Academy of Fortepiano Performance Provides IMPORTANT DATES Academy of an Inspiring and Practical Immersion Into the World Festival Dates: of Historical Pianos
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Music in the Pavilion
UNIVERSITY of PENNSYLVANIA LIBRARIES KISLAK CENTER Music in the Pavilion PHOTO BY SHARON TERELLO NIGHT MUSIC A SUBTLE AROMA OF ROMANTICISM Friday, September 27, 2019 Class of 1978 Orrery Pavilion Van Pelt-Dietrich Library Center www.library.upenn.edu/about/exhibits-events/music-pavilion .................................................................................. .................................................................................. .................................................................................. .................................................................................................................................................................... .................................................................................. ........... ............ ......... A SUBTLE AROMA OF ROMANTICISM NIGHT MUSIC Andrew Willis, piano Steven Zohn, flute Rebecca Harris, violin Amy Leonard, viola Eve Miller, cello Heather Miller Lardin, double bass PIANO TRIO IN D MINOR, OP. 49 (1840) FELIX MENDELSSOHN (1809–47) MOLTO ALLEGRO AGITATO ANDANTE CON MOTO TRANQUILLO SCHERZO: LEGGIERO E VIVACE FINALE: ALLEGRO ASSAI APPASSIONATO PIANO QUINTET IN A MINOR, OP. 30 (1842) LOUISE FARRENC (1804–75) ALLEGRO ADAGIO NON TROPPO SCHERZO: PRESTO FINALE: ALLEGRO The piano used for this concert was built in 1846 by the Paris firm of Sébastien Érard. It is a generous gift to the Music Department by Mr. Yves Gaden (G ’73), in loving memory of his wife Monique (1950-2009). ................................................................................... -
Robert Levin Selected Reviews
Robert Levin Selected Reviews Beethoven Piano Concerto No. 3 Scottish Chamber Orchestra (November 2017) “Playing along quietly in the normally orchestra-only exposition, adding in his own improvised lead-ins and interruptions, pedalling freely, stretching rhythms and inserting impromptu melodic embellishments, he treated what we normally hear as nothing more than the Concerto’s bare bones, a framework for spontaneous, in-the-moment creation – all backed up by serious historical scholarship, of course. The result was edge-of-your-seat stuff, sometimes raising a smile, often raising eyebrows, but carried through with utter conviction and brilliant, sometimes rather hard-edged clarity. Most captivating, though, was the breathtaking immediacy of Levin’s account, and its disarming honesty – maybe this’ll work, maybe not, he seemed to say, but we’ll do it anyway.” – David Kettle, The Scotsman **** “Robert Levin, who has just celebrated his 70th birthday, brought his renowned erudition to the solo part, as well as the flair of his own improvised cadenzas, always staying clearly within the embrace of Beethoven’s own themes.” – Keith Bruce, The Herald **** Alte Oper Recital Mozart Saal, Frankfurt (May 2017) “Erfolgreich Musik machen und erfolgreich über sie reden können wenige. Ein solcher Universalkünstler, bekannt auch als Vollender berühmter Fragmente wie etwa Mozarts Requiem, ist der Pianist Robert Levin.” – Gerhard Schroth, Frankfurter Allgemeine Zeitung Hilary Hahn Recitals European and US Tour (March 2017) “A Mozart sonata, K. 481, followed. Again it was Levin whose dynamism collared our ears… it was clear that our musicians were enjoying a conversation. …Levin’s solo turn followed in Hans Peter Türk’s Träume , another welcome UK premiere. -
INTERNATIONAL FORTEPIANO SALON #5: Pioneers: Fortepiano in China
