DOCSLIB.ORG

Johann Strauss II Paraphrases and Piano Transcriptions By

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Johann Strauss II Paraphrases and Piano Transcriptions By 111226 bk Strauss transcriptions 01 EU 3/15/07 11:11 AM Page 8 Moritz von BOMHARD (1908-1996) Arthur WHITTEMORE (1915-1984) 8.111226 # “Die Fledermaus” Waltzes, Opus 56 6:13 and Jack LOWE (1917-1996) Paraphrases and Piano Transcriptions Philharmonic Piano Quartet $ Waltz-Fantasy on Themes 6:50 ADD (Ada Kopetz, Bertha Melnik, Max Walmer and of Johann Strauss II John Scales, Pianos) Arthur Whittemore and Jack Lowe, Piano-duo Columbia A1572-1 (7-1291) (ZSP 12148) RCA Victor 10-1362-A/B Recorded in 30th Street Studio, New York, Recorded in New York, 18th February 1941 2nd April 1949 Johann Strauss II Paraphrases and Piano Transcriptions by DOHNÁNYI TAUSIG SCHULHOF NIEDZIELSKI and others An Anthology of Historic Performances Volume 1 (1930-1954) 8.111226 8 111226 bk Strauss transcriptions 01 EU 3/15/07 11:11 AM Page 2 Johann Strauss II · Paraphrases and Piano Transcriptions Ernö DOHNÁNYI (1877-1960) Otto SCHULHOF (1889-1958) 1 Schatz Waltz 4:29 7 Neue Pizzicato-Polka, Opus 449 3:25 An Anthology of Historic Performances · Volume 1 (1930-1954) (Treasure Waltz, from “Zigeunerbaron”), Opus 418 (Schulhof’s Op.9, No. 2) Ernö Dohnányi, Piano Paul Badura-Skoda, Piano One of Strauss’s waltzes as far surpasses in charm, performances, are fourteen wonderful examples of the HMV C2363 (2B391-II) Westminster WL 5277 (XTV20515-1G)) finish, and real musical worth hundreds of the artificial art of transcription, performed by some of the master Recorded in London, 25th February 1931 Recorded in the Konzerthaus, Vienna, Austria, compositions of his contemporaries as the steeple of St pianists of the past. We have included solo piano December 1951 – January 1952 Stephen’s surpasses the advertising columns on the performances, as well as duo-piano transcriptions and Maryan RAWICZ (1898-1970) Paris boulevards. one recording on four pianos. A number of these and Walter LANDAUER (1910-1983) Alec TEMPLETON (1909-1963) Richard Wagner (1813-1883) historic recordings appear for the first time on compact 2 Annen Polka, Opus 117 3:15 8 Improvisation on “Tales from the Vienna Woods” disc. Maryan Rawicz and Walter Landauer, Piano-duo (Geschichten aus dem Wienerwald, Opus 325) 5:47 An astute observer of nineteenth-century Viennese Opening the programme is a scintillating Columbia DB2788 (CA21610-2) Alec Templeton, Piano culture aptly described Strauss’s popular compositions elaboration on Strauss’s Schatz Waltz (Treasure Waltz, Recorded in London, 1st January 1950 Remington R-199-158 (1200B) as “those irresistible waltzes that first catch the ear, and from Zigeunerbaron), Op. 418 by the Hungarian Recorded in New York, in 1954 then curl round the heart, until suddenly they invade the virtuoso Ernö Dohnányi (1877-1960). A brilliant Andrei SCHULTZ-EVLER (1852-1905) legs”. Of the many light-hearted pleasures in which the pianist, an outstanding conductor, and a venerated 3 Concert Arabesques on themes of Strauss’s Waltz Leonard PENNARIO (b.1924) Viennese indulged with so lusty a spirit, none was more teacher, Dohnányi’s 1931 recording illustrates the “On the Beautiful Blue Danube”, Opus 314 7:27 9 Emperor Waltz (Kaiser Walzer, Opus 437) 7:32 dear to them than dancing. According to contemporary stylish, well-nuanced approach to Strauss, emotionally Isador Goodman, Piano Leonard Pennario, Piano statistics, one out of every four people in Vienna performed, sweeping in its gestures, yet with a very HMV (Australia) EB65 (HV6507/8) Capitol H8167-Z1 danced regularly. They danced the polka, and the clear feeling for pacing and subtlety. Dohnányi wrote Recorded in Sydney, 1932 Recorded in Los Angeles, 9th May 1952 quadrille; but most of all they danced the waltz. The his three Strauss transcriptions in Budapest in 1928, undisputed master of these dance forms was Johann and performed the Schatz Waltz for the first time there Alfred GRÜNFELD (1852-1924) Eduard SCHÜTT (1856-1933) Strauss II (1825-1899), who brought a seemingly on 4th November 1929. 