DOCSLIB.ORG

WOMEN at the PIANO an Anthology of Historic Performances Volume 4 Marie-Thérèse Fourneau (1927-2000) Women at the Piano Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WOMEN at the PIANO an Anthology of Historic Performances Volume 4 Marie-Thérèse Fourneau (1927-2000) Women at the Piano Vol 8.111218 Great Pianists ADD WOMEN AT THE PIANO An Anthology of Historic Performances Volume 4 Marie-Thérèse FOurNEAu (1927-2000) Women at the Piano Vol. 4 9 Gabriel Fauré: Barcarolle No. 3 in G flat Major, Op. 42 6:34 An Anthology of Historic Performances 1921-1955 French Columbia LF231 (CL7930-1 and CL7931-1) Recorded in Paris, 21st April 1944 Constance K EENE (1921-2005) 1 Ludwig van Beethoven: 32 Variations on an original theme in C minor, WoO 80 10:26 Lottie MOrEL (1909-1973) Mercury MG 10138 A (MF8) 0 André Marescotti: Fantasque 4:19 Recorded in New York, 27th-29th September 1952 (Piano: Steinway) London LD 9149 (TRL.286-1B) Recorded in Switzerland in 1953 reine GIANOLI (1915-1979) 2 Johannes Brahms: Rhapsody in G minor, Op. 79, No. 2 3:58 Yvonne LEFÉburE (1898-1986) BAM 43 (PARTX 4251-1) Albert Roussel: Trois Petites Pièces, Op. 49 6:18 Recorded in Paris, 30th May 1947 ! I. Allegro con brio 1:20 @ II. Allegro grazioso (Tempo di Valz) 1:22 Gina bACHAuEr (1910-1976) # III. Allegro con spirito – Andante 3:36 3 Franz Liszt (rev. Saint-Saëns): Hungarian Rhapsody No. 12 in C sharp minor (S244/12) 8:34 Le Chant du Monde 5.007 (0.155-4GCP and 0.156-3GCP) HMV C4020 (2EA13953-2 and 2EA13956-2A) Recorded in Paris, 20th June 1949 (Piano: Steinway) Recorded in EMI Studio No. 3, Abbey Road London, 8th June 1949 Winifred CHrIsTIE (1882-1965) rosa TAMArKINA (1920-1950) $ Moritz Rosenthal: Papillons 2:35 4 Fryderyk Chopin: Scherzo No. 3 in C sharp minor, Op. 39 6:57 Aeolian Vocalion D-02057 (X02698) CCCP 5289-50 (20425/4-2 and 20426/5-1) Recorded in London in 1921 (Piano: Moór Duplex Coupler) Recorded in Moscow, circa 1947 bärbel ANdrEAE (1909-1996) Liza FuCHsOVA (1913-1977) % Franz Schubert (arr. Franz Liszt): Soirée de Vienne No. 6 in A (S427/6) 5:22 5 Bedřich Smetana: Fantasy on Czech Folk Songs in B major 5:38 Schallplatten-Volksverband (Clangor-Schallplatten, Berlin) MD9354 HMV J.O.31 (OEF.21 and OEF.22) Recorded in 1929 (Piano: Steinway) Recorded in London in 1944 (Piano: Bechstein) Edith FArNAdI (1921-1973) Lilly dYMONT (1911-2006) ^ Johann Strauss II (arr. Ernő von Dohnányi): Schatz Waltz (Treasure Waltz), Op. 418 6:45 6 Isaac Albeniz: Suite española, Op. 47: No. 3 Sevilla 4:46 Westminster XWN 18064 (XTV 23405-1G) Polydor 23575 (2392 BH-I and 2393 BH-I) Recorded in Westminster’s London studios in June 1955 Recorded in Germany in 1930 Marcelle MEYEr (1897-1958) Special thanks to: Michael Gray, Peter Ford, Richard Wahlberg, and Michael Gartz for their discographic research, 7 Manuel De Falla: El sombrero de tres picos: Danza del molinero (The Miller’s Dance) (Farruca) 2:14 loan of materials and assistance on this project. HMV E434 (Bb7436-II and Bb7435-II) Recorded in London, 1st December 1925 Magda TAGLIAFErrO (1893-1986) 8 Federico Mompou: Suburbis: El carrer, el guitarrista i el vell cavall 3:37 Disque "Gramophone" P-855 (BF3108-II and BF3108-I) Recorded in Paris, 26th March 1930 Women at the Piano Vol. 4 seventeen-year old pianist participated in the Chopin American Embassy in Berlin and contacted a friend in International Piano Competition in Warsaw, winning New Hampshire, who arranged a visa for her and her An Anthology of Historic Performances 1921-1955 the second prize, to Yakov Zak’s first prize. In 1946 family. In 1938 she moved to the United States, settling Tamarkina began teaching at the Moscow Conservatory, in New Bedford, Massachusetts, with her husband Dr In an articled entitled Woman’s Conquest of Music , Kehler, “it was Yves Nat who sustained and expanded about the same time she was diagnosed with cancer. The Walter V. Mindus. She also changed the spelling of her published in 1902, Henry T. Finck, states: “In all her musical interests, while Alfred Cortot not only painful treatments made performing and recording name to Lily Dumont. As teacher, for over forty years, languages, so far as I know, music is of the feminine directed her instinct toward the world of the great difficult. Luckily she left an eclectic and powerful she was on the faculty of the Longy School of Music in gender… In modern Japan, as in Oriental countries in romantics, but conducted the orchestra in her concert recorded legacy, that included works by Rachmaninov, Cambridge. She was founder and longtime president of general, and as among the ancient Greeks and Romans, début when she was seventeen.” Gianoli eventually Taneyev, Brahms, Liszt, and, of course, Chopin. Her the New Bedford concert series, and for many years she we find art-music almost entirely in the hands of taught at Cortot’s conservatory (1946-1965). It was visceral interpretation