Catskill Mountain Foundation presents INTERNATIONAL FORTEPIANO SALON #5: Pioneers: Fortepiano in China Hosted by the Academy of Fortepiano Performance in Hunter, NY SATURDAY MAY 22, 2021 @ 9 pm (Eastern Daylight Saving Time) (Sunday, May 23, 2021 @ 9 am China Time) Hosted by Yiheng Yang and Maria Rose Founders and faculty of the Academy of Fortepiano Performance in Hunter, NY Guest Hosts: Audrey Axinn (Tianjin) Yuan Sheng (Beijing) Yuehan Wang (Beijing) Also Featuring: Michael Tsalka, Zijun Wang, and Jing Tang PROGRAM Wolfgang Amadeus Mozart Rondo in F major, K.494 Audrey Axinn, Anton Walter fortepiano (replica by Paul McNulty) Frédéric Chopin Waltz in A-Flat Major, Op. 69, No. 2 Nocturne in D-Flat Major, Op. 2 Yuan Sheng, 1836 Pleyel piano Wolfgang Amadeus Mozart Sonata in E-flat Major, K.282 Adagio, Menuetto Yuehan Wang, Anton Walter fortepiano (replica by Paul McNulty) Franz Schubert Impromptu in G-Flat Major, Op. 90, No. 3 Johann Baptist Wanhal Capriccio in E-Flat Major, Op. 15, No. 2 (1786) Michael Tsalka, 1838 Conrad Graf piano; ca. 1785 Johann Bohack fortepiano Franz Schubert Sonata in C Minor, D.958 Allegro (4th movt.) Zijun Wang, Graf fortepiano (replica by Paul McNulty) Wolfgang Amadeus Mozart Fantasy in D minor, K.397 Jing Tang, Anton Walter fortepiano (replica by Paul McNulty) BIOGRAPHIES A sensitive and compelling performer and educator, Audrey Axinn is currently Associate Dean and faculty at the Tianjin Juilliard School. She is also on faculty at New York Juilliard and Mannes School of Music. She has performed widely at venues such as the Boston Early Music and Edinburgh Festivals and taught master classes at almost two dozen conserva- tories in Asia, Europe and North America. -
Historical Performance Practice at the Beginning of the New Millennium
Historical Performance Practice at the beginning of the new millennium Dorottya Fabian An interest in early music and performing practices of the past has a long history by now. Its characteristics in the nineteenth century have been mapped by several authors, especially in relation to the revival of Johann Sebastian Bach’s music, the Cecilian Movement and various musical developments in England. Even more pub- lications are available on its twentieth-century history.1 The initiatives during the early decades (e.g. the organ and recorder movements of the 1920s, the establish- ing of the Schola Cantorum in Basel in 1933) and the contribution of pioneers like Wanda Landowska and Arnold Dolmetsch have been extensively studied togeth- er with lesser-known figures, places and institutions.2 But as is well-known, it was during the second half of the twentieth century that the Early Music or Historically Informed Performance Movement has truly taken off, becoming a major force in the world of classical music. Many books and papers have been dedicated to the history of this development, its various phases, musical characteristics, key figures, aesthetic outlook and philosophical assumptions, and its achievements. There was a burgeon- ing of such literature and heated debates during the 1980s and 1990s followed by more comprehensive and ‘corrective’ analyses published during the early years of the 2000s, most focussing on the second half of the twentieth century.3 Much less has 1 Harry Haskell, The Early Music Revival – A History, London 1988; George B. Stauffer, Changing Issues of Performance Practice, in: John Butt (Hg.), Cambridge Companion to Bach, Cambridge 1997, S. -
Wlimr(Cer Concert
- The Jfusfcal-Poetfcal Club (The Fortepfano Society) presents its Wlimr(cer Concert. Sunday. February 17. 1991. 3:00 p.m. Brechemin Auditorium School of Music University of Washington ----.....-~----.~............. ~---~-- ................ --- '0 Program {, 'Z ('7, S lcle. I\ -t S-l ~oU-. G e I~cte y- CD Three English Songs _. , Franz Joseph Haydn ON.e!-~1 No.VlL'f W,lh",WlScrn ~ Wa/1"e{ &-T~,,,,I'Ic) 'I (1732-1809) (\)tT-T IV ,-\J 3 aPastoraI Song, Hob. XXVIa:27 (Anne Hunte!J)( 3 -_ -;; I) (t>A-TID 3; z.. The Wanderer, Hob. XXVIa:32 (Anne Hunter) (::;-: 3~) ,., "-:. (b,4.cT ,p 2-1 I The Lady's Looking-Glass, Hob. XXXIc: 17 (anon.)