4 Soirée de Vienne 5:35 0 Concert Paraphrase inexhaustible fertility of ideas as well as imagination, The Annen Polka, Op. 117, first performed by (on themes from “Die Fledermaus”) on “Die Fledermaus” Waltzes 4:42 sound instincts, good taste and fine musicianship. Strauss in Vienna’s Prater on 26th July, 1852, became Jakov Fliere, Piano Adolf Wolff, Piano Strauss not only achieved popularity but greatness. His one of his first works to achieve universal fame. Aprelevski Zavod (NKOM USSR) V10626-4 Telefunken E2527 (022963) efforts in rhythm and harmony, and his innovations in Created in celebration of the Saint’s Day of Anna, it is (GRK576) and V10627-6 (GRK577) Recorded 18th March 1938 form, were sometimes so daring that there were some also a tribute to Strauss’s mother, whose name was Recorded in Moscow, 1939 critics in his day who branded him a “futurist”. The Anna. It is one Strauss’s most tender and charming Stanislas NIEDZIELSKI (1905-1975) great classical musicians of his generation – Brahms, creations and as performed by duo-pianists Maryann Carl TAUSIG (1841-1871) ! Thousand and One Nights Waltz 4:14 Verdi, Offenbach, Gounod and Wagner – all regarded Rawicz (1898-1970) and Walter Landauer (1910- 5 Valse-Caprice No. 2 d’après J. Strauss II 6:03 (Tausen und eine Nacht Walzer, Opus 346) his music with genuine respect and admiration. He 1983), proves to be full of smiles, as it teases us through (“Man lebt nur einmal”, Opus 167) Stanislas Niedzielski, Piano became the most popular musician of his generation this Strauss bon-bon. Polish-born Rawicz met Viennese Ania Dorfmann, Piano HMV C1993 (Cc19398-1) because his music had extraordinary appeal with the pianist Landauer in 1933. Playing classical and pop duo Columbia 4270-M (CA17184/5) Recorded in London, 14th June 1930 connoisseur and the masses. His publishers printed piano transcriptions in Continental cabarets, they Recorded in London, 5th November 1938 countless copies of his sheet music making it possible eventually settled in England in 1935. Their duo piano Roderich BASS (1873-1933) for anyone who had access to a piano to play his team lasted some 37 years, and enjoyed enormous Abram CHASINS (1903-1987) @ “Voices of Spring” - Concert Paraphrase compositions at social gatherings or simply for success and many recordings, including some best 6 Concert Paraphrase on Strauss’s “Artists’ Life” on the B major Waltz by Strauss, Opus 410 5:49 enjoyment at home. The demand for his music was sellers with Mantovani and His Orchestra. (Kunstlerleben Walzer, Opus 316) 7:11 Walter Rehberg, pianist astronomical and concert pianists in the late nineteenth Although On the Beautiful Blue Danube, Op. 314, Vera Appleton and Michael Field, Piano-duo Polydor B47100/1 (23737) (2572 and 2573) century and throughout the twentieth century added to was first heard not in a purely orchestral form but Allegro/Royale 1587 A Recorded in Germany, in 1930 Strauss’s popularity by creating paraphrases and performed by a male-choir (the Vienna Men’s Singing Recorded in New York, 1954 transcriptions on many of his works. Club in 1867), this distinctive waltz became Strauss’s Gathered here, in this anthology of historic most famous composition. Seldom had Strauss written 8.111226 27 8.111226 111226 bk Strauss transcriptions 01 EU 3/15/07 11:11 AM Page 6 way, giving the impression that there is only one large pianos. They were also responsible for the world music so literal. From the distinctive opening measures, Emperor Wilhelm I of Germany. He knew Brahms, piano being played. The piece is pure fun. premières of many significant two-piano compositions, there is a liquid flow to the music that depicts with Strauss and Leschetizky. Based on extant concert This anthology closes with one of the best known including works by Quincy Porter, Ralph Vaughan astonishing accuracy the rhythmic ebb and rise of the programmes, Grünfeld was a pianist of intellect and duo piano teams