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String Quartet in E Minor, Op 83
String Quartet in E minor, op 83 A quartet in three movements for two violins, viola and cello: 1 - Allegro moderato; 2 - Piacevole (poco andante); 3 - Allegro molto. Approximate Length: 30 minutes First Performance: Date: 21 May 1919 Venue: Wigmore Hall, London Performed by: Albert Sammons, W H Reed - violins; Raymond Jeremy - viola; Felix Salmond - cello Dedicated to: The Brodsky Quartet Elgar composed two part-quartets in 1878 and a complete one in 1887 but these were set aside and/or destroyed. Years later, the violinist Adolf Brodsky had been urging Elgar to compose a string quartet since 1900 when, as leader of the Hallé Orchestra, he performed several of Elgar's works. Consequently, Elgar first set about composing a String Quartet in 1907 after enjoying a concert in Malvern by the Brodsky Quartet. However, he put it aside when he embarked with determination on his long-delayed First Symphony. It appears that the composer subsequently used themes intended for this earlier quartet in other works, including the symphony. When he eventually returned to the genre, it was to compose an entirely fresh work. It was after enjoying an evening of chamber music in London with Billy Reed’s quartet, just before entering hospital for a tonsillitis operation, that Elgar decided on writing the quartet, and he began it whilst convalescing, completing the first movement by the end of March 1918. He composed that first movement at his home, Severn House, in Hampstead, depressed by the war news and debilitated from his operation. By May, he could move to the peaceful surroundings of Brinkwells, the country cottage that Lady Elgar had found for them in the depth of the Sussex countryside. -
Tertis's Viola Version of Elgar's Cello Concerto by Anthony Addison Special to Clevelandclassical
Preview Heights Chamber Orchestra conductor's notes: Tertis's viola version of Elgar's Cello Concerto by Anthony Addison Special to ClevelandClassical An old adage suggested that violists were merely vio- linists-in-decline. That was before Lionel Tertis! He was born in 1876 of musical parents who had come to England from Poland and Russia and, at three years old, he started playing the piano. At six he performed in public, but had to be locked in a room to make him practice, a procedure that has actually fostered many an international virtuoso. At thirteen, with the agree- ment of his parents, he left home to earn his living in music playing in pickup groups at summer resorts, accompanying a violinist, and acting as music attendant at a lunatic asylum. +41:J:-:/1?<1>95@@1041?@A0510-@(>5:5@E;88131;2!A?5/@-75:3B5;85:-?45? "second study," but concentrating on the piano and playing concertos with the school or- chestra. As sometime happens, his violin teacher showed little interest in a second study <A<58-:01B1:@;8045?2-@41>@4-@41C-?.1@@1>J@@102;>@413>;/1>E@>-01 +5@4?A/4 encouragement, Tertis decided he had to teach himself. Fate intervened when fellow stu- dents wanted to form a string quartet. Tertis volunteered to play viola, borrowed an in- strument, loved the rich quality of its lowest string and thereafter turned the old adage up- side down: a not very obviously gifted violinist becoming a world class violist. But, until the viola attained respectability in Tertis’s hands, composers were reluctant to write for the instrument. -
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright ALFRED HILL’S VIOLA CONCERTO: ANALYSIS, COMPOSITIONAL STYLE AND PERFORMANCE AESTHETIC Charlotte Fetherston A thesis submitted in partial fulfillment of requirements for the degree of Doctor of Musical Arts Sydney Conservatorium of Music, University of Sydney, NSW 2014 STATEMENT OF ORIGINALITY ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at the Sydney Conservatorium of Music or any other educational institution, except where due acknowledgement is made in the thesis. -
