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Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans
Document généré le 27 sept. 2021 01:22 Canadian University Music Review Revue de musique des universités canadiennes Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans Volume 21, numéro 2, 2001 Résumé de l'article Cette étude documente les efforts de Hans Rosbaud (1895–1962) pour URI : https://id.erudit.org/iderudit/1014484ar promouvoir la musique d’Arnold Schoenberg. L’essai est en grande partie basé DOI : https://doi.org/10.7202/1014484ar sur vingt années de correspondance entre le chef d’orchestre et le compositeur, échange demeuré inédit. Les tentatives de Rosbaud portaient déjà fruit Aller au sommaire du numéro pendant qu’il était en fonction à la radio de Francfort au début des années 1930. À la suite de l’interruption forcée due aux années nazies (au cours desquelles il a travaillé en Allemagne et dans la France occupée), Rosbaud a Éditeur(s) acquis une réputation internationale en tant que chef d’orchestre par excellence dédié aux œuvres de Schoenberg. Ses activités en faveur de Canadian University Music Society / Société de musique des universités Schoenberg dissimulaient le projet, que la littérature sur celui-ci n’avait pas canadiennes encore relevé, de ramener le compositeur vieillissant en Allemagne. ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Evans, J. (2001). Hans Rosbaud and the Music of Arnold Schoenberg. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 41–59. https://doi.org/10.7202/1014484ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. -
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). -
Lincolnshire Posy Abbig
A Historical and Analytical Research on the Development of Percy Grainger’s Wind Ensemble Masterpiece: Lincolnshire Posy Abbigail Ramsey Stephen F. Austin State University, Department of Music Graduate Research Conference 2021 Dr. David Campo, Advisor April 13, 2021 Ramsey 1 Introduction Percy Grainger’s Lincolnshire Posy has become a staple of wind ensemble repertoire and is a work most professional wind ensembles have performed. Lincolnshire Posy was composed in 1937, during a time when the wind band repertoire was not as developed as other performance media. During his travels to Lincolnshire, England during the early 20th century, Grainger became intrigued by the musical culture and was inspired to musically portray the unique qualities of the locals that shared their narrative ballads through song. While Grainger’s collection efforts occurred in the early 1900s, Lincolnshire Posy did not come to fruition until it was commissioned by the American Bandmasters Association for their 1937 convention. Grainger’s later relationship with Frederick Fennell and Fennell’s subsequent creation of the Eastman Wind Ensemble in 1952 led to the increased popularity of Lincolnshire Posy. The unique instrumentation and unprecedented performance ability of the group allowed a larger audience access to this masterwork. Fennell and his ensemble’s new approach to wind band performance allowed complex literature like Lincolnshire Posy to be properly performed and contributed to establishing wind band as a respected performance medium within the greater musical community. Percy Grainger: Biography Percy Aldridge Grainger was an Australian-born composer, pianist, ethnomusicologist, and concert band saxophone virtuoso born on July 8, 1882 in Brighton, Victoria, Australia and died February 20, 1961 in White Plains, New York.1 Grainger was the only child of John Harry Grainger, a successful traveling architect, and Rose Annie Grainger, a self-taught pianist. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
TOCC0358DIGIBKLT.Pdf
1 JOSEF SCHELB: CHAMBER MUSIC WITH CLARINET by Hartmut Becker Te composer and pianist Josef Schelb is one of the most important creative musicians from south-western Germany in the early to mid-twentieth century. Unlike the older Julius Weismann (1879–1950), who came from the same area of southern Baden, Schelb belonged to the generation of Frank Martin, Prokofev, Honegger, Milhaud and Hindemith. All were raised in conservative traditions; no sooner had they completed their studies than they experienced the cataclysmic cultural collapse that was the First World War. It is easier to understand Josef Schelb’s intellectual origins and creative activities if one considers the