of all time - Arthur Whittemore (1915- Williams, Francis Poulenc and Morton Gould. Their Danube current. Its transcribed state, Concert virtuosic abilities. He performed many of the major 1984) and Jack Lowe (1917-1996). The two pianists own Waltz-Fantasy on Themes of Johann Strauss II (a Arabesques on themes of Strauss’s Waltz “On the works of Beethoven, Bach, Chopin, Schumann, met while students at the Eastman School of Music, in distillate of an earlier work entitled Straussiana that Beautiful Blue Danube” by Andrei Schulz-Evler (1852- Schubert and Brahms, often including new works by Rochester, New York, and began performing together Whittemore and Lowe wrote for two pianos and 1905), was praised by Albert Lockwood in his book composers of the day, such as Grieg’s Ballade, Op. 24. in 1935 in Puerto Rico. In 1940 they made their orchestra) was one of their earliest recordings, made in Notes on the Literature of the Piano (1940). He stated He was a prolific composer, mostly of shorter character American concert début in Town Hall, New York. New York in 1941. that “the Blue Danube found, at last, an able and pieces, and effective transcriptions. He recorded During the War both men served in the Navy, returning satisfactory transcription. It will be long before anyone extensively, as early as 1899 (on acoustic Berliners). to their concert career in 1946. Their repertory included Marina A. Ledin and Victor Ledin does a better one”. It is perhaps fitting that Schultz- Although he recorded his own interpretation of his several hundred of their own transcriptions for two Encore Consultants LLC © 2007. Evler used the term “arabesques” since this bravura transcription Soirée de Vienne (on themes by Johann show-piece is not simply a literal transcription but a Strauss II) as early as 1905, we present a fairly rare concert work full of embellishments and effective Russian recording of this work played by Jakov Fliere musical flights of fancy, requiring of the performer the (1912-1977).
Load more

Recommended publications
  • Pathetique Symphony New York Philharmonic/Bernstein Columbia
    Title Artist Label Tchaikovsky: Pathetique Symphony New York Philharmonic/Bernstein Columbia MS 6689 Prokofiev: Two Sonatas for Violin and Piano Wilkomirska and Schein Connoiseur CS 2016 Acadie and Flood by Oliver and Allbritton Monroe Symphony/Worthington United Sound 6290 Everything You Always Wanted to Hear on the Moog Kazdin and Shepard Columbia M 30383 Avant Garde Piano various Candide CE 31015 Dance Music of the Renaissance and Baroque various MHS OR 352 Dance Music of the Renaissance and Baroque various MHS OR 353 Claude Debussy Melodies Gerard Souzay/Dalton Baldwin EMI C 065 12049 Honegger: Le Roi David (2 records) various Vanguard VSD 2117/18 Beginnings: A Praise Concert by Buryl Red & Ragan Courtney various Triangle TR 107 Ravel: Quartet in F Major/ Debussy: Quartet in G minor Budapest String Quartet Columbia MS 6015 Jazz Guitar Bach Andre Benichou Nonsuch H 71069 Mozart: Four Sonatas for Piano and Violin George Szell/Rafael Druian Columbia MS 7064 MOZART: Symphony #34 / SCHUBERT: Symphony #3 Berlin Philharmonic/Markevitch Dacca DL 9810 Mozart's Greatest Hits various Columbia MS 7507 Mozart: The 2 Cassations Collegium Musicum, Zurich Turnabout TV-S 34373 Mozart: The Four Horn Concertos Philadelphia Orchestra/Ormandy Mason Jones Columbia MS 6785 Footlifters - A Century of American Marches Gunther Schuller Columbia M 33513 William Schuman Symphony No. 3 / Symphony for Strings New York Philharmonic/Bernstein Columbia MS 7442 Beethoven: Symphony No. 9 in D minor Westminster Choir/various artists Columbia ML 5200 Tchaikovsky: Symphony No. 6 (Pathetique) Philadelphia Orchestra/Ormandy Columbia ML 4544 Tchaikovsky: Symphony No. 5 Cleveland Orchestra/Rodzinski Columbia ML 4052 Haydn: Symphony No 104 / Mendelssohn: Symphony No 4 New York Philharmonic/Bernstein Columbia ML 5349 Porgy and Bess Symphonic Picture / Spirituals Minneapolis Symphony/Dorati Mercury MG 50016 Beethoven: Symphony No 4 and Symphony No.
