Shlomo Mintz
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University Musical Society Oslo Philharmonic
UNIVERSITY MUSICAL SOCIETY OSLO PHILHARMONIC ORCHESTRA MARISS JANSONS Music Director and Conductor FRANK PETER ZIMMERMANN, Violinist Sunday Evening, November 17, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM Concerto in E minor for Violin and Orchestra, Op. 64 . Mendelssohn Allegro molto appassionata Andante Allegretto non troppo, allegro molto vivace Frank Peter Zimmermann, Violinist INTERMISSION Symphony No. 7 in C major, Op. 60 ("Leningrad") ..... Shostakovich Allegretto Moderate Adagio, moderate risoluto Allegro non troppo CCC Norsk Hydro is proud to be the exclusive worldwide sponsor IfiBUt of the Oslo Philharmonic Orchestra for the period 1990-93. The Oslo Philharmonic and Frank Peter Zimmermann are represented by Columbia Artists Management Inc., New York City. The Philharmonic records for EMl/Angel, Chandos, and Polygram. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts. Twelfth Concert of the 113th Season 113th Annual Choral Union Series Program Notes Violin Concerto in E minor, Op. 64 root tone G on its lowest note, the flute and FELIX MENDELSSOHN (1809-1847) clarinets in pairs are entrusted with the gentle melody. On the opening G string, the solo uring his short life of 38 years, violin becomes the fundament of this delicate Mendelssohn dominated the passage. The two themes are worked out until musical world of Germany and their development reaches the cadenza, exercised the same influence in which Mendelssohn wrote out in full. The England for more than a gener cadenza, in turn, serves as a transition to the ationD after his death. The reason for this may reprise. -
Echoes of Memory Volume 9
Echoes of Memory Volume 9 CONTENTS JACQUELINE MENDELS BIRN MICHEL MARGOSIS The Violins of Hope ...................................................2 In Transit, Spain ........................................................ 28 RUTH COHEN HENRY MARKOWICZ Life Is Good ....................................................................3 A Letter to the Late Mademoiselle Jeanne ..... 34 Sunday Lunch at Charlotte’s House ................... 36 GIDEON FRIEDER True Faith........................................................................5 ALFRED MÜNZER Days of Remembrance in Rymanow ..................40 ALBERT GARIH Reunion in Ebensee ................................................. 43 Flory ..................................................................................8 My Mother ..................................................................... 9 HALINA YASHAROFF PEABODY Lying ..............................................................................46 PETER GOROG A Gravestone for Those Who Have None .........12 ALFRED TRAUM A Three-Year-Old Saves His Mother ..................14 The S.S. Zion ...............................................................49 The Death Certificate That Saved Vienna, Chanukah 1938 ...........................................52 Our Lives ..................................................................................... 16 SUSAN WARSINGER JULIE KEEFER Bringing the Lessons Home ................................. 54 Did He Know I Was Jewish? ...................................18 Feeling Good ...............................................................55 -
Biografie Shlomo Mintz & Sander Sittig
Critici, colleghi e pubblico sono concordi nel considerare Shlomo Mintz uno dei maggiori violinisti del nostro tempo, stimato per la sua impeccabile musicalità, versatilità stilistica e padronanza tecnica. Nato a Mosca nel 1957, due anni dopo è emigrato con la famiglia in Israele dove ha iniziato a studiare con Ilona Feher. A undici anni ha debuttato con la Israel Philharmonic Orchestra e a sedici anni ha debuttato alla Carnegie Hall di New York con la Pittsburgh Symphony Orchestra, suo mentore fu il grande violinista Isaac Stern. Ha poi continuato gli studi con Dorothy DeLay alla Julliard School of Music di New York. Ha collaborato con direttori storici come Sergiu Celibidache, Pablo Casals, Eugene Ormandy, Claudio Abbado, Lorin Maazel, Mistislav Rosptropovich, Carlo Maria Giulini e continua a collaborare con le orchestre più celebri e i direttori più noti della scena