BRITISH VIOLA REPERTOIRE. Revised July
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NICOLA BENEDETTI ELGAR VIOLIN CONCERTO London Philharmonic Orchestra Vladimir Jurowski EDWARD ELGAR 1857–1934
NICOLA BENEDETTI ELGAR VIOLIN CONCERTO London Philharmonic Orchestra Vladimir Jurowski EDWARD ELGAR 1857–1934 Violin Concerto in B minor Op.61 1 I Allegro 17.28 2 I Andante 11.36 3 III Allegro molto 18.42 4 Sospiri Op.70 4.10 5 Salut d’amour Op.12 3.09 6 Chanson de nuit Op.15 No.1 3.41 NICOLA BENEDETTI violin London Philharmonic Orchestra Vladimir Jurowski Petr Limonov piano (4–6) 3 ELGAR'S VIOLIN MUSIC Out of all the instruments Edward Elgar of moving between notes, the use of played, the violin was his speciality. vibrato as a constant tonal element, and Trombone and bassoon filled in useful so on – were developed by a number of gaps, while his improvisatory piano playing young players, but are chiefly identified (which he said “would madden with envy with the Austrian violinist Fritz Kreisler, all existing pianists”) served to summon the dedicatee of Elgar’s concerto. Elgar up the harmonies of his inner orchestra; met Kreisler in Leeds in 1904, and again but it was the violin that gave him the in Norwich the next year, and very soon invaluable stimulus of playing in the Three began to sketch the concerto. It had Choirs Festival (under no less a master to take a back seat while he wrote than Dvořák on one occasion); the violin The Kingdom (1906) and the mighty First that he studied with a top London teacher; Symphony (1908), but in January 1910, the violin which dominates his earliest Elgar played through the concerto’s slow opus numbers, with Op.15 bringing the movement with a friend, Lady Speyer, a running total to 18 separate pieces. -
WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M
WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M. Jones, S.-J. Bradley, T. Lowe, A. Thwaite) Notes to performers by Matthew Jones Walton, Menuhin and ‘shifting’ performance practice The use of vibrato and audible shifts in Walton’s works, particularly the Violin Sonata, became (somewhat unexpectedly) a fascinating area of enquiry and experimentation in the process of preparing for the recording. It is useful at this stage to give some historical context to vibrato. As late as in Joseph Joachim’s treatise of 1905, the renowned violinist was clear that vibrato should be used sparingly,1 through it seems that it was in the same decade that the beginnings of ‘continuous vibrato use’ were appearing. In the 1910s Eugene Ysaÿe and Fritz Kreisler are widely credited with establishing it. Robin Stowell has suggested that this ‘new’ vibrato began to evolve partly because of the introduction of chin rests to violin set-up in the early nineteenth century.2 I suspect the evolution of the shoulder rest also played a significant role, much later, since the freedom in the left shoulder joint that is more accessible (depending on the player’s neck shape) when using a combination of chin and shoulder rest facilitates a fluid vibrato. Others point to the adoption of metal strings over gut strings as an influence. Others still suggest that violinists were beginning to copy vocal vibrato, though David Milsom has observed that the both sets of musicians developed the ‘new vibrato’ roughly simultaneously.3 Mark Katz persuasively posits the idea that much of this evolution was due to the beginning of the recording process. -
Serenade in E Major, Op. 10 / String Trio in C Major