KEYNOTES the OFFICIAL NEWSLETTER of the EVANSTON SYMPHONY ORCHESTRA LAWRENCE ECKERLING, MUSIC DIRECTOR American Romantics
VOL. 46, NO. 3 • MARCH 2015 KEYNOTES THE OFFICIAL NEWSLETTER OF THE EVANSTON SYMPHONY ORCHESTRA LAWRENCE ECKERLING, MUSIC DIRECTOR American Romantics he third concert of the ESO’s 69th season, with its 2:30 PM ON Ttheme of the enduring appeal of Romanticism for SUNDAY MARCH 15, 2015 composers well into the 20th century, features three very well known American composers: Copland, Barber, and Hanson, plus a short piece by the Estonian Arvo Pärt. American Romantics Our concert opens with El Salón México by Aaron Copland demanded repayment of $500, which had been advanced (1900–1990). This 12 minute showpiece, premiered in to Barber. Having spent the advance on a European 1936, was the very first of Copland’s “populist” composi- vacation, Barber was forced to have a student at the Curtis tions in which he moved away from his previous Institute of Music perform the finale with only two hours of “modernist” style to an accessible tuneful style. Copland had practice, thereby proving that it was in fact “playable.” discovered the Mexico City dance hall of the title in 1932, ronicallyI perhaps, it is the lush romantic beauty of the first and consulted a collection of Mexican folk songs to lend two movements which has made this concerto the most authentic local color to this brilliantly orchestrated tone performed of all American concertos. picture. Howard Hanson (1896–1981) composed in a style even The austere spirituality of the music of Arvo Pärt provides more consistently Romantic than did Barber; in fact he titled a complete contrast to El Salón México. -
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. -
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, fitness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE Chef Francis Ramirez’ cuisine centers around sourcing quality seasonal ingredients to create delectable dishes combining French techniques with a California flare! TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo Russian Reflections the fourteenth season July 15–August 6, 2016 D AVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 R ussian Reflections Program Overview 6 E ssay: “Natasha’s Dance: The Myth of Exotic Russia” by Orlando Figes 10 Encounters I–III 13 Concert Programs I–VII 43 Carte Blanche Concerts I–IV 58 Chamber Music Institute 60 Prelude Performances 67 Koret Young Performers Concerts 70 Master Classes 71 Café Conversations 72 2016 Visual Artist: Andrei Petrov 73 Music@Menlo LIVE 74 2016–2017 Winter Series 76 Artist and Faculty Biographies A dance lesson in the main hall of the Smolny Institute, St. Petersburg. Russian photographer, twentieth century. Private collection/Calmann and King Ltd./Bridgeman Images 88 Internship Program 90 Glossary 94 Join Music@Menlo 96 Acknowledgments 101 Ticket and Performance Information 103 Map and Directions 104 Calendar www.musicatmenlo.org 1 2016 Season Dedication Music@Menlo’s fourteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible. -
FOR IMMEDIATE RELEASE UPDATED October 22, 2014 October 14, 2014 Contact: Katherine E
FOR IMMEDIATE RELEASE UPDATED October 22, 2014 October 14, 2014 Contact: Katherine E. Johnson (212) 875-5718; [email protected] JAAP VAN ZWEDEN TO RETURN TO THE PHILHARMONIC TO CONDUCT TWO PROGRAMS ACTING CONCERTMASTER SHERYL STAPLES and PRINCIPAL VIOLA CYNTHIA PHELPS To Perform MOZART’s Sinfonia concertante for Violin and Viola Program Also To Include SHOSTAKOVICH’s Symphony No. 8 November 20–22, 2014 HILARY HAHN To Perform KORNGOLD’s Violin Concerto Program Also To Include J. WAGENAAR’s Cyrano de Bergerac Overture and BEETHOVEN’s Symphony No. 7 Saturday Matinee Concert To Feature Dvořák’s Wind Serenade Performed by Philharmonic Musicians November 26 and 28–29, 