internazionale. Ha vinto numerosi premi di prestigio, quali il Premio Accademia Musicale Chigiana di Siena, il Diapason d’Or, il Grand Prix du Disque, il Gramophone Award e l’Edison Award. Nel 2006 ha ricevuto la laurea honoris causa dall’Università Ben –Gurion di Beersheba. Oltre ad essere violinista e violista Shlomo Mintz ha aggiunto al suo curriculum artistico il ruolo di direttore d’orchestra dirigendo le più importanti orchestre internazionali. Ha fatto parte della giuria di importanti concorsi internazionali di violino, come il Tchaikovsky di Mosca e il Queen Elisabeth International Music Competition di Bruxelles. Sander Sittig, nato a Rotterdam nel 1961, ha studiato al Conservatorio di Amsterdam con Jan Wijn e dopo il diploma ha continuato con Naum Grubert, Willem Brons, Eugene Indjic. -
Sherith Israel
the Jewish bserver www.jewishobservernashville.org Vol. 82 No. 10 • October 2017 11 Tishrei-11 Cheshvan 5778 Holocaust With ‘Violins of Hope,’ community Memorial, examines Holocaust, social issues art events By KATHY CARLSON intage musical instru- ments that were lovingly on Oct. 8 restored after surviving or more than 10 years, the Holocaust will give Nashville has had a site ded- all of Nashville a focus for icated to remembering those better understanding how who lost their lives through Vpeople confront injustice and hatred. the institutionalized evil The instruments – collectively called of the Holocaust. On Oct. the Violins of Hope – will be played F8, the Jewish community will gather by Nashville Symphony musicians and at the Nashville Holocaust memorial exhibited at the Nashville Library next on the grounds of the Gordon Jewish spring as the city’s Jewish, arts and com- Community Center to remember those munity organizations come together with who were killed as well as Holocaust a host of related programs. survivors, including those who made the Mark Freedman, executive director Nashville memorial possible. of the Jewish Federation and Foundation “So much has changed over the of Nashville and Middle Tennessee, years since the Memorial was complet- spoke at a news conference detailing ed,” said Felicia Anchor, who helped upcoming programs. He thanked the organize the memorial. The community many partner organizations and individu- has lost several survivors who were als who have worked to bring the Violins instrumental in establishing the memo- of Hope to Nashville. rial, including Elizabeth Limor and He recalled how he visited Yad At a news conference at the Schermerhorn Symphony Center, Mark Freedman, Esther Loeb. -
Festival of Strings 2017 Flier
Festival of Strings 2017 Five Consecutive days of Concerts and Master Classes with Internationally Recognized Artists and our own SHSU faculty Dylana Jenson (violin), The Solera String Quartet with Josu de Solaun (piano), The Kolonneh String Quartet (SHSU faculty) • Thursday, October 5, Concert Hall, 2:30-5:00 pm Master class with Dylana Jenson • Friday, October 6, Recital Hall 1:00-3:00 pm Master class with Dylana Jenson • Friday, October 6, Concert Hall, 7:30 pm SHSU Symphony Orchestra Concert with guest soloist Daniel Saenz (cello) VENUE CHANGE! • Saturday, October 7, Recital Hall, 7:30 pm University Heights Baptist Church Guest Artist Recital 2400 Sycamore Ave, Huntsville, TX 77340 Dylana Jenson, (violin) with Josu de Solaun (piano) •Sunday, October 8, Recital Hall, 3:30 pm Guest Artist Recital The Solera String Quartet with Josu de Solaun (piano) • Monday, October 9, Recital Hall, 7:30 pm The Kolonneh String Quartet www.shsu.edu/music/events Sam Houston State University Festival of Strings 2017 Guest Artists DYLANA JENSON Dylana Jenson has performed with most major orchestras in the United States and traveled to Europe, Australia, Japan and Latin America for concerts, recitals and recordings. After her triumphant success at the Tchaikovsky Competi- tion, where she became the youngest and first American woman to win the Silver Medal, she made her Carnegie Hall debut playing the Sibelius Concerto with Eugene Ormandy and the Philadelphia Orchestra. Following her most recent Carnegie Hall performance, Jenson again electrified both audience and critics in her per- formance of Karl Goldmark's violin concerto. According to Strad Magazine, "In Jenson's hands, even lyrical passages had an intense, tremulous quality.. -