context and the events in his musical training. Josef Schelb was born on 14 March 1894, the son of a spa doctor in the tranquil watering place of Bad Krozingen. Te young Josef’s musical talent developed very early and at such a rate that while he was a pupil at the Bertold Gymnasium in Freiburg, no suitable teacher could be found for him locally. His parents therefore decided that he should pay regular visits to Basle, where he could be taught to an appropriate standard by the director of the city conservatoire, Hans Huber (1852– 1921), who himself had trained as a pianist and composer under Carl Reinecke at the Leipzig Conservatoire. Under Huber the young Josef reached the point where, afer gaining his Abitur in Freiburg in 1913, he felt equipped for the life of a professional musician. Schelb chose to study in the French-Swiss city of Geneva. Franz Liszt’s last important pupil, Bernhard Stavenhagen (1862–1914), had been active there since 1907. -
Hinrich Alpers Kuss Quartett Marie-Pierre Langlamet Hanno
Hinrich Alpers Kuss Quartett Marie-Pierre Langlamet Hanno Müller-Brachmann Tehila Nini Goldstein Nabil Shehata Agata Szymczewska RUDI STEPHaN (1887–1915) CHaMBER WORKS aND SONGS 1 Groteske für Geige und Klavier (1911) 8.04 13 Liebeszauber (Friedrich Hebbel) (1914) 11.31 Hinrich Alpers piano · Agata Szymczewska violin arranged for baritone and seven stringed instruments by Hinrich Alpers (2003/2013) „Ich will Dir singen ein Hohelied…“ (1913/14) Hanno Müller-Brachmann baritone · Hinrich Alpers piano 6 poems by Gerda von Robertus for soprano and piano Kuss Quartett · Nabil Shehata double-bass 2 I. Kythere 2.09 Marie-Pierre Langlamet harp 3 II. Pantherlied 0.59 14 Mitternacht (Leo Greiner) (1904) 2.53 4 III. Abendfriede 2.08 15 Weihnachtsgefühl (Martin Greif) (1905) 2.05 5 IV. In Nachbars Garten 2.25 6 V. Glück zu Zweien 2.12 Sieben Lieder nach verschiedenen Dichtern (1913/14) 7 VI. Das Hohelied der Nacht 2.34 16 I. Sonntag (Otto Julius Bierbaum) 2.07 Tehila Nini Goldstein soprano · Hinrich Alpers piano 17 II. Pappel im Stahl (Josef Schanderl) 1.50 18 III. Dir (Hinrich Hinrichs) 2.27 8 Waldnachmittag (Maurice Reinhold von Stern) (1904) 3.10 19 IV. Ein Neues (Karl von Berlepsch) 2.58 9 Auf den Tod einer jungen Frau (Anton Lindner) (1904) 2.10 20 V. Im Einschlafen (Bruno Goetz) 4.44 10 Up de eensome Hallig (Detlev von Liliencron) (1914) 2.07 21 VI. Abendlied (Gustav Falke) 3.00 22 VII. Heimat (Richard Dehmel) 3.09 “Zwei ernste Gesänge” for baritone and piano (1913/14) Tehila Nini Goldstein soprano · Hinrich Alpers piano 11 Am Abend (Johann Christian Günther) 1.21 12 Memento vivere (Friedrich Hebbel) 3.52 Hanno Müller-Brachmann baritone · Hinrich Alpers piano 2 Musik für Sieben Saiteninstrumente in a single movement and a postlude (1912) 23 I. -
Pfitzner Palestrina
PFITZNER PALESTRINA Liner notes, sung texts English (p.6), German (p.21), full tracklist (p.37) LINER NOTES Introduction composed a Scherzo in C minor for Orchestra, incidental music to "I have heard Hans Pfitzner's musical legend 'Palestrina' three Ibsen's "Feast af Solhaug" and a Cello Sonata, Op.1, first performed times so far, and it seems strange how effortless this austere and in Frankfurt in 1891. He spent the period 1892-93 teaching at the bold work has managed to find a niche for itself amongst my Conservatory in Koblenz, completing his first opera, "Der arme personal possessions. This work, intended as the embers of the Heinrich", a work heavily indebted to Wagner, in 1893. Later that romantic world of Schopenhauer and Wagner with its Düreresque year Pfitzner successfully conducted a concert of the Berlin and Faustian overtones, its metaphysical aura, its ethos of Philharmonic Orchestra entirely devoted to works from his pen. crucifixion, death and entombment, and its amalgam of music, Having become kapellmeister of the Municipal Theatre in Mainz pessimism and humour, is far from insignificant. Its appearance at without receiving a salary in the autumn of 1894, he went on to this point of time gives me solace and a pleasant sense of total direct the premiere of "Der arme Heimich" there on 2 April 1895. affinity; reflecting my own notion of humanity, it makes me feel During that year he began to take an interest in the theme of more positive, delivering me from polemics. Here is a great subject Palestrina. which I can gratefully embrace, until my feelings have calmed and I In 1897 the Stern Conservatory in Berlin engaged him as professor am my normal self again, and which allows me to dismiss he more of composition, a post he was to occupy for the next ten years. -