2014 Jaap van Zweden — music director of the Dallas Symphony Orchestra and Hong Kong Philharmonic as well as former concertmaster of Amsterdam’s Royal Concertgebouw Orchestra — will return to the New York Philharmonic for the first time since his debut in April 2012 to conduct two weeks of concerts. In the first program, Mr. van Zweden will conduct Mozart’s Sinfonia concertante for Violin and Viola, featuring Acting Concertmaster Sheryl Staples and Principal Viola Cynthia Phelps, and Shostakovich’s Symphony No. 8, Thursday, November 20, 2014, at 7:30 p.m.; Friday, November 21 at 2:00 p.m.; and Saturday, November 22 at 8:00 p.m. The following week, Mr. van Zweden will lead the Orchestra in Korngold’s Violin Concerto, with Hilary Hahn as soloist; Beethoven’s Symphony No. 7; and J. Wagenaar’s Cyrano de Bergerac Overture, marking the Philharmonic’s first time performing the work, Wednesday, November 26, 2014, at 7:30 p.m.; Friday, November 28 at 8:00 p.m.; and Saturday, November 29 at 8:00 p.m. -
Laurent Mettraux
Laurent Mettraux composer 1-2 Biography 3-7 Principal works 8 Quotes of musicians 9-10 From the newspapers Laurent Mettraux Route Principale 160 CH-1791 Courtaman (Switzerland) tel. + fax : (+41) 26/684.18.65 e-mail : [email protected] www.laurentmettraux.com LAURENT METTRAUX (* 27. 5. 1970) Laurent Mettraux was born in 1970, in Fribourg (Switzerland). He completed the studies of analysis, counterpoint, harmony and fugue with René Oberson at the Music Academy of Fribourg, as well as piano, violin and singing. He continued his studies in Geneva (composition with Prof. Eric Gaudibert, conducting with Prof. Liang-Sheng Chen), while following also courses of ancient music and musicology. He received a prize of the Kiefer-Hablitzel Foundation (Association of Swiss Musicians). Counsels and courses with, among others, Klaus Huber, Luis de Pablo, Heinz Holliger, Arvo Pärt, Paul Méfano. His Symphony for chamber orchestra won in 1993 the 1st Prize and Public Prize of the 1st Competition for young composers, organized by the Orchestre de Chambre de Lausanne. He has been laureate of several foundations, and finalist of, among others, the European Competition of Choral Composition (Amiens, France). His work « Ombre » (« Shadow ») for orchestra, won 1998 the prize of the prestigious Donaueschinger Musiktage, given for the first time (among the members of the Jury: Wolfgang Rihm, Sylvain Cambreling, Gérard Grisey, Christian Wolff). He is also honoured in 2000 with a contribution ad personam from the UBS Kulturstiftung for his « remarkable partaking to the musical life in Switzerland and abroad ». First compositions in 1982. He receives numerous orders, as much from the interpreters as from concert associations, festivals, broadcasting and foundations. -
Great Violinists • Kreisler 8.111406
ADD Great Violinists • Kreisler 8.111406 THE COMPLETE recordinGs • 7 BACH BEETHOVEN KoŽeLUcH WAGNER dVořáK KreisLer Fritz Kreisler Recorded 1921-1925 Fritz Kreisler (1875-1962): Anton Rubinstein (1829-1894): Leopold Antonín Koželuch (1747-1818) Deux Mélodies, Op. 3 (att. Ludwig van Beethoven (1770-1827)): The complete recordings • 7 ^ No. 1: Moderato assai in F major 2:50 La ritrovata figlia di ottone ii rec. 1st November 1923; ™ Gavotte in F, (arr. A. Walter Kramer) 2:54 mat. Bb-3779; Victor 1039 rec. 29th August 1925; Acoustic Recordings Ludwig van Beethoven (1770-1827): mat. BVE-31975-4; Victor 1136 HMV Acoustic Recordings 8 Andante favori in F, Woo 57 (arr. Kreisler) 3:08 Jean Gabriel Prosper Marie (1852-1928): & (Hayes, Middlesex, 1921-24) rec. 23rd September 1924; La Cinquantaine (The Golden Wedding) 2:50 Johann sebastian Bach (1685-1750) mat. Bb-3778-7; Victor 3037 rec. 1st November 1923; Wilhelm Jeral (1861-1935): Anna Magdalena notebook 1 Sérénade viennoise, Op. 18 3:19 Robert Schumann (1810-1856): mat. Bb-3781; Victor 1039 £ Minuet in G, BWV Anh. 116 rec. 16th