Guide to the Benjamin Suchoff Collection of Bartokiana, 1945- 2001 Descriptive Summary
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
President's Welcome
PRESIDENT’S WELCOME Friends, Colleagues, and Students, Welcome to the 82nd Annual Mississippi Bandmasters Association State Band Clinic in Natchez. The other members of the MBA Executive Board and I hope that you will experience growth, new perspectives, and renewed aspirations for teaching and learning music in your community during this year’s clinic. I would like to wish all of the students in attendance a heartfelt congratulations on participating in this esteemed event. You represent the very best of the students from your band programs – I encourage you to take that sentiment to heart. Thousands of students have shared in this honor for the last 82 years. Many of you will meet friends this weekend that you will have throughout your life. Lastly, I encourage you to take this opportunity to enjoy making music with others and learning from some of the most outstanding teachers in our country. For members of our association, take the time to visit with the exhibitors and clinicians throughout the weekend. Take advantage of the clinics and presentations that are offered so that you may leave Natchez with new insights and perspectives that you can use with your students at home. Clinic is also a time to renew old friendships and foster new ones. I hope that veteran teachers will take the time to get to know those that are new to our profession and new teachers will seek out the guidance of those with more experience. To our guest clinicians, exhibitors, featured ensembles, and conductors we welcome you and hope that you will enjoy your time with us. -
Preface and Acknowledgments
PREFACE AND ACKNOWLEDGMENTS This book is the extended form of six public lectures delivered in the Ernest Bloch Lecture Series from September 18 to October 23, 1989, in the Department of Music at the University of California at Berkeley. To my regret, the presentation of this expanded version, which for the most part I had finished by the end of 1992, is somewhat overdue, but not without good reason. For an American publication I found that I could not help but produce, if I may say so, a magnum opus, a summary of three decades of Bartók studies, thereby offering grateful, if belated, thanks to the University of California and to my colleagues and students at Berkeley. It was proba- bly the happiest time of my life: I had the honor not only of presenting the music of Béla Bartók but also, at a turning point in Bartók studies, of outlining the tasks awaiting future research on his oeuvre before the most resonant, expert audience I have ever met outside of my country, Hungary—the homeland of Bartók. Coming half a century after the death of the composer, this is the first book dedicated to the study of Bartók's compositional process to be based on the com- plete existing primary source material. Therefore, a great many things need to be accomplished simultaneously: a description of the sources (chapter 3) as well as the first reliable list of manuscripts (in the appendix); an extensive discussion of Bar- tók's sketches and drafts (chapters 4 and 7); an introduction to auxiliary research fields as for instance in paper studies (chapter 6). -
Bluebeard's Castle
LSO Live Bartók Bluebeard’s Caslte Valery Gergiev Elena Zhidkova Sir Willard White London Symphony Orchestra Béla Bartók (1881–1945) Page Index Bluebeard’s Castle (1911, rev 1912, 1918 and 1921) 3 English notes Valery Gergiev conductor 4 French notes Elena Zhidkova mezzo-soprano (Judith) 5 German notes Sir Willard White bass-baritone (Bluebeard) 6 Opera synopsis London Symphony Orchestra 7 Composer biography 8 Text 17 Conductor biography 1 Prologue and Introduction 15’22’’ 18 Artist biographies 2 First Door: Bluebeard’s Torture Chamber 4’19’’ 20 Orchestra personnel list 3 Second Door: The Armoury 4’16’’ 4 Third Door: The Treasury 2’14’’ 21 LSO biography 5 Fourth Door: The Garden 4’31’’ 6 Fifth Door: Bluebeard’s Vast and Beautiful Kingdom 6’05’’ 7 