NATURAL BALANCE LONG PLAYING RECORDS WL 5316 JEAN POUGNET Jean Pougnet was born in 1907. ERNST VON DOHNANYI He started to study the violin at age of 5, was taught by his sister for two years, then jor by Prof. Rowsby Woof, at age 11 entered Royal Academy of Music, winning three scholar- Serenade in © Major, Op. 10 ships in succession, until 1925. His first London recital age 15, first Promenade Concert, the next year subsequent experience with chamber music, solo playing, both for Music Societies, Public concerts and radio. At outbreak of war, undertook some special work for BBC until 1942, then joined LENNOX BERKELEY London Philharmonic Orchestra as concertmaster, in 1945 left the orchestra and has since concentrated on solo work. String Trio : FREDERICK CRAIG RIDDLE “Born in 1912 im Liverpool. Kent Scholar at Royal College of Music 1928-1933. Winner of Tagore Gold Medal 1933. Professor of viola at Royal College of Music. JEAN FRANCAIX Principal viola of the London Symphony Orchestra 1935-1938 and of London Philhar- monic Orchestra 1939-1952. String Trio in C Major ANTHONY PINI String C Trio, Ma Born in Buenos Aires. Came to England in 1912. ANTHONY PINI Has devoted much time to Chamber Music, co-founder of Philharmonia Quartet with Jean JEAN POUGNET FREDERICK RIDDLE Pougnet, Frederick Riddle and Henry Holst. Has played in most capitals of Europe as Violin Viola Cello soloist and toured America four times also with Sir Thomas Beecham and the Royal Philharmonic Orchestra. He is Professor of cello Guildhall School of Music and Birming- The three string trios that comprise this recorded recital are each of them worthwhile ham College. -
Journal69-1.Pdf
October 1980, Number 69 The Delius Society Journal The Delius Society Journal October 1980,Number 69 The Delius Society Full Membership95.00 per year Studentsf2.50 USA and CanadaUS S10.00per year Subscription to Libraries (Journal only) f,3.50 per year President Eric Fenby OBE, Hon D Mus, Hon D Litt, Hon RAM Vice Presidents The Rt Hon Lord Boothby KBE, LLd Felix Aprahamian Hon RCO Roland GibsonM Sc, Ph D (Founder Member) Sir Charles Groves CBE Stanford RobinsonOBE, ARCM (Hon), Hon CSM Meredith DaviesMA, B Mus, FRCM, Hon RAM Norman Del Mar CBE, Hon D Mus Vernon Handley MA, FRCM, D Univ (Surrey) Chairman R B Meadows 5 WestbourneHouse, Mount Park Road, Harrow, Middlesex Treasurer P Lyons I Cherry Tree Close,St. Leonards-on-Sea,Sussex TH37 6EX Secretary Miss Estelle Palmley 22 Kinesbury Road, London NW9 ORR Editor StephenLloyd 4l MarlboroughRoad, Luton, BedfordshireLU3 IEF Tel: Luton (0582) 20075 Contents Editorial 3 ReginaldNettel: A PersonalMemoir by LewisForeman 7 Grez in Verse 8 Margot La Rouge: Part One by DavidEccott 9 DocumentingDelius: Part Two by RachelLowe 15 The 1980 Audio Awards by Gilbert Parfitt 20 Visit to Limpsfield by Estelle Palmley 2l Correspondence 22 Forthcoming Events 23 Cover lllustration An early sketch of Deliusby Edvard Munch reproducedby kind permissionof the Curator of the Munch Museum,Oslo, Norway. Additional copiesof this issue50p each,inclusive of postage. ISSNO3O64373 3 Editorial It is only appropriatethat the first words in this issueshould be oneswith which to expressour warmestthanks to the retiring editor, ChristopherRedwood, in appreciationof the continued excellenceof the Journal throughout the seven years of his editorship(incidentally the sameperiod of office as held by the previouseditor, John White).The twenty-sevenissues that he hasproduced have beena notableachievement. -
GSMD Annual Viola Day 25Th October 2017 Report Guildhall School Of
GSMD Annual Viola Day 25th October 2017 Report Guildhall School of Music and Drama held its annual Viola Day this year on Wednesday 25th October 2017, in the Silk Street Music Hall. It was a day celebrating all things viola with members of GSMD and a wonderful number of viola enthusiasts of all ages from across the country. As always, the day was packed full of events both familiar and with some new additions! Masterclasses and workshops We were delighted to welcome Jade McCarthy, a 16-year old violist originally from Bournemouth, to Guildhall where she played Glazunov’s Elegy beautifully in a masterclass with GSMD’s Head of Chamber Music Matthew Jones. German Clavijo, of the LSO and Liceu Opera Barcelona, put Guildhall students through their paces in orchestral excerpts. We were also delighted to welcome back once again Simon Rowland-Jones for a masterclass: works by Enescu, Rebecca Clarke and Hindemith were