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • Philharmonic Au Dito R 1 U M
    LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living.
    [Show full text]
  • CCMA Coleman Competition (1947-2015)
    THE COLEMAN COMPETITION The Coleman Board of Directors on April 8, 1946 approved a Los Angeles City College. Three winning groups performed at motion from the executive committee that Coleman should launch the Winners Concert. Alice Coleman Batchelder served as one of a contest for young ensemble players “for the purpose of fostering the judges of the inaugural competition, and wrote in the program: interest in chamber music playing among the young musicians of “The results of our first chamber music Southern California.” Mrs. William Arthur Clark, the chair of the competition have so far exceeded our most inaugural competition, noted that “So far as we are aware, this is sanguine plans that there seems little doubt the first effort that has been made in this country to stimulate, that we will make it an annual event each through public competition, small ensemble chamber music season. When we think that over fifty performance by young people.” players participated in the competition, that Notices for the First Annual Chamber Music Competition went out the groups to which they belonged came to local newspapers in October, announcing that it would be held from widely scattered areas of Southern in Culbertson Hall on the Caltech campus on April 19, 1947. A California and that each ensemble Winners Concert would take place on May 11 at the Pasadena participating gave untold hours to rehearsal Playhouse as part of Pasadena’s Twelfth Annual Spring Music we realize what a wonderful stimulus to Festival sponsored by the Civic Music Association, the Board of chamber music performance and interest it Education, and the Pasadena City Board of Directors.
    [Show full text]
  • 75Th ANNIVERSARY 2020
    75th ANNIVERSARY 2020 What better time is there to note the history of one of Lane Cove’s icons than a 75th Anniversary? 2020 marks that celebratory year for Lane Cove Music. On 26th March 1946 Reverend Louis Blanchard, Minister of St. Andrew’s Presbyterian Church Longueville, was inspired to call a meeting to form a music club with the object of providing first class classical and semi-classical music and entertainment for church members and friends. Initial meetings were held at the Manse, the Vestry and the Church Hall. The idea was so well received that a group was formed as an organisation of St. Andrew’s Presbyterian Church Longueville and named the “Longueville-Northwood Music Club” with a constitution being drawn up and adopted on 22nd May 1946. Until the end of 1959 concerts were held in the Masonic Hall at 231 Longueville Road, now the Shinnyo Australia Buddhist Temple. Rev. Louis Blanchard 1973 The current name Lane Cove Music dates from 2007, the abbreviated version being in step with the trend set by other music clubs, omission of ‘club’ being deemed to sound less exclusive at a time when all clubs were seeking a membership boost. For expediency the capitals ‘LCM’ or words ‘the club’ will be used henceforth in this text. At that initial meeting in March 1946 it was agreed there would be five concerts held in the first year – subscriptions to be one guinea, being one pound one shilling (£1/1- in pre 1966 currency) with a fee of four shillings for visitors. By the third meeting the Executive Committee had been elected with Rev.