Sixth Door: The Lake of Tears 13’30’’ 8 Seventh Door: Bluebeard’s Wives 8’29’’ Total Time 58’53’’ Recorded live 27 and 29 January 2009 at the Barbican, London James Mallinson producer Danieli Quilleri casting consultant Classic Sound Ltd recording, editing and mastering facilities Neil Hutchinson and Jonathan Stokes for Classic Sound Ltd balance engineers Ian Watson and Jenni Whiteside for Classic Sound Ltd audio editors Includes multi-channel 5.1 and stereo mixes. Published by Universal Edition AG © 2009 London Symphony Orchestra, London UK P 2009 London Symphony Orchestra, London UK 2 Alberto Venzago Béla Bartók (1881–1945) already been on several collecting expeditions; For all its qualities and near perfection of last conceals the three wives whom Judith Bluebeard’s Castle (1911, rev 1912, Balázs’s deliberate intent to evoke the strength outline, Bluebeard’s Castle is an early work. -
Download Program Notes
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Erwartung (Expectation), from Vier Lieder (Four Songs), Op. 2, No. 1 Erwartung, Monodrama in One Act, Op. 17 Arnold Schoenberg rnold Schoenberg spent the summer In any case, her libretto did serve as the ba- A of 1909 in the Lower Austrian town of sis for Schoenberg’s Erwartung, a monodrama Steinakirchen, ostensibly on vacation. In in which a single character, a woman, wanders fact, he kept busy composing, and during through a forest searching for her lover, who that summer he not only wrote his mono- has deceived her, finally stumbling across his drama Erwartung (Expectation) but also murdered, still-bleeding corpse. Schoenberg, completed his Five Orchestra Pieces (Op. however, removed from Pappenheim’s libret- 16) and the third of his Three Piano Pieces to language that suggested that the woman (Op. 11) — landmark works all. Devotees sur- rounded him, including the composer Alex- In Short ander von Zemlinsky, who had become his brother-in-law when Schoenberg married Born: September 13, 1874, in Vienna, Austria Zemlinsky’s sister Mathilde in 1901. Also Died: July 13, 1951, in Los Angeles, California passing through was Marie Pappenheim, Works composed and premiered: the song a published poet who had just graduated Erwartung, to a text by Richard Dehmel, was from medical school. Although her special- premiered August 9, 1899; premiered December 1, ty was dermatology, she was well versed in 1901, in Vienna, by tenor Walter Pieau with the recent advances in psychology proposed pianist Alexander von Zemlinsky. -
Concertino for Trumpet by Emil Petrovics (1930-2011): a Transcription for Brass Ensemble (2011) Directed by Dr
KEYSER, ALLYSON BLAIR, D.M.A. Concertino for Trumpet by Emil Petrovics (1930-2011): A Transcription for Brass Ensemble (2011) Directed by Dr. Edward Bach. 139 pp. Emil Petrovics (1930-2011) was an award-winning, prominent music figure in the history of Hungarian music. Known primarily for his one-act opera C’est la guerre, Petrovics also wrote film music, an oratorio, a string quartet, and numerous instrumental and vocal works. Among his instrumental music, Concertino is the only solo work Petrovics ever composed for solo trumpet with orchestra. Significant professional posts for Petrovics included professor of composition and conducting at the Franz Liszt Academy of Music, musical director of the Petöfi Theatre in Budapest, president of the Hungarian Association for Copyright Protection, and director of the Hungarian State Opera. In addition, Petrovics was a member of the Hungarian Parliament. The purpose of this study is to promote the work of Emil Petrovics through a performance edition of Concertino transcribed for brass ensemble. A secondary purpose of this study is to provide insight into the compositional process of Petrovics with the support of personal interviews with the composer prior to his death. The document presents a biographical sketch of Petrovics, a brief description of the three-movement work, and includes the arrangement of the Concertino for brass ensemble. Trumpeter Gyorgy Geiger and the Budapest Radio Symphony Orchestra commissioned the orchestral version of Concertino by Petrovics in 1990. Editio Musica Budapest published a piano reduction of Concertino, but the orchestral score was not published. Special permission to arrange the work was required and subsequently granted by the composer and EMB in December 2010. -
