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Please Note That This Transcript Is Being Made Available for Research Purposes Only and May Not Be Reproduced Or Disseminated in Any Way
Please note that this transcript is being made available for research purposes only and may not be reproduced or disseminated in any way. Should you determine you want to quote from the transcript, you must seek written permission from the UCLA Library's Center for Oral History Research: UCLA Center for Oral History Research Room 21564 Charles E. Young Research Library Box 951575 Los Angeles, California 90095-1575 oral-history@library. ucla. edu ALIOS EHLERS: HARPSICHORDIST Completed under the auspices of the Oral History Program University of California Los Angeles 1968 Copyright © The Regents of the University of California This manuscript Is hereby made available for research purposes only* All literary rights in the manuscript^ including the right to publications, are reserved to the University Library of the University of California at Los Angeles• No part of the manuscript may be quoted for publication without the written permission of the University Librarian of the University of California at Los Angeles• TABLE OF CONTENTS Illustrations vi Introduction vli Interview History xi Tape Number: I, Sides One and Two (October 20 and October 30, 19^5) Vienna—Berlin and Landowska—Association with Hindemith—Development of concert career—England and America—Russian tour Tape Number: II, Side One (October 30, 1965) 59 Russian tour—European tours—Israel tours—Association with Schweitzer Tape Number: II, Side Two (November 15> 19^5) 86 Harpsichords owned by Mme. Ehlers—Israel tours—Vienna, England and Scotland Tape Number: III, Sides One and -
Stowell Make-Up
The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c. -
„Ich Für Meinen Theil Liebe Von Herzen Den Peters… Aber Der Verleger Soll Mich in Ruhe Laßen.“
Westfälische Wilhelms-Universität Münster Institut für Musikwissenschaft und Musikpädagogik Musikwissenschaftliches Seminar Examensmodul Bachelorarbeit Erstprüfer: Dr. Peter Schmitz Zweitprüfer: Prof. Dr. Jürgen Heidrich „Ich für meinen theil liebe von Herzen den Peters… Aber der Verleger soll mich in ruhe laßen.“ Edition der Briefe des Cellisten und Komponisten Bernhard Romberg an seinen Verleger Carl Friedrich Peters (1815–1827) Maike Thiemann 2-Fach Bachelor Musikwissenschaft/ Germanistik Inhaltsverzeichnis 1. Einleitung ...................................................................................................... 3 2. Briefe von Bernhard Romberg an seinen Verleger Carl Friedrich Peters (1816 - 1827) .................................................................................................... 11 3. Schlussbetrachtung ................................................................................. 163 4. Register ......................................................................................................169 4.1 Personenregister…………………………………………………………….169 4.2 Auszug Stammbaum Familie Romberg/ Familie Peters ........................ 179 4.3 Werkregister ......................................................................................... 180 4.4 Währungen ........................................................................................... 183 4.5 Quellenverzeichnis ................................................................................ 185 5. Anhang ..................................................................................................... -
June 1911) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1911 Volume 29, Number 06 (June 1911) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 29, Number 06 (June 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/570 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 361 THE ETUDE -4 m UP-TO-DATE PREMIUMS _OF STANDARD QUALITY__ K MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by JAMES FRANCIS COOKE », Alaska, Cuba, Porto Kieo, 50 WEBSTER’S NEW STANDARD 4 DICTIONARY Illustrated. NEW U. S. CENSUS In Combination with THE ETUDE money orders, bank check letter. United States postage ips^are always received for cash. Money sent gerous, and iponsible for its safe T&ke Your THE LAST WORD IN DICTIONARIES Contains DISCONTINUANCE isli the journal Choice o! the THE NEW WORDS Explicit directions Books: as well as ime of expiration, RENEWAL.—No is sent for renewals. The $2.50 Simplified Spelling, „„ ...c next issue sent you will lie printed tile date on wliicli your Webster’s Synonyms and Antonyms, subscription is paid up, which serves as a New Standard receipt for your subscription. -