wonderfully explored. A new addition this year was a sight-reading session for all participants with LSO’s Robert Turner. Gathered in a circle, a large viola section was treated to en-mass sight-reading, getting a real feel for how it works in an orchestra section. Robert’s talk on the history, uses and techniques for sight- reading were a real eye-opener for everyone involved! We especially enjoyed the last excerpt from Star Wars – much harder than it looks on paper! Chamber music, arrangements and contemporary works As always, all the Guildhall students got involved performing viola ensemble works and arrangements, receiving coaching from Matthew Jones leading up to the day itself. -
Fusions1 Fusions: Earth, Water, Wind, Fire - Y Ddaear, Dŵr, Gwynt a Thân 1
fusions1 Fusions: Earth, Water, Wind, Fire - Y Ddaear, Dŵr, Gwynt a Thân 1. Earth 2:29 2. Water 5:04 3. Wind 3:40 4. Fire 2:24 Matthew Jones viola ∙ Annabel Thwaite piano 5. Tŷ Ddewi 3:08 Matthew Jones viola ∙ Steffan Morris cello ∙ Annabel Thwaite piano 6. Notes from The Railway 3:29 Annabel Thwaite piano 7. Prayer on A Clear Day 3:41 Steffan Morris cello ∙ Annabel Thwaite piano 8. Suo Gân 4:38 Annabel Thwaite piano 9. In Fair Verona 2:48 Matthew Jones viola ∙ Annabel Thwaite piano 10. Afterwards 3:08 Annabel Thwaite piano 11. Doris and Ted’s Musical Overture 4:32 Annabel Thwaite piano 12. Hippy and The Dancer 3:02 Annabel Thwaite piano 2 Variations on a theme by William Jenkins 13. Variation I 2:27 14. Variation II 1:02 15. Variation III 1:13 16. Variation IV 0:48 17. Variation V 1:23 18. Variation VI 1:27 Annabel Thwaite piano 19. Iter Sine Caritate 3:17 Annabel Thwaite piano 20. (Before) Myfanwy 7:47 Steffan Morris cello ∙ Annabel Thwaite piano 21. Wernbwll 3:33 Annabel Thwaite piano 22. When You Are Old 8:31 Rhodri Prys Jones solo tenor ∙ Osian Wyn Bowen tenor Jack Parry tenor ∙ Edward-Rhys Harry baritone ∙ Gareth James bass Matthew Jones viola ∙ Annabel Thwaite piano cyfanswm / total 1:13:31 3 © John Downing MBE Downing © John 7 Dr Edward-Rhys Harry Ph.D, MA, MMus, PGCHE, PGDipMus.Tech, FRSA, MISM Edward works across the UK and internationally as a voice coach, adjudicator, composer, arranger and choral conductor. -
Spring 2018/3 by Brian Wilson and Dan Morgan
Second Thoughts and Short Reviews Spring 2018/3 By Brian Wilson and Dan Morgan Reviews are by Brian Wilson except where signed [DM] Spring 2018_1 is here and Spring 2018_2 here. Errata: Apologies for an incomplete link in Spring 2018_2: the link for the Bach keyboard music on Nimbus NI5948/49 takes you only to the main Wyastone page. The correct link is here. Remember to use the code MusicWeb10 for a 10% discount. Index BEETHOVEN String Quartet No.15_Sony BORGSTRÖM Violin Concerto (+ SHOSTAKOVICH)_BIS BRUCKNER Symphony No.7 (+ WAGNER Siegfried’s Funeral March) _DG DELIUS Piano Concerto (+ GRIEG)_Somm DYSON At the Tabard Inn – Overture; Symphony in G, etc._Chandos - St Paul’s Voyage to Melita, etc._Somm_Naxos FINZI Cello Concerto, LEIGHTON Suite Veris Gratia_Chandos GLUCK Heroes in Love_Glossa GRIEG Piano Concertos (+ DELIUS)_Somm HANDEL/HARTY Water Music Suite; Fireworks Suite_Past Classics LEIGHTON Suite Veris Gratia (+ FINZI)_Chandos MAHLER Symphony No.4_Pentatone MARTINŮ Double Concertos for Violin and Piano_Pentatone MONTEVERDI Vespro della Beata Vergine_PHI_Linn - Monteverdi in San Marco_Arcana PÄRT The Symphonies_ECM SAINT-SAËNS Piano Trios 1 and 2_Champs Hill SCHUBERT Piano Sonata No.21, Impromptus_Hyperion SHOSTAKOVICH Violin Concerto No.1 (+ BORGSTRÖM)_BIS STRAUSS (R) Also Sprach Zarathustra_Past Classics STROZZI Arias and Cantatas_Glossa SUK Asrael Symphony_SWR VASKS Laudate Dominum, etc._Ondine VAUGHAN WILLIAMS Piano Concerto, Oboe Concerto, Serenade to Music, Flos Campi_Chandos WAGNER Siegfried’s Funeral March – see Bruckner British Orchestral Premieres_Lyrita Gypsy Baroque_Alpha La Virtuosissima Cantatrice: Virtuoso and Bel Canto Masterpieces for Female Voice_Amon Ra *** Claudio MONTEVERDI (1567–1643) Vespro della Beata Vergine (Vespers, 1610) Dorothee Mields, Barbora Kabátková (soprano) Benedict Hymas, William Knight, Reinoud Van Mechelen, Samuel Boden (tenor) Peter Kooij, Wolf Matthias Friedrich (bass) Collegium Vocale Gent/Philippe Herreweghe rec. -