Recital in the Time of Covid-19 Valdis Jansons, Baritone Erik Lawrence - Piano June 24, 2020
Recital in the Time of Covid-19 Valdis Jansons, baritone Erik Lawrence - piano June 24, 2020 PROGRAM Songs and Dances of Death Modest Mussorgsky (1839-1881) text by Golenishtchev-Kutusov I Kolybel’naya (Lullaby) II Serenade III Trepak (Russian Dance) IV Polkovodec (Commander-In-Chief) Selected Chansons Henri Duparc (1848-1933) Soupir text by S. Prudhomme Phidylé text by L. De Lisle Testament text by A. Silvestre BREAK Three Shakespeare Songs Op. 6 Roger Quilter (1877-1953) I, Come Away, Death II. O Mistress Mine III. Blow, Blow, Thou Winter Wind Neopolitan Songs Tu Ca Nun Chiagne Ernesto De Curtis (1875-1937) text by L. Bovio Core ‘ngrato Salvatore Cardillo (1874-1947) text by R. Cordiferro 'O Surdato 'Nnammurato Enrico Cannio (1874-1949) text by A. Califano Latvian baritone, Valdis Jansons, made his opera debut in 2004 under the direction of Antonello Allemandi. Winner of many international competitions (Giuseppe Di Stefano 2006, As.Li.Co. 2009 etc.), he has sung more than 60 roles in more than 70 theaters all over the world. Among them: Teatro alla Scala in Berg's Lulu, directed by Peter Stein and conducted by Daniele Gatti in 2011; Teatro Carlo Felice di Genoa as Capulet in Romeo et Juliette, directed by Jean Louis Grinda and conducted by Fabio Luisi in 2012; Teatro Filarmonico di Verona, Teatro Regio di Parma; Sao Carlos Theater of Lisbon, Moscow’s Bolshoi Theater, Theater an der Wien; Teatro San Carlo di Napoli, Lincoln Center, NCPA in Beijing. Among his recent engagments are: Enrico Ashton in Lucia di Lammermoor by Donizetti at Bolshoi Theatre in Moscow, Il Conte di Luna in Il Trovatore at Teatro São Carlos (Lisbon, Portugal), at San Carlo Theatre in Naples as the baritone soloist in Carmina Burana by Orff, at t he Monte-Carlo Opéra in Rusalka , Figaro at Carlo Felice Opera House in Genoa, then at Theatro Municipal in Rio De Janeiro (Brazil) as Escamillo in Carmen, again as Escamillo in Genoa, Don Giovanni at the opening of the 16th International Music and Dance Festival of Bangkok (Thailand). -
200 Da-Oz Medal
200 Da-Oz medal. 1933 forbidden to work due to "half-Jewish" status. dir. of Collegium Musicum. Concurr: 1945-58 dir. of orch; 1933 emigr. to U.K. with Jooss-ensemble, with which L.C. 1949 mem. fac. of Middlebury Composers' Conf, Middlebury, toured Eur. and U.S. 1934-37 prima ballerina, Teatro Com- Vt; summers 1952-56(7) fdr. and head, Tanglewood Study munale and Maggio Musicale Fiorentino, Florence. 1937-39 Group, Berkshire Music Cent, Tanglewood, Mass. 1961-62 resid. in Paris. 1937-38 tours of Switz. and It. in Igor Stravin- presented concerts in Fed. Repub. Ger. 1964-67 mus. dir. of sky's L'histoire du saldai, choreographed by — Hermann Scher- Ojai Fests; 1965-68 mem. nat. policy comm, Ford Found. Con- chen and Jean Cocteau. 1940-44 solo dancer, Munic. Theater, temp. Music Proj; guest lect. at major music and acad. cents, Bern. 1945-46 tours in Switz, Neth, and U.S. with Trudy incl. Eastman Sch. of Music, Univs. Hawaii, Indiana. Oregon, Schoop. 1946-47 engagement with Heinz Rosen at Munic. also Stanford Univ. and Tanglewood. I.D.'s early dissonant, Theater, Basel. 1947 to U.S. 1947-48 dance teacher. 1949 re- polyphonic style evolved into style with clear diatonic ele- turned to Fed. Repub. Ger. 1949- mem. G.D.B.A. 1949-51 solo ments. Fel: Guggenheim (1952 and 1960); Huntington Hart- dancer, Munic. Theater, Heidelberg. 1951-56 at opera house, ford (1954-58). Mem: A.S.C.A.P; Am. Musicol. Soc; Intl. Soc. Cologne: Solo dancer, 1952 choreographer for the première of for Contemp. -
Oskar Fried L PASC 317 Beethoven Symphony No