Romanian Folk Music for Bassoon and Piano
Romanian Folk Music for Bassoon and Piano: Three New Arrangements and Recordings from the Works of George Enescu and Béla Bartók by Sarah Burnett Rice-Misura A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2020 by the Graduate Supervisory Committee: Albie Micklich, Chair Elizabeth Buck Catherine Saucier ARIZONA STATE UNIVERSITY May 2020 ABSTRACT The bassoon has the ability to play in varying styles across multiple genres with repertoire spanning from the early Baroque era to the present day. Popular and frequently played pieces for the bassoon, such as concerti by Vivaldi, Mozart, and Weber, are frequently performed in recital, yet the rich musical tradition and repertory of Romanian folk music is seldom performed in the recital hall. The main reason for the shortcoming of this style of music in the bassoon repertoire can be attributed to the sheer lack of prominent composers writing original works for the bassoon in Romania compared to Western Europe. The purpose of this project is to add Romanian folk music to the bassoon repertoire by arranging and recording three pieces for bassoon and piano: Romanian Rhapsody No. 1 in A Major and Romanian Rhapsody No. 2 in D Major by George Enescu and the six- movement work Romanian Folk Dances by Béla Bartók. Included in this project is a section covering historical information on the arranged compositions, procedures of the transcription that explain the reasoning to alterations and adjustments from the original score are also incorporated in this document. Lastly, the transcribed scores and recordings of the arrangements are included in this document. -
The Miraculous Mandarin
Thursday 19 December 2019 7.30–9.30pm Barbican LSO SEASON CONCERT THE MIRACULOUS MANDARIN Sophya Polevaya Spellbound Tableaux (world premiere)* BARTÓK Elgar Cello Concerto Interval Bartók The Miraculous Mandarin François-Xavier Roth conductor Alisa Weilerstein cello London Symphony Chorus Simon Halsey chorus director *Commissioned through the Panufnik Composers Scheme, generously supported by Lady Hamlyn and The Helen Hamlyn Trust Welcome Latest News On Our Blog Tonight’s programme concludes with LSO PANUFNIK COMPOSERS SCHEME: LSO DISCOVERY SINGING DAY: Bartók’s pantomime ballet The Miraculous APPLICATIONS NOW OPEN CHRIST ON THE MOUNT OF OLIVES Mandarin, which was also written 100 years ago, for which we are joined on stage by the Applications for the 2020/21 LSO Panufnik ‘Writing Christ on the Mount of Olives, London Symphony Chorus. Most frequently Composers Scheme are now open. Generously Beethoven laid the groundwork for oratorios performed as a concert suite during Bartók’s supported by Lady Hamlyn and The Helen by Schumann, Mendelssohn and Berlioz, and lifetime, preserving just two-thirds of the Hamlyn Trust, each year the scheme offers Gilbert and Sullivan’s operettas!’, explains original music, we are delighted tonight to six emerging composers the opportunity to Choral Director Simon Halsey. Read about perform this work in full. The performance write for the Orchestra, guided by composers our most recent Singing Day and discover will also be recorded for LSO Live. Colin Matthews and Christian Mason. more about Beethoven’s only oratorio ahead of two performances in the New Year. warm welcome to this evening’s I wish you a very happy festive season, and • lso.co.uk/more/news LSO concert at the Barbican, hope you are able to join us again in the New ELGAR’S CELLO CONCERTO: conducted by Principal Guest Year. -
NI 5284 Book