Importance and Pedagogical Value of Three Sonatas for Two Cellos, Op
PLACZEK, ROMAN, D.M.A. Importance and Pedagogical Value of Three Sonatas for Two Cellos, Op. 43 by Bernhard Romberg (2014). Directed by Dr. Alexander Ezerman. 127 pp. The Three Sonatas for Two Cellos, Op. 43 by Bernhard Heinrich Romberg were composed as a progressive performance work. The most widely used copy of the work is a C. F. Peters, Leipzig Edition edited by Friedrich Wilhelm Grützmacher. In this edition, the Sonatas are exhaustively marked with fingerings, alternate fingering, dynamics, dynamic changes, glissandi, bowings, bowstrokes and bow placement, accents, tempo changes, moods, and articulations. The combination of Romberg's melodic and pedagogically thought-through compositions and Grützmacher's expert editorial work results in invaluable pedagogical and performance work. Each subsequent sonata presents bigger challenge for a player while each preceding one also serves as a training tool for successful mastering of the following one. The Opus 43 is a set of individually viable sonatas that can stand independently and still serve as useful learning material. Grützmacher's respect for Romberg's style and his clear vision of pedagogical benefits are reflected in logical sequence of fingering and bowing challenges presented in each Sonata. Precise and complete performance markings serve as an essential guiding tool navigating a player towards a successful performance. If learned and performed as a set, the Three Sonatas for Two Cellos, Op. 43 by Bernard Heinrich Romberg are an excellent progressive performance work of the advanced level. 1 The purpose of this analysis is to revive and highlight the importance of Romberg’s compositions and Grützmacher’s editorial effort and the pedagogical value of a direct teacher-student interaction the Three Sonatas for Two Cellos, Opus 43 represent. -
390 Tonkünstlerfest (40. Jahresversammlung) Frankfurt A. M., [Heidelberg, Mannheim], 27. Mai – 1. Juni 1904
390 Tonkünstlerfest (40. Jahresversammlung) Frankfurt a. M., [Heidelberg, Mannheim], 27. Mai – 1. Juni 1904 Festdirigent: Siegmund von Hausegger Festchor: Mitglieder des Cäcilienvereins, des Rühlschen Vereins, des Lehrergesangverseins und des Museumschores Ens.: Frankfurter Theaterorchester, verstärkt durch das Orchester der Freitagskonzerte der Museumsgesellschaft 1. Aufführung: Festaufführung, dargeboten von der Intendanz Frankfurt a. M., Opernhaus, Freitag, 27. Mai, 19:00 Uhr Waldemar Edler von Baußnern: Der Bundschuh, Oper in 3 Ltg.: Ernst Kunwald Akten (UA) Reg.: Chr. Krähmer Text: Otto Erler 2. Aufführung: Erstes Orchesterkonzert Frankfurt a. M., Saalbau, großer Saal, Samstag, 28. Mai, 19:00 Uhr 1. Volkmar Andreae: Schwermut - Entrückung - Vision, Ltg.: Volkmar Andreae symphonische Phantasie für großes Orchester, Orgel, Sol.: Ludwig Hess (T) Tenorsolo und Chortenor op. 7 Text: Walter Schädelin ( ≡) 1. „Ein Taumelzug!“ 2. „Tief unter schweren Wolken dämmerndem Gebreit“ 3. „Jahrtausende zogen abwärts in die Ferne“ 2. Emil Nikolaus Frhr. von Rezni ček: Ruhm und Ewigkeit, 4 Ltg.: Emil Nikolaus Frhr. von Rezni ček Gesänge mit Orchester (UA) Sol.: Ejnar Forchhammer Text: Friedrich Nietzsche ( ≡) 1. „Wie lange sitzest du schon“ 2. „Diese Münze“ 3. „Still!“ 4. „Höchstes Gestirn des Seins!“ 3. Bruno Walter: Symphonische Phantasie (UA) Ltg.: Bruno Walter Pause 4. Hermann Karl Joseph Zilcher: Konzert für 2 Violinen und Ltg.: Hermann Karl Joseph Zilcher Orchester d-Moll op. 9 Sol.: Hugo Heermann (V.), Emil Heermann 1. Bewegt (V.) 2. Ruhig, sehr frei im Zeitmaß 3. Sehr lebhaft 5. Georg Alfred Schumann: Totenklage, für Chor und Ltg.: Georg Alfred Schumann Orchester op. 33 Text: Friedrich von Schiller, aus Die Braut von Messina (≡) 6. Heinrich Zöllner: Hymnus der Liebe, für gemischten Ltg.: Heinrich Zöllner Chor, Baritonsolo und großes Orchester op. -
Album Booklet
