Sphinx Competition HONORS CONCERT
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Messiah Notes.Indd
Take One... The Messiah Violin Teacher guidance notes The Messiah Violin is on display in A zoomable image of the violin is available Gallery 39, Music and Tapestry. on our website. Visit www.ashmolean.org/education/ Starting Questions The following questions may be useful as a starting point for thinking about the Messiah violin and developing speaking and listening skills with your class. • What materials do you think this violin is made from? • Why do you think this violin is in a museum? • Where do you think it might come from? • What kind of person do you think would have owned this violin? • Who could have made it? • Does the violin look like it has been played a lot or does it look brand new? • How old do you think the violin could be? • If I told you that nobody is allowed to play this violin do you feel about that? These guidance notes are designed to help you use the Ashmolean’s Messiah violin as a focus for cross-curricular teaching and learning. A visit to the Ashmolean Museum to see your chosen object offers your class the perfect ‘learning outside the classroom’ opportunity. Background Information Italy - a town that was already famous for its master violin makers. The new styles of violins and cellos that The Object he developed were remarkable for their excellent tonal quality and became the basic design for many TThe Messiah violin dates from Stradivari’s ‘golden modern versions of the instruments. period’ of around 1700 - 1725. The violin owes Stradivari’s violins are regarded as the fi nest ever its fame chiefl y to its fresh appearance due to the made. -
Marryat Players Chamber Music FESTIVAL
marryat players chamber music FESTIVAL 13 - 16 June 2019 marryat players marryat players chamber music chamber music FESTIVAL FESTIVAL We look forward to welcoming you 2019 THURSDAY FRIDAY SATURDAY SUNDAY 13TH 14TH 15TH 16TH JUNE JUNE JUNE JUNE 3 MARRYAT ROAD WIMBLEDON VILLAGE LONDON SW19 5BB FOUNDER Margaret Lewisohn www.marryatplayers.com ARTISTIC DIRECTOR Bartholomew LaFollette GRAPHIC DESIGN Jenny Lewisohn Follow us on Twitter PHOTOGRAPHY Gabriel Isserlis, cover photo Blake Ezra @MarryatPlayers #MPCMF2019 PATRON Steven Isserlis Johannes Brahms String Sextet No.2 in G major, Op.36 PROGRAMME Brahms’s second string sextet was completed in 1865 when he was infatuated with, but never married, the soprano Agathe von Siebold. The first movement contains a concealed reference to her first name in the musical notation a-g-a-h-e, while the whole work is full of technical ingenuity and poetic inspiration. Thursday 13th June, 7.30 pm Benjamin Marquise Gilmore, Tai Murray, Jonathan Stone violins Jenny Lewisohn, Hannah Shaw, Jennifer Stumm violas Friday 14th June, 7.30pm Ashok Klouda, Bartholomew LaFollette, Peteris Sokolovskis cellos Julian Milford piano Benjamin Marquise Gilmore, Tai Murray, Jonathan Stone violins Hannah Shaw viola Ashok Klouda, Bartholomew LaFollette cellos Felix Mendelssohn String Quintet No.2 in B flat major, Op.87 Julian Milford, Zeynep Özsuca pianos Written in 1845, this exuberant work is reminiscent of Mendelssohn’s much-loved Octet written 20 years earlier. The energetic opening displays the virtuosity of the first violin whilst the rest of the quintet acts as an entire string orchestra. Wolfgang Amadeus Mozart Piano Quartet in E flat major, K493 This lyrical work with its profusion of melodies was composed in 1786 when piano quartets were a rarity Franz Schubert Arpeggione Sonata in A minor, D.821 in Vienna. -
25. Mai 2015 Programm Grusswort Der Gastgeber
22. - 25. MAI 2015 PROGRAMM GRUSSWORT DER GASTGEBER Wir möchten Sie hier auf der Brunegg herzlich willkommen heissen. Esther Hoppe und Jürg Dähler haben mit ihren Kolleginnen und Kollegen ein Programm zusammengestellt, das schon bei der ersten Ankündigung begeisterte Kommentare ausgelöst hat. Wir freuen uns mit Ihnen auf ein hervorragendes musikalisches Erlebnis. Bis anhin hatten wir die Räumlichkeiten stets nur für private Anlässe benützt. Dass nun die Öffentlichkeit Zutritt hat, ist vollkommen neu, und wir wollen damit eine neue Tradition beginnen. Da wir hier unser privates Wohnen eingerichtet haben, bitten wir Sie um Verständnis, wenn Sie keinen Zutritt in unsere Wohnräume erhalten. Diese stehen übrigens zum Teil den Künstlern zur Verfügung. Brunegg war seit dem Beginn des 19. Jahrhunderts im Besitz der Familie Hünerwadel von Lenzburg und gelangte durch die Heirat von Marie Pauline mit Adolf von Salis, dem Vater von Jean Rudolf von Salis, in unsere Familie. Es wurde im Sommer sehr lebhaft zu geselligem Zusammensein genutzt; es wurde gewohnt, gespielt, geschrieben und diskutiert. Wir selber haben