NI 7081 NI 7081 Also Available by the Hungarian State Symphony Orchestra, conducted by Adam Fischer Zoltán Kodály Bartók Háry János NI 5229 Concerto for Orchestra, The Miraculous Mandarin. Dances of Galánta NI 5309 Dance Suite, Hungarian Pictures, Two Pictures, Romanian Folk Dances, Romanian Dance. Peacock Variations NI 5333 Violin Concertos 1 & 2, Gerhart Hetzel, violin. NI 5362/3 The Wooden Prince Suite, Two Portraits, Music for strings, percussion and celesta, Divertimento for strings. NI 1771 Bartók.The complete works above. Adam Fischer Hungarian State Recorded at the Haydnsaal, Esterházy Palace, Symphony Orchestra Eisenstadt, Austria. Háry János recorded 30th Sept 1990, Variations 1st Oct 1990, Dances of Galánta 2nd Oct 1990 1991 Wyastone Estate Ltd. © 1991 Nimbus Records Ltd. 8 Vol 3 1 NI 7081 NI 7081 Zoltán Kodály1882-1967 The Hungarian State Symphony Orchestra Háry János: Suite for Orchestra Dances of Galánta The Hungarian State Symphony Orchestra was founded in 1923 under the name of Budapest Municipal Orchestra. After the great losses of the Second World War Variations on a Hungarian Folksong the orchestra was reorganised under the Maestros Ferenc Fricsay and Laszlo Somogyi. ('The Peacock') In 1949 it adopted the name of Hungarian State Symphony Orchestra and since 1952 it has been guided by general music director Janos Ferencsik. In When Zoltán Kodály died in 1967 he was a national figure in his native Hungary, appreciation of its paramount role in fostering symphonic music in Hungary, the admired far beyond musical circles as well as in other countries. His work in orchestra was awarded the highest State prize in 1955. -
Download the Programme (PDF
Sunday 19 January 2020 7–9.05pm Thursday 13 February 2020 7.30–9.35pm Barbican LSO SEASON CONCERT CHRIST ON THE MOUNT OF OLIVES Berg Violin Concerto Interval Beethoven Christ on the Mount of Olives Sir Simon Rattle conductor Lisa Batiashvili violin Elsa Dreisig soprano Pavol Breslik tenor David Soar bass London Symphony Chorus Simon Halsey chorus director Part of Beethoven 250 at the Barbican Thursday 13 February 2020 broadcast live on BBC Radio 3 Welcome Latest News On Our Blog will be recorded for LSO Live, the Orchestra DONATELLA FLICK LSO LUNAR NEW YEAR PREMIERES: is also joined by the full force of the London CONDUCTING COMPETITION LSO DISCOVERY COMPOSERS Symphony Chorus, led by Chorus Director PAST AND PRESENT Simon Halsey. Applications are now open for the 16th Donatella Flick LSO Conducting Competition Following a sold-out debut in January 2019, Berg’s Violin Concerto opens these concerts, in 2021, founded in 1990 by Donatella Flick artist collective Tangram return to LSO St for which we welcome soloist Lisa Batiashvili, and celebrating its 30th anniversary this year. Luke’s on 25 January to interweave folk who first performed with the Orchestra on the melodies with brand-new compositions. Barbican stage in 2006, and has appeared • lso.co.uk/more/news We caught up with composers Raymond Yiu, regularly in recent years. We look forward to Jasmin Kent Rodgman and Alex Ho – all LSO Lisa Batiashvili joining us on tour for further Discovery composers of past and present warm welcome to these LSO performances of this concerto in Europe. -
CHAPTER 4 the Second Violin Concerto
i ABSTRACT The Violin Concerti of Béla Bartók By So Jin Kim There are two violin concertos in Béla Bartók’s body of compositions. The first concerto written in 1907 is obscure and rarely heard, while the second, completed in 1939, is widely performed and generally regarded as a twentieth-century masterwork. Bartók had contrasting relationships with the violinists for whom the works were written: the first, for Stefi Geyer; and the second, for Zoltán Székely. My thesis will compare the two concerti, illustrating how the second refines, expands and more fully develops the compositional approach of the first. It will also examine the working relationship and influence the performers had on the ultimate outcome of the concerti. This comparison of two works with very different outcomes offers insights into Bartók’s compositional methods and development. ii ACKNOWLEDGMENTS Dr. Anthony Brandt, for your guidance, patience, expertise, and insights. Dr. Bailey, for your detailed and thoughtful advice. Cho-Liang Lin, for your encouragement and being the source of my artistic inspiration throughout my time at Rice University. And to my family, for their love and support. CONTENTS ABSTRACT i ACKNOWLEDGMENTS ii INTRODUCTION 1 CHAPTER ONE. BRIEF BIOGRAPHICAL INFORMATION ON BÉLA BARTÓK AND BACKGROUND INFORMATION ON THE FIRST AND SECOND VIOLIN CONCERTOS Béla Viktor János Bartók (1881-1945) 3 The First Violin Concerto 11 The Second Violin Concerto 14 CHAPTER TWO. THE FIRST VIOLIN CONCERTO Unconventional Concept 18 The discovery of folk music and early compositions (1904-1907) 19 Bartók’s First Violin Concerto 25 Bartók and Geyer: Their Relationship 36 CHAPTER THREE. -