N E W S R E L E A
N E W S R E L E A S E CONTACT: Katherine Blodgett Vice President of Public Relations and Communications Phone: 215.893.1939 E-mail: [email protected] Jesson Geipel Public Relations Manager FOR IMMEDIATE RELEASE Phone: 215.893.3136 DATE: October 18, 2012 E-mail: [email protected] YANNICK NÉZET-SÉGUIN’S INAUGURAL SEASON AS MUSIC DIRECTOR OF THE PHILADELPHIA ORCHESTRA BEGINS THURSDAY, OCTOBER 18, 2012, WITH A GALA CONCERT FEATURING THE INCOMPARABLE RENÉE FLEMING Opening Weeks of Nézet-Séguin’s Tenure to Feature Verdi’s Requiem, His Carnegie Hall Debut, and Concerts with Violinist Joshua Bell (Philadelphia, October 18, 2012)—Yannick Nézet-Séguin officially begins his tenure as The Philadelphia Orchestra’s eighth music director with a gala Opening Concert on October 18, 2012, two weeks of subscription concerts at the Orchestra’s home in Verizon Hall at the Kimmel Center, and with his Carnegie Hall debut on October 23 in New York City. Nézet-Séguin was named music director designate of the legendary ensemble in 2010. The gala concert, featuring soprano Renée Fleming, includes Ravel’s Shéhérazade, Brahms’s Symphony No. 4, and “Mein Elemer!” from Arabella by Richard Strauss. For the Orchestra’s first subscription series at the Kimmel Center and for his Carnegie Hall debut, Nézet-Séguin has chosen Verdi’s Requiem, featuring soprano Marina Poplavskaya, mezzo-soprano Christine Rice, tenor Rolando Villazón, bass Mikhail Petrenko, and the Westminster Symphonic Choir. Philadelphia Orchestra Association President and CEO Allison Vulgamore said, “This is the launch of a new chapter for The Philadelphia Orchestra. We have been anticipating this moment for what seems a very long time, and the entire organization couldn’t be more thrilled that it is finally upon us. -
THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW in 1949, to Mark the Centennial of the Death of Fryderyk
THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW In 1949, to mark the centennial of the death of Fryderyk Chopin, the Kosciuszko Foundation’s Board of Trustees authorized a National Committee to encourage observance of the anniversary through concerts and programs throughout the United States. Howard Hansen, then Director of the Eastman School of Music, headed this Committee, which included, among others, Claudio Arrau, Vladimir Horowitz, Serge Koussevitzky, Claire Booth Luce, Eugene Ormandy, Artur Rodzinski, George Szell, and Bruno Walter. The Chopin Centennial was inaugurated by Witold Malcuzynski at Carnegie Hall on February 14, 1949. A repeat performance was presented by Malcuzynski eight days later, on Chopin’s birthday, in the Kosciuszko Foundation Gallery. Abram Chasins, composer, pianist, and music director of the New York Times radio stations WQXR and WQWQ, presided at the evening and opened it with the following remarks: In seeking to do justice to the memory of a musical genius, nothing is so eloquent as a presentation of the works through which he enriched our musical heritage. … In his greatest work, Chopin stands alone … Throughout the chaos, the dissonance of the world, Chopin’s music has been for many of us a sanctuary … It is entirely fitting that this event should take place at the Kosciuszko Foundation House. This Foundation is the only institution which we have in America which promotes cultural relations between Poland and America on a non-political basis. It has helped to understand the debt which mankind owes to Poland’s men of genius. At the Chopin evening at the Foundation, two contributions were made. -
A Career Filled with High Notes
A Career Filled With High Notes Michael Tilson Thomas, now in the final season of his 25 years at the helm of the San Francisco Symphony, has left a profound imprint on both the orchestra and the city. By David Mermelstein March 3, 2020 Michael Tilson Thomas, music director of the San Francisco Symphony, in 2018 When Michael Tilson Thomas became music director of this city’s estimable but not very exciting or forward-looking symphony orchestra in 1995, he had been working in London and needed an American career boost, and the ensemble was looking for an energetic maestro who would elevate its profile and maybe even lend it “buzz.” A quarter-century