( I , 5"0) Cynthia Beltmen, mezzo-soprano George Bozarth, John Broadwood & Sons square fortepiano (1816) :41- , ' (/~ '.1"1)- Wo1fgang Amadeus Mozart ,y ~T0- IV' GW'G\J<r(":K;;LTCj(I~4c1) (1756-91) o (j)tn I 0 "j-) -A11cl.~te eantabtle --A11egrette gaz1 SQ.. It-' k,rlo " .~(A.V'lR- I1-lk~ vo " James Fete1'8OQ, Anton Walter grand fortepianO (ea. 1795) :TuW\"'.--'" Fr-1-edww.. V1, Four Lteder Franz Schubert (1797-1828) An die Muslk, Op. 88 No.4 (Schober) Lachen und Weinen, Op. 59 No.4 (Riickert) Du blst die Ruh, Op. 59 No. 3 (ROckert) Gretchen am Splnnrade, Op. 2 (Goethe) Alison Guay, soprano Dwight Beckmeyer, Walter fortepianO (j) Sonata in C major, Hob. XVI:48 (,. ') Haydn (DII-Tll) 51 Or 5<t Andante con expresslone - Allegro Tamara Friedman, Walter forteplano @ Six Duets, Op. 63 (1'-1:03» Felix Mendelssohn ,_/ (]),4-J Ii)')) (1809-47) Ich wollt, mein Lteb ergOsse slch (Heine) Abschledsl1ed der ZugvOgel (Hoffmann von Fallersleben) Gru~ (E1chendorft) Herbstlied (Kl1ngemann) Volksl1ed (Burns) MatglOckchen und die Bliimele1n (Hoffmann von Fallerslebenl Nancy W1ll1amson, soprano Cynthia Beltmen, mezzo-soprano George Bozarth, Walter forteplano • Program Change James Peterson will not perform the Mozart Sonata in F major, K. -
Concert: Ithaca College Chamber Orchestra Ithaca College Chamber Orchestra
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-30-2010 Concert: Ithaca College Chamber Orchestra Ithaca College Chamber Orchestra Jeffery Meyer Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Chamber Orchestra and Meyer, Jeffery, "Concert: Ithaca College Chamber Orchestra" (2010). All Concert & Recital Programs. 4411. https://digitalcommons.ithaca.edu/music_programs/4411 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. PROGRAM Overture to Le Nozze di Figaro Wolfgang Amadeus Mozart from “The Marriage of Figaro ” (1756–1791) ITHACA COLLEGE CHAMBER ORCHESTRA Piano Concerto no. 17, Wolfgang Amadeus Mozart Jeffery Meyer, conductor K. 453 in G major I. Allegro Malcolm Bilson, fortepiano II. Andante III. Allegretto – Finale: Presto Malcom Bilson, fortepiano Ford Hall Friday, April 30, 2010 8:15 p.m. INTERMISSION Symphony no. 4 in B-flat major Ludwig van Beethoven (1770-1827) I. Adagio-Allegro Vivace II. Adagio III. Allegero vivace IV. Allegro ma non troppo To receive occasional emails from the School of Music about upcoming concerts, send an email with your name and address to: [email protected] Photographic, video, and sound recording and/or transmitting devices are not permitted in the Whalen Center concert halls. Please turn off all cell phone ringtones. Program Notes certainly no exception to this maxim as it balances ease of listening with sophistication. It was written Overture to Le Nozze di Figaro in 1784, a particularly fruitful year for that genre being the fourth of six piano concertos written that Le Nozze di Figaro by Wolfgang Amadeus Mozart is year. -
Sir John Eliot Gardiner
LSO SEASON CONCERTS SIR JOHN ELIOT GARDINER Thursday 7 February 2019 7.30–9.30pm Barbican Weber Overture: Euryanthe Mendelssohn Concerto for Violin and Piano Interval Schumann Symphony No 3, ‘Rhenish’ Sir John Eliot Gardiner conductor Isabelle Faust violin Kristian Bezuidenhout fortepiano SCHUMANN Programme Notes on Pages 4 to 9 Sunday 10 February 2019 7–9pm Barbican Hall Schumann Overture: Manfred Beethoven Piano Concerto No 1 Interval Schumann Symphony No 1, ‘Spring’ Sir John Eliot Gardiner conductor Piotr Anderszewski piano Programme Notes on Pages 10 to 14 Welcome Latest News On Our Blog Thanks to our media partner Classic FM, CENTRE FOR MUSIC ORCHESTRA’S CHOICE: SCHUMANN who have recommended this concert to their listeners. Thursday evening will be broadcast The LSO, Barbican and Guildhall School have LSO players share stories about their live on the LSO’s YouTube channel, and both ambitious plans for a new London concert favourite music by Robert Schumann concerts will also be captured for the LSO’s hall. The vision for the Centre for Music is and how it came into their lives, from the own recording label LSO Live, as part of a to develop a world-class venue for music symphonies to chamber music to song. complete cycle of Schumann’s symphonies and education. First concept designs for the • lso.co.uk/blog conducted by Sir John Eliot Gardiner. project have now been released. • lso.co.uk/news I hope that you enjoy the performances and MEET LAHAV SHANI that you will be able to join us again soon. In these two LSO concerts at the Barbican -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Moschos, P. (2006). Performing Classical-period music on the modern piano. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8485/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] PERFORMING CLASSICAL-PERIOD MUSIC ON THE MODERN PIANO Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts (DMA) Petros Moschos ýý*** City University Music Department June 2006 Contents Acknowledgements ................................................................................. iii Abstract ................................................................................................ iv List figures -
Wolfgang Amadeus Mozart: the Piano Concertos with Ronald Brautigam, Fortepiano Kölner Akademie Michael Alexander Willens, Conductor BIS -2544 SACD (12 Sacd’S)
Wolfgang Amadeus Mozart: The Piano Concertos with Ronald Brautigam, fortepiano Kölner Akademie Michael Alexander Willens, conductor BIS -2544 SACD (12 sacd’s) CD 1 Piano Concerto No. 3 in D major, K 40 Piano Concerto No. 1 in F major, K 37 Piano Concerto No. 2 in B flat major, K 39 Piano Concerto No. 4 in G major, K 41 Cadenzas: Mozart (K 40), Brautigam (K 37, 39 & 41) Instrument: Paul McNulty 2007, after Johann Andreas Stein 1788 Recorded: August 2015, Deutschlandfunk, Kammermusiksaal, Cologne CD 2 Piano Concerto No. 5 in D major, K 175 Piano Concerto No. 6 in B flat major, K 238 Piano Concerto in D major after J.C. Bach, K 107 Piano Concerto in G major after J.C. Bach, K 107 Piano Concerto in E flat major after J.C. Bach, K 107 Cadenzas: Mozart, Brautigam (K 175, third movement; K 107 II/III) Instrument: Paul McNulty, after Walter c. 1792 (K 175 & K 238); Paul McNulty 2007, after Johann Andreas Stein 1788 (K 107 I/III) Recorded: December 2014, Deutschlandfunk, Kammermusiksaal, Cologne CD 3 Concerto in E flat major for two pianos, K 365 Concerto in F major for three pianos, K 242 (London Concerto) Concerto in E flat major for two pianos, K 365 (version with clarinets, trumpets and timpani) Cadenzas: Mozart With Alexei Lubimov, fortepiano (piano 1 in K 365, piano 2 in K 242); Ronald Brautigam, fortepiano (piano 2 in K 365, piano 1 in K 242); Manfred Huss, fortepiano (piano 3 in K 242), Haydn Sinfonietta Wien Instrument: Paul McNulty, after A. -
Review Essay Haydn Recordings in the Bicentennial Year
Review Essay Haydn Recordings in the Bicentennial Year SYLVIA BERRY N ANTICIPATION OF THE 200TH anniversary of the death of Franz Joseph Haydn (1732-1809), a number of early keyboard specialists embarked upon Icomplete recordings of Haydn’s keyboard works, all but one of which was released before the Haydn Year 2009. These recordings include not only the complete solo keyboard works, but also the complete keyboard trios — a wonderful and often neglected facet of Haydn’s keyboard output. In a real marriage of performance and scholarship, every keyboard work Haydn wrote (including some contemporary arrangements of works by Haydn in other genres) has now been committed to disc on a stunning variety of instruments. Thus, in 2009, we can finally hear Haydn’s keyboard music performed on a veritable constellation of clavichords, harpsichords, and fortepianos, reflecting the wealth of keyboard instruments available to Haydn during his life-long career as a composer of keyboard music. Previous to this recent crop of recordings, there were very few interpretations on disc of Haydn’s works on the harpsichord, and only a small number of recordings by a handful of fortepianists of a variety of programs, very few of which included the early works. Expanding on the fortepiano interpretations of the standard programs by Malcolm Bilson and Paul Badura-Skoda, we now have four complete sets of Haydn’s keyboard sonatas, two complete sets of the miscellaneous or non-sonata works (henceforth called Klavierstücke), a number of readings of assorted Klavierstücke, and a complete set of the keyboard trios. Taken together, these sets employ twenty-one instruments, of which a number are antiques. -
