mahler gives him a written recommendation as ‘an outstanding musician, predestined for a conductor’s career’. 1907-1910 First engagement as assistant conductor and chorus master at the Deutsches Landestheater in Prague. Debuts with Weber’s Der Freischütz. Attends the rehearsals and first performance (19 September 1908) of Mahler’s Seventh Symphony. 1910 Decides to leave the Jewish congregation (January). Attends Mahler’s rehearsals for the first performance (12 September) of his Eighth Symphony in Munich. 1910-1912 Serves as Kapellmeister (i.e., assistant conductor, together with Gustav Brecher) at Hamburg’s Stadttheater (Municipal Opera). Debuts with Wagner’s Lohengrin and conducts guest performances by Enrico Caruso (Bizet’s Carmen and Verdi’s Rigoletto). -
Download Booklet
111248 bk Klemperer EU 1/15/07 11:55 AM Page 4 Great Conductors: Otto Klemperer Ludwig van BEETHOVEN (1770-1827) Symphony No. 5 in C minor, Op. 67 35:00 BEETHOVEN 1 I Allegro con brio 8:04 2 II Andante con moto 10:06 3 III Allegro 5:43 Symphonies Nos. 5 and 7 4 IV Allegro – Presto 11:07 Recorded 6th and 7th October and 17th December, 1955 in Kingsway Hall, London First issued on Columbia 33C 1051 LEM O K PER Symphony No. 7 in A major, Op. 92 38:44 TT ER 5 I Poco sostenuto – Vivace 12:53 O 6 II Allegretto 9:27 7 III Presto – Assai meno presto 8:24 8 IV Allegro con brio 7:58 Recorded 5th and 6th October and 17th December, 1955 in Kingsway Hall, London First issued on Columbia 33CX 1379 Philharmonia Orchestra Otto Klemperer Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn Producer’s Note When stereo tape recording was first adopted by the major labels in the mid-1950s, it was looked upon as an experimental adjunct to the main monaural recording sessions. The stereo engineer would work from a different 1 s studio than the mono producer and engineer. With EMI and Decca at least, this control room was kept secret 955 Recording from the “artistes” out of fear they might demand to be paid twice for the sessions (once for the mono and again for the stereo taping). The new equipment often malfunctioned, and sometimes not enough was recorded of takes that went well to release. -
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F. -
Pittsburgh Symphony Orchestra LORIN MAAZEL, Music Director-Designate
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Pittsburgh Symphony Orchestra LORIN MAAZEL, Music Director-Designate MICHAEL TILSON THOMAS Conductor VLADIMIR FELTSMAN, Pianist WEDNESDAY EVENING, APRIL 27, 1988, AT 8:00 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Symphony No. 6 in F major, Op. 68 ("Pastoral") ............... BEETHOVEN Allegro ma non troppo (Awakening of Joyful Feelings Upon Arriving in the Country) Andante molto mosso (Scene by the Brook) Allegro (Merry Gathering of Country Folk) Allegro (Tempest, Storm) Allegretto (Shepherds' Hymn: Glad and Thankful Feelings After the Storm) INTERMISSION Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 . RACHMANINOFF Allegro ma non tanto Intermezzo: adagio Finale: alia breve VLADIMIR FELTSMAN Bravo to May Festival Underwriters In the spirit of honoring the past and ensuring the future, these families and individuals have demonstrated their support by underwriting the artist fees and major production costs of this 95th Annual May Festival. Representing both long-time Ann Arbor arts patrons and a new generation of leadership in the cultural life of this community, these donors are committed to maintaining the Musical Society's tradition of excellence through their public-spirited generosity. We gratefully recognize the following: Dennis A. Dahlmann Mrs. Theophile Raphael Mr. and Mrs. Peter N. Heydon Eileen and Ron Weiser with Elizabeth E. Kennedy McKinley Associates, Inc. Bill and Sally Martin An anonymous family The Power Foundation Forty-second Concert of the 109th Season Ninety-fifth Annual May Festival PROGRAM NOTES by Dr. FREDERICK DORIAN in collaboration with Dr. JUDITH MEIBACH Symphony No. 6 in F major, Op. 68 ("Pastoral") . -
A Collection of Stan Ruttenberg's Reviews of Mahler Recordings From
A collection of Stan Ruttenberg’s Reviews of Mahler Recordings from the Archives Of the Colorado MahlerFest (Symphonies 3 through 7 and Kindertotenlieder) Colorado MahlerFest XIII Recordings of the Mahler Third Symphony Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits. Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them. -
Richard Strauss
RICHARD STRAUSS: The Origin, Dissemination and Reception of his Mozart Renaissance Raymond lIolden I I \,--,~/ PhD Goldsmiths' College University of London 1 Abstract Richard Strauss holds an important place in the history of performance. Of the major musical figures active during the second half of the nineteenth and the first half of the twentieth centuries, his endeavours as a Mozartian are of particular importance. Strauss' special interest in the works of Mozart was seminal to both his performance and compositional aesthetics. As a result of this affinity, Strauss consciously set out to initiate a Mozart renaissance that embodied a precise set of principles and reforms. It was these principles and reforms, described as literalist, rather than those of artists such .as Gustav Mahler, who edited Mozart's works both musically and dramatically, that found further expression in the readings of, amongst others, Otto Klemperer, George Szell, Sir John Pritchard and Wolfgang Sawallisch. It is the aim of this dissertation to investigate Strauss' activities as a Mozartian and to assess his influence on subsequent generations of Mozart conductors. Accordingly, the dissertation is divided into an Introduction, five chapters, a Conclusion and thirteen appendices. These consider both the nature and ramifications of Strauss' reforms and performance aesthetic. Within this framework, the breadth of his renaissance; his choice of edition, cuts and revisions; his use of tempo, as a means of structural delineation; his activities with respect to the -