    [Show full text]
  • LOS ANGELES PHILHARMONIC Discography
    LOS ANGELES PHILHARMONIC Discography SONY CLASSICAL Esa-Pekka Salonen, conductor BACH: Transcriptions (by Elgar, Mahler, Schoenberg, Stokowski, Webern) BARTÓK: Concerto for Orchestra; Music for Strings, Percussion, and Celesta BARTÓK: Piano Concertos 1, 2, and 3 (Yefim Bronfman, piano) ** BRUCKNER: Symphony No. 4, “Romantic” DEBUSSY: Prélude à l’après-midi d’un faune; La mer; Images pour orchestre DEBUSSY: Trois nocturnes (Women of the Los Angeles Master Chorale); Le martyre de St. Sébastien (Fragments symphoniques); La damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale) HERRMANN: Suites from Psycho, Marnie, Vertigo, Fahrenheit 451, and Taxi Driver; Prelude to The Man Who Knew Too Much; Overture to North by Northwest; excerpts from Torn Curtain LUTOSLAWSKI: Symphony No. 2; Piano Concerto (Paul Crossley, piano); Chantefleurs et Chantefables (Dawn Upshaw, soprano); Fanfare for Los Angeles Philharmonic LUTOSLAWSKI: Symphony No. 3; Les espaces du sommeil (John Shirley-Quirk, baritone); Symphony No. 4 ** MAHLER: Symphony No. 3 (Anna Larsson, contralto; Paulist Boy Choristers of California) MAHLER: Symphony No. 4 (Barbara Hendricks, soprano) MAHLER: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone) MARSALIS: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; singers) PROKOFIEV: Violin Concertos Nos. 1 and 2; STRAVINSKY: Violin Concerto (Cho-Liang Lin, violin) REVUELTAS: Music of Silvestre Revueltas (including La noche de los mayas, Sensemayá) SALONEN:
    [Show full text]
  • The Art of Henri Temianka” VIRTUOSO VIOLINIST, CONDUCTOR, AUTHOR and EDUCATOR
    ARSC New York Chapter December 2019 Meeting 7:00 P. M. Thursday, 12/19/2019 →At the CUNY Sonic Arts Center← West 140th Street & Convent Avenue, New York Or enter at 138th Street off Convent Avenue (N.B. not always open) Shepard Hall (the Gothic building) – Recital Hall (Room 95, ground floor) An elevator is located in the center of the building. “The Art of Henri Temianka” VIRTUOSO VIOLINIST, CONDUCTOR, AUTHOR AND EDUCATOR Presented by John Haley As demonstrated by his recordings, Henri (pronounced “Henry”) Temianka (1906-1992) was one of the finest violinists of the 20th Century. Born in Greenock, Scotland of immigrant Polish Jewish parents, he studied violin with Carol Blitz in Rotterdam, Willy Hess in Berlin, Jules Boucherit in Paris, and finally Carl Flesch at the Curtis Institute in Philadelphia. In 1930, Temianka was in the first Curtis graduating class, earning a double degree in violin and conducting, having studied the latter with Artur Rodzinski. As a violinist he was further influenced by Eugène Ysaӱe, Jacques Thibaud and Bronisław Huberman. Flesch referred to him as possessing “both musically and technically, … a model collection of talents.” After a brilliant debut in New York in 1928 (which Olin Downes described as “one of the finest accomplishments in years”), Temianka returned to Europe and rapidly established himself as one of that era’s foremost concert violinists, appearing with major orchestras in Europe and the U.S. under such conductors as Pierre Monteux, Sir John Barbirolli, Sir Adrian Boult, Fritz Reiner, Sir Henry Wood, George Szell, Otto Klemperer, Dimitri Mitropoulos and William Steinberg.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 88, 1968-1969
    TUESDAY A SERIES EIGHTY-EIGHTH SEASON 1968-1969 Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 PAIGE OBRION RUSSELL Insurance Since 1876 BOSTON SYMPHONY ORCHESTRA ERICH LE1NSDORF Music Director CHARLES WILSON Assistant Conductor EIGHTY-EIGHTH SEASON 1968-1969 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC TALCOTT M. BANKS President HAROLD D. HODGKINSON PHILIP K. ALLEN Vice-President E. MORTON JENNINGS JR ROBERT H. GARDINER Vice-President EDWARD M. KENNEDY JOHN L. THORNDIKE Treasurer HENRY A. LAUGHLIN ABRAM BERKOWITZ EDWARD G.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Projections of Musical Jewishness: Composers of Hollywood's Golden Age Permalink https://escholarship.org/uc/item/2500c312 Author Fruchtman, Aaron Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Projections of Musical Jewishness: Composers of Hollywood’s Golden Age A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Aaron J. Fruchtman August 2016 Dissertation Committee: Dr. Byron Adams, Chairperson Dr. Walter Aaron Clark Dr. Michael Alexander Dr. Daniel Goldmark Copyright by Aaron J. Fruchtman 2016 The Dissertation of Aaron J. Fruchtman is approved: ______________________________________________ ______________________________________________ ______________________________________________ ______________________________________________ Committee Chairperson University of California, Riverside Acknowledgements Despite locking myself away from the world to write this dissertation, I was supported by many individuals and institutions. I am grateful to my committee chair, Dr. Byron Adams, who always believed in my scholarly vision and made me want to become a musicologist. I am also grateful to my committee members: Profs. Walter Clark, Michael Alexander, and Daniel Goldmark. Each of you has made yourselves available to me over this journey and I am profoundly thankful for your words of wisdom. Two archivists deserve special praise: I would like to thank James D’Arc at Brigham Young University who shares my passion for the music of Max Steiner and made my visit to Provo most productive. At the University of Southern California, Edward Comstock constantly fielded my questions and requests and had time for wonderful conversations about our favorite Golden Age film composers.