DAVID KIM, PIANO a Historical Performance: Old Pianos and New Musicianship
2013-2014 presents a Guest Lecture/Recital DAVID KIM, PIANO A Historical Performance: Old Pianos and New Musicianship April 9, 2014 4:30 PM Brechemin Auditorium PROGRAM SONATA IN E MINOR (Hob XVI:34) ........................................................ JOSEPH HAYDN (1732-1809) Presto Adagio-Molto Vivace ANDANTE FAVORI .................................................................. LUDWIG VAN BEETHOVEN (1770-1827) SONATA IN A MINOR, K 310 .......................................... WOLFGANG AMADEUS MOZART (1756-1791) Allegro Maestoso Andante cantabile Presto Hailed by Malcolm Bilson as a musician “who will doubtless make an important contribution to the musical life of this country,” pianist and fortepianist David Hyun-su Kim holds degrees from Harvard, Yale, and Cornell Universities, and a doctorate from the New England Conservatory of Music in Boston. He has performed internationally, with past appearances throughout the United States, Canada, Austria, Germany, Belgium, the United Kingdom, South Korea and Australia. His concerts have been praised as “emotionally expansive” and “idiomatically perfect,” and Café Momus’ Leah Harrison described a recent performance of Davidbündlertänze as “splendid and moving … His Florestan was elegantly calamitous, and his melodies representing Eusebius were like a dear friend whispering arcane truths to only you.” His 2013-2014 season includes performances of the Bach D minor and Schumann A minor piano concertos with conductors Paul Luongo and Yaacov Bergman, a joint with recital with Hsuan Chang -
New Compact Disc Release Wolfgang Amadeus Mozart
New Compact Disc Release www.musicaomnia.org Wolfgang Features: • New release on Musica Omnia by Amadeus Trudelies Leonhardt, from the distinguished family of famous Mozart Dutch musicians Sonatas K. 330, • Performed on a fortepiano by K. 333, K. 576 Paul McNulty, a replica of an Rondo, K. 511 instrument by Mozart's favorite In her third Mozart recording for maker, Anton Walter Musica Omnia, the distinguished • Booklet notes by Peter Watchorn Wolfgang Amadeus Mozart in English and French Sonatas K. 330, K. 333, K. 576 / Rondo, K. 511 fortepianist, Trudelies Leonhardt, Trudelies Leonhardt, fortepiano presents a programme of three of • Includes three famous Mozart sonatas, in C major, K. 330 & 333 and the great the composer’s finest solo sonatas B-flat major, K.576, as well as the from the early 1780s, as well as the haunting and mysterious Rondo in Track List haunting and mysterious Rondo in A minor, K. 511 Sonate en do Majeur/in C Major A minor, K. 511, composed in 1789. KV 330 (1783) Target Markets: 1 Allegro moderato Worldwide major metro markets, 2 Andante cantabile culturally-oriented cities & college towns. 3 Allegretto Reviews: Early Music (U.K.), Sonate en si Bémol Majeur Luister (Holland), Dutch Early Music in B Flat Major KV 333 (1783) Review, American Record Guide, 4 Allegro Gramophone, International Record 5 Andante cantabile Review, BBC Music Magazine, 6 Allegretto grazioso Fanfare, Classical Net, Musicweb, Early Music America 7 Rondo en la Mineur/in A Minor, KV 511 (1787) Configuration: Single CD in Digipak Sonate en re Majeur/in D Major Trudelies Leonhardt KV 576 (1789) Available: September, 2019 fortepiano 8 Allegro Recorded: August 25–26, 2018 9 Adagio Booklet: 28 page 0 Allegretto Label Cat.# Barcode and UPC# Title Suggested Retail Price Inv Ord.