December 1921; Klavierstücke, op. 85 (doubtful attribution, arr. Winternitz) 2:53 mat. Bb-779-3; Victor 87579 9 No. 12 Abendlied (arr. Svendsen) 2:18 Electrical Recordings rec. 29th August 1925; rec. 23rd September 1924; Victor Talking Machine company mat. BVE-31940-12; Victor 1136 Traditional: mat. Bb-5102-6; Victor 3036 (new York, 1925-26) 2 Londonderry Air (arr. Kreisler) 3:20 sigmund romberg (1887-1951) rec. 17th December 1921; Fritz Kreisler: Fritz Kreisler: The Student Prince – Operetta ¢ mat. Bb-780-5; Victor 87577 Apple Blossoms – Operetta * Paraphrase on two russian folk songs 3:09 Deep in my heart, dear (arr. -
Citymusic Cleveland: a Conversation with Violinist Adele Anthony by Mike Telin
CityMusic Cleveland: a conversation with violinist Adele Anthony by Mike Telin After winning the 1996 Carl Nielsen International Violin Competition, Adele Anthony has enjoyed an acclaimed career as a concerto soloist, recitalist and chamber musician. On Thursday, March 12 at 7:30 in Mentor High School’s Performing Arts Center, CityMusic Cleveland will present the first of four free performances featuring Adele Anthony as soloist in Carl Nielsen’s Violin Concerto. (See our concert listings for additional times and locations.) The concerts, led by guest conductor Joaquin Valdepeñas, will also include Grieg’s Peer Gynt Suite No. 1 and Arvo Pärt’s Symphony No. 4, Los Angeles. During a recent telephone conversation I confessed to Adele Anthony that Nielsen’s Violin Concerto is a work with which I am not extremely familiar. “I hear that a lot,” she responded with a laugh. “And it’s too bad because I think it’s a beautiful work that people will appreciate. It has a very gripping opening. I found it to be very attractive from the first time I heard it.” Anthony’s first exposure to the piece was through her violinist father. “As a student in Germany, he studied with the great Hungarian violinist Tibor Varga, who’s recording of the concerto we had at home. My father told me that it is a fantastic piece and that I should learn it. I listened to it and thought it was great, and when I was older I did learn it, later entering the competition with it. And because of that win, I have been able to perform it a lot more than perhaps I would have otherwise.” The concerto is written in a melodic neo-classical style. -
Boston Symphony Orchestra Concert Programs, Season 123, 2003
20032004 SEASON ' 1 . BOSTON SYM PHONY ORCHESTRA *, m** JAMES LEVINE MUSIC DIRECTOR DESIGNATE BERNARD HAITINK PRINCIPAL GUEST C UCTOR SEIJI OZAWA MUSIC DIRECTOR LAUREATE Invite the entire string section for cocktails. With floor plansfrom 2,300 to over Phase One of this 5,000 square feet, you can entertain magnificent property is in grand style at Longyear. 100% sold and occupied. Enjoy 24-hour concierge service, Phase Two is now under con- single-floor condominium living struction and being offered by at its absolute finest, all Sotheby's International Realty & harmoniously located on Hammond Residential Real Estate an extraordinary eight- GMAC. Priced from $1,500,000. acre gated community atop prestigious Call Hammond at (617) 731-4644, Fisher Hill ext. 410. LONGYEAR a/ Lf/sAer Jrill BROOKLINE Landry&Arcari ORIENTAL RUGS & CARPETING Your Source for Knowledge, Inspiration & Value Since 1938 Salem 333 Stuart St. www.landryandarcari.com Route 1A 617-399-6500 Open 7 Days 800-649-5909 3*S mBSHHh^ James Levine, Music Director Designate ^>,^ Bernard Haitink, Principal Guest Conductor Seiji Ozawa, Music Director Laureate 123rd Season, 2003-2004 Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman Ed Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer Harlan E. Anderson Diddy Cullinane, Edna S. Kalman Edward I. Rudman George D. Behrakis ex-officio George Krupp Hannah H. Schneider Gabriella Beranek William R. Elfers R. Willis Leith, Jr. Thomas G. Sternberg Jan Brett Nancy J. Fitzpatrick Nathan R.