later, their partnership stands as one of the great success stories in U.S. musical history, thanks in large part to Mr. Thomas’s searching intellect, fierce curiosity, and supreme repertorial fluency. His direct connection to musical history, unmatched in our time, hasn’t hurt, either. As a result, the 109-year-old San Francisco Symphony is now widely regarded as among this country’s finest orchestras—right up there with East Coast titans like the New York Philharmonic, the Boston Symphony Orchestra and the Philadelphia Orchestra. West of Chicago, only the Los Angeles Philharmonic challenges San Francisco’s dominance. But nothing lasts forever, and Mr. Thomas, who turned 75 just before Christmas, is midway through his last season at the helm. Fittingly, the exit music, as it were, hearkens back to past triumphs. On Friday, Mr. Thomas and the orchestra will perform Mahler’s Symphony No. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section. -
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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. -
Season 2015-2016 the Philadelphia Orchestra Thursday, February 18, At
Season 2015-2016 The Philadelphia Orchestra Thursday, February 18, at 8:00 Friday, February 19, at 2:00 Saturday, February 20, at 8:00 Michael Tilson Thomas Conductor Ives “Decoration Day,” from A Symphony: New England Holidays Brahms Serenade No. 2 in A major, Op. 16 I. Allegro moderato II. Scherzo: Vivace III. Adagio non troppo IV. Quasi menuetto V. Rondo: Allegro Intermission Tchaikovsky Symphony No. 2 in C minor, Op. 17 (“Little Russian”) I. Andante sostenuto—Allegro vivo II. Andantino marziale, quasi moderato III. Scherzo and Trio: Allegro molto vivace IV. Finale: Moderato assai—Allegro—Presto This program runs approximately 1 hour, 45 minutes. The February 18 concert is sponsored by Daniel K. Meyer, M.D. The February 19 concert is sponsored by Peter A. Benoliel and Willo Carey. The February 20 concert is sponsored by Judy and Peter Leone. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. Michael Tilson Thomas is music director of the San Francisco Symphony, founder and artistic director of the New World Symphony, and principal guest conductor of the London Symphony. He made his Philadelphia Orchestra debut in 1971 and returns to lead the ensemble in March 2017. Born in Los Angeles, he is the third generation of his family to follow an artistic career. He began his formal studies at USC where he studied piano and conducting and composition. At 19 he was named music director of the Young Musicians Foundation Debut Orchestra. During this same period he was pianist and conductor for Gregor Piatigorsky and Jascha Heifetz. -
The Humanities in Western Tradition Volume Ii the Humanities in Western Tradition Volume Ii
AUDIO COMPACT DISC TO ACCOMPANY The HumanitieIN THE WESTERNs TRADITION VOLUME II: RENAISSANCE TO PRESENT 3-44278 A 61336 Perry | Baker | Hollinger Perry Perry AUDIO COMPACT DISC TO ACCOMPANY | | Baker Baker ISBN 0-395-84818-0 | | Hollinger Hollinger ,!7IA3J5-ieibia!:m;k;k;K;K The HumanitieIN THE WESTERN TRADITIONs VOLUME II: RENAISSANCE TO PRESENT A 61336 3-44278 THE HUMANITIES IN WESTERN TRADITION VOLUME II THE HUMANITIES IN WESTERN TRADITION VOLUME II 1 (15.1) Weelkes: As Vesta Was From 14 (19.4) Beethoven: Symphony No. 5, I 27 (22.6) Mussorgsky: Pictures at an Latmos Hill Descending Exhibition, “Great Gate of Kiev” 15 (19.4) Beethoven: Symphony No. 5, 2 (15.2) Giovanni da Palestrina: Pope III/IV 28/29(22.7) Tchaikovsky: 1812 Overture Marcellus Mass, Credo 16 (19.5) Beethoven: Symphony No. 9, IV 30 (22.8) Debussy: La Mer, II Jeux de 3 (15.3) Monteverdi: L’Orfeo, Lasciete I Vagues 17 (20.1) Schubert: Erlkönig Monti 31 (23.1) Shoenberg: Variations, Theme 18 (20.2) Mendelssohn: Midsummer 4 (16.1) Vivaldi: Four Seasons, Spring, I and Variation IV Night’s Dream, Wedding March 5 (16.2) Handel: Messiah, “All We Like 32 (23.2) Ives: Fourth of July 19/20 (20.3) Berlioz: Symphonie Fantastique, Sheep” IV (23. 3) Stravinsky: The Rite of Spring 6/7 (16.3) Bach: Passacaglia in C Minor 33 Augers of Spring 21 (20.4) Chopin: Polonaise in A Flat 34 Mock Abduction 8 (16.4) Bach: Brandenburg Concerto No. Major 35 Rounds 2, II 22 (22.1) Verdi: Nabucco, “Coro di Schiavi 36 (24.1) Joplin: Maple Leaf Rag 9(16.5) Bach: St.