seit den 1990er Jahren Renovations- und Umbauarbeiten machen lassen; die Unterburg erhielt zwei moderne Wohnungen und den Festraum in der Tenne. Das Schloss oben und die Gartenanlagen wurden tiefgreifenden Restaurierungen und Erneuerungen unterzogen; die gesamte Anlage wurde von einem halb ruinenhaften in den heutigen, bequem bewohn- und bespielbaren Zustand umgewandelt. Wir hoffen, dass Sie das mit uns geniessen können und wünschen Ihnen ein gelungenes Pfingstfestival! Thomas und Elisabeth von Salis Gastgeber EDITORIAL DER KÜNSTLERISCHEN LEITUNG Die Historie des Schlosses Brunegg in seinem heute rundum erneuerten Gewand verführt und verpflichtet zu gleichen Teilen, an diesem geschichtsträchtigen Ort ein Festival zu gestalten, welches Tradition und Innovation in sinnlicher Art und Weise verbindet. -
Syrinx (Debussy) Body and Soul (Johnny Green)
Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Hurrian Hymn from Ancient Mesopotamian Spring 2020 Musical Fragment c. 1440 BCE D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Shadow of the Ziggurat Assyrian Hammered Lyre Spring 2020 (Replica) D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Hymn to Horus Replica Ancient Lyre Spring 2020 Based on Trad. Eqyptian Folk Melody D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Roman Banquet Replica Kithara Spring 2020 Orig Composition in Hypophrygian Mode D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Spring 2020 D. H. Tracy If You Missed a Session…. • PDF’s of previous presentations – Also other handout materials are on the OLLI Course website: http://olli.illinois.edu/downloads/courses/ The Sound of Music Syllabus.pdf References for Sound of Music OLLI Course Spring 2020.pdf Smartphone Apps for Sound of Music.pdf Musical Scale Cheat Sheet.pdf OLLI Musical Scale Slider Tool.pdf SoundOfMusic_1 handout.pdf SoM_2_handout.pdf SoM_3 handout.pdf SoM_4 handout.pdf 2/25/20 Sound of Music 5 6 Course Outline 1. Building Blocks: Some basic concepts 2. Resonance: Building Sounds 3. Hearing and the Ear 4. Musical Scales 5. Musical Instruments 6. Singing and Musical Notation 7. Harmony and Dissonance; Chords 8. Combining the Elements of Music 2/25/20 Sound of Music 5 7 Chicago Symphony Orchestra (2015) 2/25/20 Sound of Music -
View PDF Online
MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
Journal of the American Viola Society Volume 28 No. 1, Spring 2012
y t e i c o S a l o i V n a c i r e m A e h t Features: 1 f IVC 39 Review r e o b Bernard Zaslav: m From Broadway u l to Babbitt N a Sergey Vasilenko's 8 n Viola Compositions 2 r e m u u l o V o J Journal of the American Viola Society A publication of the American Viola Society Spring 2012 Volume 28 Number 1 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: Announcements ~ In Memoriam ~ IVC Host Letter Feature Articles p. 13 International Viola Congress XXXIX in Review: Andrew Filmer and John Roxburgh report from Germany p. 19 Bowing for Dollars: From Broadway to Babbitt: Bernard Zaslav highlights his career as Broadway musician, recording artist, and quartet violist p. 33 Unknown Sergey Vasilenko and His Viola Compositions: Recent Discoveries in Russian Archives: Elena Artamonova uncovers works by Russian composer Sergey Vasilenko Departments p. 49 In the Studio: Yavet Boyadjiev chats with legendary Thai viola teacher Choochart Pitaksakorn p. 57 Student Life: Meet six young violists featured on NPR’s From the Top p. 65 With Viola in Hand: George Andrix reflects on his viola alta p. 69 Recording Reviews On the Cover: Karoline Leal Viola One Violist Karoline Leal uses her classical music background for inspiration in advertising, graphic design, and printmaking. Viola One is an alu - minum plate lithograph featuring her viola atop the viola part to Dvořák’s “New World” Symphony. To view more of her art, please visit: www.karolineart.daportfolio.com. -
The Issue of Size: a Glimpse Into the History of the Violoncello Piccolo
Page 1 The Issue of Size: A Glimpse into the History of the Violoncello Piccolo by Johanna Randvere Early Music Department University of the Arts, Sibelius Academy April 2020 Page 2 Abstract The aim of this research is to find out whether, how and why the size, tuning and the number of strings of the cello in the 17th and 18th centuries varied. There are multiple reasons to believe that the instrument we now recognize as a cello has not always been as clearly defined as now. There are written theoretical sources, original survived instruments, iconographical sources and cello music that support the hypothesis that smaller-sized cellos – violoncelli piccoli – were commonly used among string players of Europe in the Baroque era. The musical examples in this paper are based on my own experience as a