Fauré, Chausson & Satie Piano Trios Ernest Chausson (1855–1899) Piano Trio in G minor, Op. 3 1. Pas trop lent [10:03] 2. Vite [4:00] Fidelio Trio 3. Assez lent [7:15] 4. Animé [8:42] Darragh Morgan violin Adi Tal cello Gabriel Fauré (1845–1924) Mary Dullea piano Piano Trio in D minor, Op. 120 5. Allegro, ma non troppo [6:08] 6. Andanno [8:45] 7. Allegro vivo [4:46] Erik Sae (1866–1925) arr. John White 8. Prière pour le salut de mon âme from Messe des Pauvres [3:29] Le Piège de Méduse 9. Quadrille [0:44] 10. Valse [0:46] 11. Pas vite [0:38] About the Fidelio Trio: 12. Mazurka [0:26] 13. Un peu vif [0:16] ‘[...] their interpretative touch is secure, their rapport instinctive. Together 14. Polka [0:27] with their eloquence and passion, this all adds up to something special’ 15. Quadrille [0:25] Gramophone ‘[...] the Fidelio Trio plays it with such delicacy of touch and suavity of tone Total playing me [57:01] that its Frenchness and its closeness to the Ravel coupling are never in doubt’ The Strad Fauré, Chausson & Sae: Piano Trios Chausson’s file that ‘aer failing to gain admission to the Prix de Rome compeon, Ernest Chausson (1855–1899) came from he wanted to have nothing more to do with an affluent family and following the wishes the Conservatoire. Very intelligent and of his parents, he inially studied law and independent.’ Disappointed by the result qualified as a barrister in 1877. But this was but even more resolved to create his first not the career he wanted: Chausson’s major work, Chausson le Paris to spend inclinaons were arsc rather than legal the summer in Switzerland. -
CÉSAR FRANCK 1822–1890 Transcr
CÉSAR FRANCK 1822–1890 transcr. Jules Delsart for cello & piano Cello Sonata in A FWV 8 1 I. Allegro ben moderato 6.43 2 II. Allegro 8.13 3 III. Recitativo – Fantasia: Ben moderato 7.25 4 IV. Allegretto poco mosso 6.41 FRÉDÉRIC CHOPIN 1810–1849 5 Introduction and Polonaise brillante in C Op.3 9.04 Cello Sonata in G minor Op.65 6 I. Allegro moderato 5.27 7 II. Scherzo 4.48 8 III. Largo 3.37 9 IV. Finale: Allegro 6.23 ASTOR PIAZZOLLA 1921–1992 10 Le Grand Tango 10.43 79.09 GAUTIER CAPUÇON cello YUJA WANG piano 2 Chopin’s music often creates the impression of having been conceived in free inspirational flow, yet according to pianist–critic Karl Filtsch, when it came to notating his ideas on paper, he often endured days of nervous strain and terrible despair. He was also one of the most celebrated pianists of his age. Even as late as 1848, shortly after completing the Cello Sonata, the Daily News reported that Chopin “accomplished enormous difficulties, but so smoothly and with such constant deliccy and refinement that the listener is quite unaware of their real magnitude.” Yet he made barely 30 public appearances – his outwardly calm appearance concealed the blind terror he experienced when playing in front of a large audience. It was in 1836 that Chopin first met the novelist George Sand (nom de plume of Aurore Dudevant), and so began one of the most famous of composer love affairs. Within two years he – like many men before him – had fallen completely under her spell. -
TOCC0362DIGIBKLT.Pdf
THÉODORE DUBOIS: CHAMBER MUSIC by William Melton (Clément-François) Théodore Dubois was born in Rosnay (Marne) on 24 August 1837 into an unmusical family. His father was in fact a basket-maker, but saw to it that a second-hand harmonium was purchased so that his son could receive his first music-lessons from the village cooper, M. Dissiry, an amateur organist. The pupil showed indications of strong musical talent and at the age of thirteen he was taken on by the maître de chapelle at Rheims Cathedral, Louis Fanart, a pupil of the noted composers Jean-François Lesueur and Alexandre-Étienne Choron (the boy made the ten-mile journey from home to Rheims and back each week on foot). When the Paris Conservatoire accepted Théodore as a student in 1853, it was the mayor of Rosnay, the Viscount de Breuil, who supplied the necessary funds (prompted by Théodore’s grandfather, a teacher who also served as secretary in the mayor’s office). While holding organ posts at Les Invalides and Sainte Clotilde, Dubois embraced studies with Antoine François Marmontel (piano), François Benoist (organ), François Bazin (harmony) and Ambroise Thomas (composition). Dubois graduated from the Conservatoire in 1861, having taken first prize in each of his classes. He also earned the Grand Prix de Rome with his cantata Atala, of which the Revue et Gazette musicale wrote: The cantata of M. Dubois is certainly one of the best we have heard. The poetic text of Roussy lacked strong dramatic situations but still furnished sufficient means for M. Dubois to display his real talent to advantage. -
Vorwort Beiträge in Den Großen Instrumental Französisch)