of Chopin’s Scherzo No. 3 in C organized an annual summer seminar for pianists at the women.” As positive a start as that was to an article Edwin Fischer, perhaps, who had the most impact on sharp minor , Op. 39 (1839) [ 4], recorded in 1947, is a University of Massachusetts at Dartmouth. Lily featuring a large portrait of pianist Fanny Bloomfield Gianoli. She also collaborated with Fischer in many testament of how great a pianist she was. Dumont died on 6th March, 2006, at the age of 94. Her Zeisler, Finck quickly falls prey to the sentiments of his concerts that featured concertos for two or more pianos. Liza Fuchsova was born in Brno on 31st March, recorded legacy includes the early Polydor discs, with day, writing: “A woman pianist is in constant danger of Her distinguished career included performances under 1913. A precocious child, she began piano studies at the the very first recording of Chopin’s Bolero , several becoming an amazon – a bogus man – and as such to the batons of Weingartner, Monteux, Boult, Cluytens, age of three and at ten years of age performed with the recordings for HMV and several early LPs on the lose half her charm. It is a queer but undeniable fact that Keilberth, Schuricht and others. The Brahms Rhapsody Czech Philharmonic Orchestra in Prague. Upon Concert Hall Society label. Playing a Bechstein concert the average female pianist is more muscular and less in G minor, Op. 79, No. 2 (1879) [ 2] included here was graduating from the Prague Conservatory she joined the grand in 1930 in the Polydor Berlin studios, she gives a capable of tender expression at the keyboard than the recorded in 1947 clearly shows Fischer’s musical faculty, teaching there until 1939, when she emigrated vivacious and stylish interpretation of Albéniz’s Sevilla , average male pianist.” Although the article was written influence. to England. She was active as teacher, soloist and from Suite española , Op, 47 (1886) [ 6]. some one hundred years ago, the women featured on Gina bachauer (1910-1976) was born in Athens to chamber musician in England, performing with the Extraordinary French pianist Marcelle Meyer , was this anthology all, at some time in their careers, fell prey an Austrian father and an Italian mother. Her early Dumka Trio and in duo-piano programmes with the born in Lille on 22nd May, 1897. She began studies to chauvinistic views directed at them by male critics. studies were at the Athens Conservatory with Waldemar pianist Paul Hamburger. In February 1977 Fuchsova with her older sister, Germaine, and in 1911 entered the In the first fifty years of the twentieth century over Freeman, and later at the Ecole Normale de Musique died in London. Although she championed many British Paris Conservatoire, where she studied with Marguerite two hundred women pianists left recorded evidence of with Alfred Cortot. In Paris Bachauer also studied composers (Montague Phillips, Walter Thomas Gaze Long and Alfred Cortot. Her marriage to actor Pierre their artistry. In the fourth volume of this continuing briefly with Rachmaninov. She made her professional Cooper, and Humphey Searle, to name a few), it is as a Bertin introduced her to Satie’s circle. She met all the series celebrating women pianists, we present sixteen début in 1935 with the Athens National Symphony lifelong champion of the music of Czech composers great artistic personalities in Paris at the time, including more extraordinary performers. Orchestra. After WWII, Bachauer’s career restarted in that she is best remembered today. Her heartfelt Debussy, Poulenc, Milhaud, Durey, Auric, Ravel, New York born Constance Keene (1921-2005) London at the Royal Albert Hall under the baton of Alec interpretation of Smetana’s rarely heard Fantasy on Stravinsky, Diaghilev, and Monteux. By the 1920s she studied at the Walden School and Dalton School. Her Sherman, who became her second husband. Her Czech Folk Songs (Fantasie na ceské národní písne) in had performed with many of the most illustrious piano teachers included Kathryn Makin, Lotte Hough, spectacular technique was praised by critics and B major (1862) [ 5] was recorded in London in 1944 conductors in Europe, including Mengelberg, Beecham, and Abram Chasins (who became her husband in 1949). audiences world-wide, and among her earliest and was the first recording of this work to appear on Ansermet, Boult, and Richard Strauss. Her marriage to She also studied chamber music with Gregor recordings in England was this 1949 performance of disc. Italian lawyer Carlo Di Vieto in 1937 led to her Piatigorsky. Her début as a Naumburg Award-winner Saint-Saëns’ edition of Liszt’s Hungarian Rhapsody No. Lilly dymont was born into a musical family on becoming friends with Dallapiccola, Rieti, Casella, and was at Town Hall, New York, on 8th November, 1943. 12 in C sharp minor (S244/12 and R106/12) (1853) 12th July, 1911, in Berlin.