L Oskar Fried L PASC 317 Beethoven Symphony No. 9 PASC 317 Oskar Fried Oskar Fried (August 10, 1871 – July 5, 1941) was a German conductor and composer. An admirer of Gustav Mahler, Fried was the first conductor to record a Mahler symphony. Fried also held the distinction of being the conducts first foreign conductor to perform in Russia after the Bolshevik Revolution, Fried eventually left his homeland to work in the Soviet Union after the political rise of Adolf Hitler's Nazi Party, and became a Soviet citizen in 1940. Born in Berlin, the son of a Jewish shopkeeper, he worked as a clown, a stable boy and a dog trainer before studying composition Beethoven with Iwan Knorr (1891-92, Hoch Conservatory) and Engelbert Humperdinck (as private student) in Frankfurt. He later moved to Düsseldorf to study painting and art history. After a spell in Paris, he returned to Berlin in 1898 to study counterpoint with Xaver Scharwenka. The performance of his composition Das trunkene Lied ("the drunken song") for chorus and orchestra brought Fried his first public success and led to his appointment in 1904 as the conductor of a Berlin choral society. Symphony No. 9 'Choral' in D minor, Op. 125 Fried first met Gustav Mahler in 1905. The meeting resulted in an invitation to conduct Mahler's "Resurrection" Symphony in Berlin in November 1905 (Otto Klemperer led the offstage band during this performance). The next year Fried introduced Russia to Mahler's music when he performed the same work in St Petersburg. From 1907 to 1910 he directed a choral society known as the Sternscher Gesangverein in Berlin. -
DISCOGRAPHY of SPOHR's SYMPHONIES This Discography Is in Two Parts
DISCOGRAPHY OF SPOHR'S SYMPHONIES This discography is in two parts. The catalogue numbers of the various recordings can be found under the entry for each syrnphony. For details of the full contents of each disc, cross-refer to the list of record labels. All recordings are CD unless stated. Symphony No.l in E flat major, Op.20 cpo 7 7 7 l7 9 -2; Hyperion CD A67 61 6; Marco Polo 8.2233 63 . Symphony No.2 in D minor, Op.49 cpo 777178-2; Hyperion CDA 67616; Marco Polo 8.220360 (LP 6.220360), CD reissue on Naxos 8.573507; Marco Polo 8.223454. Symphony No.3 in C minor, Op.78 Amati SRR8904/1; cpo 777177-2; Hyperion CDA67788; Koch Schwann CDll620 (LP Schwann Musica Mundi VMSl620); Marco Polo 8.223439; RBM Musikproduktion (LP) RBM 3035; Urania (LP) URLP5008. Symphony No.4 in F major, Op.86 cpo 777745-2; Hyperion 67622; Marco Polo 8.223122. Symphony No.5 in C minor, Op.102 cpo 777745-2; Hyperion 67622; Marco Polo 8.223363. Symphony No.6 in G major, Op.116 cpo777179-2; Hyperion CDA67788; Marco Polo 8.223439; Orfeo C094841A (LP S094841A). Symphony No.7 in C major, Op.121 cpo 777746-2; Hyperion CDA67939; Marco Polo 8.223432. Symphony No.8 in G major, Op.137 cpo777178-2; Hyperion CDA67802; Marco Polo 8.223432. Symphony No.9 in B minor, Op.143 cpo 777746-2; Hyperion CDA67939; Marco Polo 8.223454; Orfeo C094841A (LP S094841A). Symphony No.10 in E flat major, WoO.8 cpo 777177-2; Hyperion CDA67802 RECORD COMPANIES Note that the playing time for each symphony recording is given. -
Cultural Death Music Under Tyranny Kabasta • Hoehn • Fried
Cultural Death Music under Tyranny Kabasta • Hoehn • Fried Cultural Death: Music under Tyranny Oswald Kabasta • Alfred Hoehn • Oskar Fried Lost artifacts by three musicians have resurfaced out of Hitler’s Germany and Stalin’s Soviet Union, each of whom arrived at a horrid end. The Nazis had implemented a program 1. Beethoven: Leonore Overture, no. 2 13'10" of bringing forcible-coordination to all their ideas and goals, known as gleichschaltung, an Oswald Kabasta conducting the Munich Philharmonic electrical term that involves the “switching” of elements to be compatible within a circuit, or rec. c. 1942-44. unissued 2RA 5690/3 previously unpublished power system: this concept is an apt description of Nazification. It fueled Kabasta's success whereas Hoehn and Fried were unadaptable outsiders whose artistic and personal integrity 2. Brahms: Piano Concerto no. 2, Op. 86: I. Allegro non troppo 15"39" remain with us, living on in the deep spirituality evident in their recorded performances. Alfred Hoehn, piano; Reinhold Merten conducting the Leipzig Radio Orchestra The Nazis’ broad rise on the cultural front began in 1920 when they relaunched the rec. 1940.4.5. licensed from RBB Media previously unpublished failed Völkischer Beobachter newspaper. A respectable pseudo-intellectual facade lured the German public into accepting an ideology that viewed the past through a pathologically Berlioz: Symphony fantastique 50'10" distorted lens, while imposing their National Socialist revisionism onto a millennial chain 3. I. Rêveries – Passions. 14'26" of disparate historic events and personages. Their articles progressively manipulated every 4. II. Un bal. Valse. 6'55' well-known protagonist, past or present, German or otherwise.