Journal of the American Viola Society Volume 13 No. 2, 1997
JOURNAL ofthe AMERICAN ViOLA SOCIETY Section of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion ofViola Performance and Research Vol. 13 No.2 1997 OFFICERS Thomas Tatton President 7511 Park Woods Stockton, CA 95207 (209) 952-9367 Pamela Goldsmith Vice-President 11640 Amanda Drive Studio City, CA 91604 Donna Lively Clark Secretary jCFA, Butler University 4600 Sunset Indianapolis, IN 46208 Mary I Arlin Treasurer School ofMusic Ithaca College Ithaca, NY14850 Alan de Veritch Past President School ofMusic Indiana University Bloomington, IN 47405 BOARD Atar Arad Victoria Chiang Ralph Fielding john Graham Lisa Hirschmugl jerzy Kosmala jeffrey Irvine Patricia McCarty Paul Neubauer Karen Ritscher Christine Rutledge Pamela Ryan I I William Schoen _J I EDITOR, ]AVS ............~/. ._----- -"~j~~~ ! ___i David Dalton Brigham }Dung University Provo, UT 84602 PASTPRESIDENTS (1971-81) Myron Rosenblum -_._--------_.- ------------ Maurice W Riley (1981-86) David Dalton (1986-91) t=====~====---============-=======--==~ HONORARYPRESIDENT William Primrose (deceased) ~wSection of the Internationale Viola-Gesellschaft The Journal ofthe American Viola Society is a peer-reviewed publication ofthat organization and is produced at Brigham Young University, ©1985, ISSN 0898-5987. JAVSwelcomes letters and articles from its readers. Editorial Office: School ofMusic Harris Fine Arts Center Brigham Young University Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 [email protected] Editor: David Dalton Associate Editor: David Day Assistant Editor for Viola Pedagogy: Jeffrey Irvine Assistant Editorfor Interviews: Thomas Tatton Production: Bryce Knudsen Advertising: Jeanette Anderson Advertising Office: Crandall House West (CRWH) 'Brigham Young University Provo, UT 84602 (801) 378-4455 [email protected] JAVS appears three times yearly. Deadlines for copy and artwork are March 1, July 1, and November 1; submissions should be sent to the editorial office. -
Benjamin Britten╎s Early Viola Works with a Pedagogical Analysis
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 Benjamin Britten's Early Viola Works with a Pedagogical Analysis Intended for the Advancing Viola Student Colleen Manseau Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BENJAMIN BRITTEN’S EARLY VIOLA WORKS WITH A PEDAGOGICAL ANALYSIS INTENDED FOR THE ADVANCING VIOLA STUDENT By COLLEEN MANSEAU A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2015 Colleen Manseau defended this treatise on July 16, 2015. The members of the supervisory committee were: Pamela Ryan Professor Directing Treatise James Mathes University Representative Melanie Punter Committee Member Corinne Stillwell Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii Thank you to all of the students I have taught over the years, it has been a pleasure being part of your musical adventure. iii ACKNOWLEDGMENTS I would like to thank and acknowledge those people without whose support I would not have written this work: my family, friends, and the professors at the College of Music who have helped with small and large inquiries about this topic. Thank you all for helping me to complete this goal. iv TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ............................................................................................. -
Lionel Tertis, York Bowen, and the Rise of the Viola