    [Show full text]
  • Rachmaninov (1873-1943)
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Sergei Rachmaninov (1873-1943) Born at Oneg, Novgorod Region. He had piano lessons from an early age but his serious training in composition began at the Moscow Conservatory where he studied counterpoint with Sergei Taneyev and harmony with Anton Arensky. He began to compose and for the rest of his life divided his musical time between composing, conducting and piano playing gaining great fame in all three. After leaving Russia permanently in 1917, the need to make a living made his role as a piano virtuoso predominant. His 4 Piano Concertos, Rhapsody on a Theme of Paganini and substantial solo piano works make him one of the world's most-performed composers. However, he also composed operas and liturgical choral works as well as other pieces for orchestra, chamber groups and voice. Piano Concerto No. 1 in F-sharp minor, Op. 1 (1892, rev. 1917) Leif Ove Andsnes (piano)/Antonio Pappano/Berlin Philharmonic Orchestra ( + Piano Concerto No. 2) EMI CLASSICS 74813-2 (2005) Agustin Anievas (piano)/Rafael Frühbeck de Burgos/New Philharmonia Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Prelude in C-sharp minor, 10 Preludes and 12 Preludes) EMI CLASSICS TRIPLE 5 00871-2 (2007) (original LP release: ANGEL SCB 3801 {3 LPs}) (1973) Vladimir Ashkenazy (piano)/Bernard Haitink/Royal Concertgebouw Orchestra (+ Rhapsody on a Theme of Paganini) DECCA 417613-2 (1987) Vladimir Ashkenazy (piano)/André Previn/London Symphony Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Variations on a Theme of Corelli and Piano Sonata No.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers Q-Z PRIAULX RAINIER (1903-1986) Born in Howick, Natal, South Africa. She sudied violin at the South African College of Music in Capetown and later in London at the Royal Academy of Music. At the latter school she also studied composition with John McEwen and subsequently joined its staff as a professor of composition. In Paris she was also taught by Nadia Boulanger. Among her other orchestral works are a Sinfonia da Camera, Violin Concerto and a Dance Concerto "Phala-Phala." Cello Concerto (1963-4) Jacqueline du Pré (cello)/Norman del Mar/BBC Symphony Orchestra (rec. 1964) ( + Elgar: Cello Concerto and Rubbra: Cello Sonata) BBC LEGENDS BBCL 42442 (2008) THOMAS RAJNA (b. 1928) Born in Budapest. He studied at the Franz Liszt Academy under Zoltan Kódaly, Sándor Veress and Leó Weiner. He went to London in 1947 where he studied at the Royal College of Music with Herbert Howells and later on had teaching position at the Guildhall School of Music and the University of Surrey. In 1970 he relocated to South Africa to accept a position at the University of Cape Town. He became a well- known concert pianist and composed for orchestra, chamber groups and voice. For orchestra there is also a Clarinet Rhapsody and a Suite for Strings. Piano Concerto No. 1 (1960-2) Thomas Rajna (piano)/Edgar Cree/South African Broadcasting Corporation Symphony Orchestra (rec. 1974) ( + 11 Preludes and Capriccio) AMARANTHA RECORDS 014 (2001) (original LP release: CLAREMONT GSE 602) (1985) Piano Concerto No.
    [Show full text]
  • The Changing Style of Playing Rachmaninoff's Piano Music
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The Changing Style of Playing Rachmaninoff’s Piano Music Chiao, Yuanpu Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 This electronic theses or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The Changing Style of Playing Rachmaninoff’s Piano Music Title: Author: Yuanpu Chiao The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement.
    [Show full text]