cellist and viol player. The research is historically informed (HIP) and theoretically based on treatises concerning instruments from the 17th and the 18th centuries as well as articles by colleagues around the world. In the first part of this paper I will concentrate on the history of the cello, possible reasons for its varying dimensions and how the size of the cello affects playing it. Because this article is quite cello-specific, I have included a chapter concerning technical vocabulary in order to make my text more understandable also for those who are not acquainted with string instruments. In applying these findings to the music written for the piccolo, the second part of the article focuses on the music of Johann Sebastian Bach, namely cantatas with obbligato piccolo part, Cello Suite No. -
Secrets of Stradivarius' Unique Violin Sound Revealed, Prof Says 22 January 2009
Secrets Of Stradivarius' unique violin sound revealed, prof says 22 January 2009 Nagyvary obtained minute wood samples from restorers working on Stradivarius and Guarneri instruments ("no easy trick and it took a lot of begging to get them," he adds). The results of the preliminary analysis of these samples, published in "Nature" in 2006, suggested that the wood was brutally treated by some unidentified chemicals. For the present study, the researchers burned the wood slivers to ash, the only way to obtain accurate readings for the chemical elements. They found numerous chemicals in the wood, among them borax, fluorides, chromium and iron salts. Violin "Borax has a long history as a preservative, going back to the ancient Egyptians, who used it in mummification and later as an insecticide," For centuries, violin makers have tried and failed to Nagyvary adds. reproduce the pristine sound of Stradivarius and Guarneri violins, but after 33 years of work put into "The presence of these chemicals all points to the project, a Texas A&M University professor is collaboration between the violin makers and the confident the veil of mystery has now been lifted. local drugstore and druggist at the time. Their probable intent was to treat the wood for Joseph Nagyvary, a professor emeritus of preservation purposes. Both Stradivari and biochemistry, first theorized in 1976 that chemicals Guarneri would have wanted to treat their violins to used on the instruments - not merely the wood and prevent worms from eating away the wood because the construction - are responsible for the distinctive worm infestations were very widespread at that sound of these violins. -
2015 Live Finals
2015 National Solo Competition Live Finals Friday, March 20, 2015 Salt Lake City, Utah Center for the Arts 123 West South Temple Abravanel Hall Salt Lake City, UT 84101 Thank you to our sponsors: Evening Performance Pirastro GmbH Grand Prize SHAR Music Audience Favorite Yamaha Corporation of America Laureate Prizes Nathan Gordon Fund Ralph Matesky Fund Warren Loranger Jeffrey Solow American String Teachers Association Friday, March 20, 2015 • Salt Lake City, Utah Message from the Chair Welcome to the finals of the ASTA National Solo Competition. Organizing a competition of this size and scope, which includes all of the modern string instruments in junior and senior divi- sions, is a complicated enterprise and there are many individu- als whose contributions have made it possible. My deepest thanks go to Libby Dietrich, who thoughtfully and comprehen- sively oversaw myriad aspects and details for this competition. President Stephen Benham, president-elect Brenda Brenner, and all of the staff at the national office took care of many other facets of the competition including raising the prize mon- ey—one of the most important and difficult tasks that goes into making it a successful event. A big thank you as well to the online judges, who in addition to selecting our online prize win- ners and the six Laureate Finalists (from more than 100 en- trants), also acted as my advisory committee. Our judges for the finals are generously offer- ing their time, knowledge, and artistry by giving master classes at the conference. We thank them and hope that you have or will attend their classes. -
Characterization of the Varnishes from Historical Musical Instruments