From Children's Carols to Cantata Profana A
FROM CHILDREN’S CAROLS TO CANTATA PROFANA A ROMANIAN ARCHETYPE IN BÉLA BARTÓK’S COMPOSITIONS Professor, Ph.D. FRANCISC LÁSZLÓ “Gheorghe Dima” Music Academy Cluj-Napoca Francisc LÁSZLÓ, musicologist, teacher and publicist. Books dedicated to Bartók (12 titles), Bach, Liszt, Enescu, Brăiloiu, studies on Mozart, Ph. Caudella, Schubert, Miculi, Brahms, Kodály, Enescu, Ligeti et al., as well as on Transylvanian music history. Books of journalistic writings. Professor (Consulting Professor since 2007) of chamber music (first cycle/B.A. program), organology (second cycle/M.A. program) and musicology (Ph.D. program). Bartók began collecting Romanian folk music in the Bihor County, in the summer of 1909. On July 18, on his arrival in Beiuú at the home of Cornelia and Ioan BuúiĠia, he was greeted by two 16- and 17-year-old girls whom his host had considered good folk „sources” and had invited to sing to the Budapest professor. 1 The BuúiĠias had not been mistaken. The 26 2 melodies recorded and noted from these girls, whose names were sadly omitted from Bartók’s notebooks, make up a small but representative anthology of Romanian vocal folk music from the Bihor region. In one of these melodies, an octosyllabic song with three melodic lines (BBih/61,3 BCol/21k var4), before the third line Bartók heard a tetrasyllabic musical motive, sung to the text „Dai corinde”. Another song’s stanza was formed of two octosyllabic lines, to which a tetrasyllabic line is added, „Corinde-mi Doamn” (BBih/249, BCol/73f). Another one consists of a line in 2/4 time, 1 Francisc László, Béla Bartók úi muzica populară a românilor din Banat úi Transilvania, Cluj, Eikon, 2006, 23. -
New World Symphony Program I, March 2021
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 The Irving and Verna Fine Fund in the Library of Congress NEW WORLD SYMPHONY PROGRAM I Friday, March 12, 2021 ~ 8:00 pm The Library of Congress Virtual Event The IRVING AND VERNA FINE FUND in the Library of Congress was established in 2000 through a generous bequest of Verna Rudnick Fine, a well-known arts administrator and the widow of American composer Irving Fine. The Fund promotes and supports modern American music through an ongoing program of concerts, commissions, and research endeavors into the life and works of Irving Fine and other American composers, conductors, and performers whose works are preserved in the Library of Congress. Facebook During-concert Chat Want more? Join other concert goers and Music Division curators during the concert for a chat that may include the artists, depending on availability. You can access this during the premiere and for a few minutes after by going to facebook.com/pg/libraryofcongressperformingarts/videos How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc 3) Watch the premiere of the concert on Facebook: facebook.com/libraryofcongressperformingarts/videos Videos may not be available on all three platforms, and some videos will only be accessible for a limited period of time. The Library of Congress Virtual Event Friday, March 12, 2021 — 8:00 pm The Irving and Verna Fine Fund in the Library of Congress NEW WORLD SYMPHONY Program I 1 Program Carlos Simon be still and know (2015) Michael Rau, violin Amy Sunyoung Lee, cello Thomas Steigerwald, piano Charles Wuorinen (1938-2020) Horn Trio (1981) Jessica Elder, horn Katherine Kobylarz, violin Wesley Ducote, piano BÉla BartÓk (1881-1945) Sonata for Two Pianos and Percussion, Sz.