Vorwort Beiträge in den großen Instrumental Französisch). Der Geiger hielt Wort, und gattungen, ja forderten diese regelrecht bereits am 16. Dezember 1886 fand ein. in Brüssel in einem Konzert des Cercle Franck schrieb die Violinsonate, artistique et littéraire im Beisein des der vermutlich umfangreiche, nicht Komponisten und umrahmt von weite Ein Großteil der heute fest im Konzert erhaltene Skizzen und Entwürfe ren FranckWerken die Uraufführung repertoire verankerten Werke César vorausgingen, im Sommer 1886 in der Violinsonate statt. Der Abend Francks (1822 – 90) – etwa das Kla Quincy bei Paris nieder (heute Quincy wurde zu einem der größten Erfolge vierquintett, das Streichquartett, die sousSénart). Den Datierungen am Francks, und namentlich die neue Variations symphoniques für Klavier Ende der vier Sätze zufolge – 24. Au Sonate – wiederum vom Duo Ysaÿe/ und Orchester oder die Symphonie gust, 1., 8. und 15. September 1886 BordesPène vorgetragen – fand begeis dmoll – entstand erst in den letzten – ging die Komposition sehr rasch von terte Zustimmung. Lebensjahren des Komponisten. Dazu statten. Allerdings trägt die Hand Zu diesem Zeitpunkt hatte Franck zählt auch seine 1886 geschriebene schrift deutlich den Charakter eines die Stichvorlage, eine heute verscholle Violinsonate Adur, die sich jedoch noch nicht ganz vollständig ausgear ne, vermutlich eigenhändige Abschrift im Gegensatz zu anderen Spätwerken beiteten Arbeitsmanuskripts. In der der Partitur, bereits dem Pariser Ver noch zu seinen Lebzeiten im Kon rasch folgenden zweiten Niederschrift leger Julien Hamelle übergeben; der zertsaal durchsetzen konnte. Für die vervollständigte Franck das Manu am 14. November begonnene Stich (vgl. „bande à Franck“, wie Francks engerer skript zur endgültigen Partitur und Fauquet, Franck, S. -
Download Booklet
Charming Cello BEST LOVED GABRIEL SCHWABE © HNH International Ltd 8.578173 classical cello music Charming Cello the 20th century. His Sérénade espagnole decisive influence on Stravinsky, starting a Best loved classical cello music uses a harp and plucked strings in its substantial neo-Classical period in his writing. A timeless collection of cello music by some of the world’s greatest composers – orchestration, evoking Spain in what might including Beethoven, Haydn, Schubert, Vivaldi and others. have been a recollection of Glazunov’s visit 16 Goodall: And the Bridge is Love (excerpt) to that country in 1884. ‘And the Bridge is Love’ is a quotation from Thornton Wilder’s novel The Bridge of 1 6 Johann Sebastian BACH (1685–1750) Franz Joseph HAYDN (1732–1809) 14 Ravel: Pièce en forme de habanera San Luis Rey which won the Pulitzer Prize Bach: Cello Suite No. 1 in G major, 2:29 Cello Concerto in C major, 9:03 (arr. P. Bazelaire) in 1928. It tells the story of the collapse BWV 1007 – I. Prelude Hob.VIIb:1 – I. Moderato Swiss by paternal ancestry and Basque in 1714 of ‘the finest bridge in all Peru’, Csaba Onczay (8.550677) Maria Kliegel • Cologne Chamber Orchestra through his mother, Maurice Ravel combined killing five people, and is a parable of the Helmut Müller-Brühl (8.555041) 2 Camille SAINT-SAËNS (1835–1921) his two lineages in a synthesis that became struggle to find meaning in chance and in Le Carnaval des animaux – 3:07 7 Robert SCHUMANN (1810–1856) quintessentially French. His Habanera, inexplicable tragedy. -
The Rise and Fall of the Cellist-Composer of the Nineteenth Century
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 The Rise and Fall of the Cellist- Composer of the Nineteenth Century: A Comprehensive Study of the Life and Works of Georg Goltermann Including A Complete Catalog of His Cello Compositions Katherine Ann Geeseman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE RISE AND FALL OF THE CELLIST-COMPOSER OF THE NINETEENTH CENTURY: A COMPREHENSIVE STUDY OF THE LIFE AND WORKS OF GEORG GOLTERMANN INCLUDING A COMPLETE CATALOG OF HIS CELLO COMPOSITIONS By KATHERINE ANN GEESEMAN A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Degree Awarded: Fall Semester, 2011 Katherine Geeeseman defended this treatise on October 20th, 2011. The members of the supervisory committee were: Gregory Sauer Professor Directing Treatise Evan Jones University Representative Alexander Jiménez 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 To my dad iii ACKNOWLEDGEMENTS This treatise would not have been possible without the gracious support of my family, colleagues and professors. I would like to thank Gregory Sauer for his support as a teacher and mentor over our many years working together. I would also like to thank Dr. Alexander Jiménez for his faith, encouragement and guidance. Without the support of these professors and others such as Dr.