FINAL-The Farthest PBS Credits 05-08-17 V2 Formatted For
The Farthest: Voyager in Space Written & Directed by Emer Reynolds Produced by John Murray & Clare Stronge Director of Photography Kate Mc Cullough Editor Tony Cranstoun A.C.E. Executive Producers John Rubin, Keith Potter Sean B Carroll, Dennis Liu Narrator John Benjamin Hickey Line Producer Zlata Filipovic Composer Ray Harman Researcher Clare Stronge Archive Researcher / Assistant Editor Aoife Carey Production Designer Joe Fallover Sound Recordist Kieran Horgan Sound Designer Steve Fanagan CGI Visual Effects Ian Benjamin Kenny Visual Effects Enda O’Connor Production Manager – Crossing the Line Siobhán Ward Post Production Manager Séamus Connolly Camera Assistants Joseph Ingersoll James Marnell Meg O’Kelly Focus Puller Paul Shanahan Gaffers Addo Gallagher Mark Lawless Robin Olsson Grip John Foster Ronin Operator Dan Coplan S.O.C. Propman Ciarán Fogarty Props Buyer Deborah Davis Art Department Trainee Sam Fallover Art Department Transport Brian Thompson Imaging Support Eolan Power Production Assistants Brian O’ Leary Conor O’ Donovan Location Research Andrea Lewis Hannah Masterson Production Accounts Siobhán Murray Additional Assistant Editing Martin Fanning Tom Pierce Robert O’Connor Colorist Gary Curran Online Editor Eugene McCrystal Executive Producer BBC Kate Townsend Commissioning Editor ZDF/arte Sabine Bubeck-Paaz FOR HHMI TANGLED BANK STUDIOS Managing Director Anne Tarrant Director of Operations Lori Beane Director of Production Heather Forbes Director of Communications Anna Irwin Art Director Fabian de Kok-Mercado Consulting Producers -
95643 Digibooklet Lucerne Festival Vol. VIII
HISTORIC PERFORMANCES Annie Fischer Schumann Piano Concerto Philharmonia Orchestra | Carlo Maria Giulini Leon Fleisher Beethoven Piano Concerto No. 2 Swiss Festival Orchestra | George Szell Robert Schumann (1810–1856) Piano Concerto in A minor, Op. 54 Annie Fischer piano Philharmonia Orchestra | Carlo Maria Giulini LUCERNE, KUNSTHAUS, 3 SEPTEMBER 1960 Ludwig van Beethoven (1770–1827) Piano Concerto No. 2 in B-flat major, Op. 19 Leon Fleisher piano Swiss Festival Orchestra | George Szell LUCERNE, KUNSTHAUS, 29 AUGUST 1962 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Two truths – Annie Fischer and Leon Fleisher in Lucerne How does a man play the piano? With strong hands; in a clear, unfussy, unsentimental and alert fashion; completely in control, free, measured and purposeful. A woman, on the other hand? She touches the piano delicately; loves the soft notes, the ornamen- tal and the decorative; she is a refined young lady, educated in salons and trained, by well-meaning teachers, to remain faithful to the musical text. If these clichés were to represent the truth, Annie Fischer would be a gentleman-pianist, whilst Leon Fleisher could be said to epitomise female musical virtues. If one hears them, one straight after the other (and not with an interval of two years, as was the case in Lucerne), one could indeed conceive such silly, and yet illuminating, ideas and ask oneself how these musical stereotypes have come to appear back-to-front. After all, a contemporary critic writing about Annie Fischer in the 1960s commented that her tone at the piano demonstrated “an astonishingly resolute steeliness for a woman”. -
Dennis Brain Discography
DENNIS BRAIN ON RECORD A Comprehensive Discography Compiled by Robert L. Marshall Fourth Edition, 2011 FOREWORD This is the fourth, and no doubt final, revision of the “Comprehensive Inventory by Composer” section from my book, Dennis Brain on Record: A Comprehensive Discography of his Solo, Chamber and Orchestral Recordings, originally published in 1996, with a foreword by Gunther Schuller (Newton, Mass: Margun Music, Inc.). Most of the additions and corrections contained in the present list were brought to my attention by Dr. Stephen J. Gamble who, over the course of the past fifteen years, has generously shared his discographical findings with me. Although many of these newly listed items also appear in the discography section of the recently published volume Dennis Brain: A Life in Music, co-authored by Dr. Gamble and William C. Lynch (University of North Texas Press), it seemed useful nonetheless to make an updated, integral version of the “comprehensive” inventory available as well. There is one significant exception to the claim of “comprehensiveness” in the present compilation; namely, no attempt has been made here to update the information relating to Dennis Brain’s film studio activities. All the entries in that regard included here were already listed in the original publication of this discography. The total number of entries itemized here stands at 1,791. In the original volume it was 1,632. All the newly added items are marked in the first column with an asterisk after the composer’s name. (It will be interesting to see whether any further releases are still forthcoming.) The entries themselves have been updated in other respects as well.