Universit`adegli Studi di Palermo DOTTORATO DI RICERCA IN SCIENZE CHIMICHE SSD CHIM/12 Chimica dell’Ambiente e Beni Culturali Caratterizzazione delle vernici da antichi strumenti musicali — Characterization of the varnishes from historical musical instruments Candidato: Tutor e Cotutor: Francesco Caruso Prof. Eugenio Caponetti e Prof.ssa Delia Francesca Chillura Martino Coordinatore: Prof. Michelangelo Gruttadauria XXII ciclo – A.A. 2008–2010 Abstract The characterization of materials such as glues, paints, pigments, binders and varnishes used to create artworks, continues to provide art historians and conservators with precious information. Such a knowledge enables restora- tion and conservation processes to be carried out properly without causing any damage to the original artefacts and also helps to understand the tech- niques used by the artists. The varnishing of musical instruments has been an interesting debating point since the end of the 19th century for lute-makers and industries focused onto the (re)production of high quality instruments. To date, there is considerable scientific interest in recovering the original formulations (the secrets of the old masters) and transferring such knowledge to restorers, conservators, lute-makers and musicologists. Ample scientific efforts have been made to identify the organic and the inorganic portions of the surface layers of several historical stringed instru- ments, although the interest has mainly been focused on North-Italian ones. This doctoral dissertation is devoted to the use of a non standard multi- analytical method for the characterization of the varnish of a selection of historical stringed musical instruments from the \Musical Instruments Mu- seum" in Brussels and the \Vincenzo Bellini" Conservatory in Palermo. -
Delmas Double Bass Auction
Tarisio Blog Page 1 of 5 Auction | Register to Bid Edit Profile Home About Us Blog Archives & Results Bookstore Contact Us In the Press Coming Events « “The ex-Castelbarco” Composite Stradivarius of 1707 From our March 2011 London auction: a violin by Carlo Giuseppe Oddone » The “Delmas” double bass by Giovanni Paolo Maggini Tarisio is delighted to present the ‘Delmas’ double bass by Giovanni Paolo Maggini. It is the first Maggini bass to be offered at auction for over a century and is in extraordinarily fine condition for its age. The following article by historian and expert Duane Rosengard provides an extensive history and analysis of this rare instrument. ex- Joseph Delmas “Boussagol” A FINE AND RARE ITALIAN BASS BY GIOVANNI PAOLO MAGGINI, BRESCIA, c. 1610 Labeled, “Gio Paolo Magini in Bressa…” Also bearing a repair label, “Andreas Miller in Insbruck Repariert 1836…” LOB 101.9 cm or 104.0 cm including the button * Sold with a certificate from the Rembert Wurlitzer Co., New York (July 20, 1960) signed by Rembert Wurlitzer. A certificate available from Duane Rosengard, Haddonfield. http://tarisio.com/wp/2011/03/the-delmas-double-bass-by-giovanni-paolo-maggini-4-2/ 4/9/2011 Tarisio Blog Page 2 of 5 The ‘Delmas’ Maggini double bass by Duane Rosengard Provenance The ‘Delmas’ Maggini double bass is named for Alphonse-Joseph Delmas ‘dit Boussagol’ (1891–1958), one of the foremost French double bassists and pedagogues of the 20th century. He was a pupil of Eduard Nanny at the Conservatoire National in Paris from 1909 until he matriculated with a First Prize in 1911. -
SCIENCE and the STRADIVARIUS' Col.In Gough School of Physics and Astronomy L'nivcrsityofbirrniogham Edgbaston, Birmingham 015 ZTT
SCIENCE AND THE STRADIVARIUS' Col.in Gough School of Physics and Astronomy L'nivcrsityofBirrniogham Edgbaston, Birmingham 015 ZTT [email protected] I that malo. aSlmlivarius Is there really a that Slnldiv-,u;lIs violins apart a hal f, many famous physicists have bt:cn intrigued by the from the best instruments made After more than a workings of the violin, with Helmholtz, Savart and Raman all hundred years of vigorous debate, qucstlon TCmatnS making vital contrihutions highly contentious, provoking strongly held hut divergent It is important to recognize that the sound of" the great views among players, violin makers and scientists alike. AI! of Italian instrumeuts we hcar today is very different from the the greatest violinists of modern timcs certainly believe it 10 sound they would have made in Stradivari's time. Almost all be true, and invariably perform on violins by Stradivari or Cremonese instruments underwent extensive restoration and Guarneri in preference to modem instruments "improwmenf' in the 19th cemury. You need only listen to Vio lins by the groat Italian makers arc, of COUfllC, beautiful "authentic" baroque groups, ill which most top perrmmers \mrksofaTlin their own right, and are covcted by collectors play on fine Italian instnnncnls restored to their formcr as well as players. Particularly outstanding violins have to recognize the vast diffcrence in loue quality bern'een thcse reputedly changed hands for over a million pounds. In restored originals and '·modem" versions of the Cremonese contrast, finc modern instrumcnts typically cost about violins £10,000, factory-mack violins for beginners can be Prominent among the 19th-<:e!ltury violin restorer, was bought fo r under £100.