THE VIOLA MUSIC OF YORK BOWEN: LIONEL TERTIS, YORK BOWEN, AND THE RISE OF THE VIOLA IN EARLY TWENTIETH-CENTURY ENGLAND A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by WILLIAM KENTON LANIER B.A., Thomas Edison State University, 2009 Kansas City, Missouri 2020 © 2020 WILLIAM KENTON LANIER ALL RIGHTS RESERVED THE VIOLA MUSIC OF YORK BOWEN: LIONEL TERTIS, YORK BOWEN, AND THE RISE OF THE VIOLA IN EARLY TWENTIETH-CENTURY ENGLAND William Kenton Lanier, Candidate for the Master of Music Degree in Musicology University of Missouri-Kansas City, 2020 ABSTRACT The viola owes its current reputation largely to the tireless efforts of Lionel Tertis (1876-1975), who, perhaps more than any other individual, brought the viola to light as a solo instrument. Prior to the twentieth century, numerous composers are known to have played the viola, and some even preferred it, but none possessed the drive or saw the necessity to establish it as an equal solo counterpart to the violin or cello. Likewise, no performer before Tertis had established themselves as a renowned exponent of the viola. Tertis made it his life’s work to bring the viola to the fore, and his musical prowess and technical ability on the instrument gave him the tools to succeed. Tertis was primarily a performer, thus collaboration with composers also comprised a necessary element of his viola crusade. He commissioned works from several British composers, including one of the first and most prolific composers for the viola, York Bowen (1884-1961). -
JAVS 27.2.Pdf
y t e i c o Features: S Primrose Competition Review a l Mendelssohn and o the Viola i Borisovsky's Romeo and Juliet V Transcriptions n a c i r e m A e h t 2 f r e o b m u l N a 7 n 2 r e m u u l o V o J Journal of the American Viola Society A publication of the American Viola Society Fall 2011 Volume 27 Number 2 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: IVS News ~ Announcements ~ In Memoriam Feature Articles p. 13 Primrose International Viola Competition Review: Dwight Pounds recaps the events from Albuquerque p. 19 Felix Mendelssohn: Violist: Linda Shaver-Gleason provides insight into Mendelssohn’s life as a violist and offers a fresh perspective on his Viola Sonata p. 29 A Labor of Love: Borisovsky’s Romeo and Juliet Transcriptions: Matthew Jones explores Borisovsky’s transcriptions from Prokofiev’s ballet Departments p. 41 Alternative Styles: Molly Gebrian discusses her collaborative project of music for viola and com - bined piano/percussion p. 49 AVS Retrospective: Myrna Layton chats with current and former student workers at PIVA p. 57 Fresh Faces: Meet Brett Deubner, campaigner for new viola music p. 61 Modern Makers: Ray Melanson’s captivating viola p. 63 New Music Reviews p. 69 Recording Reviews On the Cover: Cindy English Lego Viola Composed of more than seven hundred Lego parts, this non-playable viola was designed and built by Cindy English. A 1:1 scale model of a viola, it won the “Best Music” and “Most Inspirational” awards at the 2010 BrickFair Lego Fan Festival (photo courtesy of Richard K. -
August 2016 Vol.19, No. 5 the Elgar Society Journal the Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected]
Journal August 2016 Vol.19, No. 5 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] August 2016 Vol. 19, No. 5 President Editorial 3 Julian Lloyd Webber FRCM Frank Schuster – Elgar’s patron 4 Richard Smith Vice-Presidents Who is the real soul of the Violin Concerto? 19 Diana McVeagh Richard Westwood-Brookes Dame Janet Baker, CH, DBE Leonard Slatkin Theology applied to music: The Dream of Gerontius revisited 26 Sir Andrew Davis, CBE Lino Bianco Donald Hunt, OBE Christopher Robinson, CVO, CBE Bach in Gerontius? A Discussion 35 Andrew Neill Hugh Morris Sir Mark Elder, CBE Martyn Brabbins ‘A confusion of ideas’ – Rootham, Elgar and ‘For the Fallen’ 39 Tasmin Little, OBE Martin Bird CD reviews 53 Martin Bird, Richard Westwood-Brookes, Andrew Neill, Michael Plant Chairman Steven Halls Letters 60 David Morris Vice-Chairman Stuart Freed 100 Years Ago 61 Treasurer Helen Whittaker Secretary George Smart The Editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Elgar’s snapshot of Frank Schuster on board HMS Surprise, Autumn 1905 (Arthur Reynolds collection) Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Editorial required, are obtained.