Load more

Recommended publications
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • 8.111327 Bk Cortot EU 13/7/08 22:47 Page 4
    8.111327 bk Cortot EU 13/7/08 22:47 Page 4 GREAT PIANISTS • ALFRED CORTOT Fryderyk CHOPIN (1810 - 1849) Waldszenen, Op. 82 CHOPIN: Piano Sonata No. 2, Op. 35 Piano Sonata No. 2 in B flat minor, Op. 35 * No. 7. Vogel als Prophet 2:36 “Funeral March” 17:36 Recorded 19th April 1948 1 I. Grave - Doppio movimento 5:25 in EMI Abbey Road Studio No. 3 SCHUMANN: Kinderszenen Op. 15 2 II. Scherzo 4:50 First issued on HMV ALP 1197 3 III. Marche funèbre: Lento 5:42 Matrix no.: 0EA 12922 4 IV. Finale: Presto 1:39 Carnaval, Op. 9 Recorded 7th-8th May 1953 Carnaval, Op. 9 25:29 in EMI Abbey Road Studio No. 3 ( No. 1. Préambule 2:36 RED CORT First issued on RCA Victor LHMV 18 ) No. 2. Pierrot 1:08 LF OT ¡ No. 3. Arlequin 0:43 A Robert SCHUMANN (1810 - 1856) ™ No. 4. Valse noble 1:19 Kinderszenen, Op. 15 17:15 £ 5 No. 5. Eusebius 1:30 No. 1. Von fremden Ländern und Menschen 1:39 ¢ No. 6. Florestan 0:53 (About foreign lands and peoples) – 6 No. 7. Coquette 1:01 No. 2. Curiose Geschichte 0:58 § No. 8. Réplique 0:26 (A curious story) ¶ 7 Sphinx 1-3 0:23 No. 3. Hasche-Mann 0:34 • No. 9. Papillons 0:43 (Catch me if you can) ª 8 No. 10. A.S.C.H. - S.C.H.A. No. 4. Bittendes Kind 0:51 (Lettres dansantes) 0:38 (Pleading child) º 9 No. 11. Chiarina 0:49 No.
    [Show full text]
  • Magda Tagliaferro (1893-1986) a Discography1
    MAGDA TAGLIAFERRO (1893-1986) A DISCOGRAPHY1 By Philippe Rougier The pianistic career of Magda Tagliaferro was one of the longest, spanning more than eighty years-from her first public concert in 1902 in Sao Paulo to her last in Brasilia in 1985. Born of French parents near Rio de Janeiro, she divided her life between Brazil and France and she held both citizenships. She received first prize in piano at the Conservatoire National in Paris when she was fourteen. There she became acquainted with the director, Gabriel Faure, who around 1908 chose her to perform several of his works with him on tour. She was the protegee of the Cortot-Thibaud-Casals trio and worked regularly with her "venerated master," Alfred Cortot, whose musical aesthetics she adopted and perpetuated throughout her life. Prior to World War II, she lived in Paris and enjoyed a very brilliant career embracing Europe and South America, playing with conductors such as Furtwaengler, Weingartner, Ansermet, Munch, Paray and others. She was an activist for French music abroad and championed the contemporary composers that she had known personally: Prokofief, d'Indy (she performed his Symphonie sur un Chant montagnard under his baton), Ravel, Poulenc, Roussel, Schmitt, Falla, Albeniz, and others. She premiered or was the dedicatee of many works, including pieces for piano and orchestra by Heitor Villa-Lobos, Reynaldo Hahn, Georges Dandelot, Daniele Amfitheatrof; and solo pieces by Migot, Rivier, Pierne, Rosenthal, Inghelbrecht, and Mignone, among others. Mme. Tagliaferro also played an important role as a pedagogue. She was appointed professor at the Paris Conservatoire in 1937, remaining until the war, and founded a school in Paris and two more in Brazil (the Escola Magda Tagliaferro still exists in Sao Paulo) where she lived from 1940 until 1949.
    [Show full text]
  • New Resume Ate Fim De 9, Completo
    I. Personal Data CAIO PAGANO BIRTH DATE: 5/14/1940 CITIZENSHIP: American/ Italian/Brazilian II. FORMAL SCHOOLING AND TRAINING A/ K-12 Dante Alighieri School in São Paulo, Brazil concluded 1957. B/ Higher Education 1- Masters in Law, College of Law, University of São Paulo 1965. 2- Doctorate in Music, Catholic University of America, Washington D.C., U.S.A., 1984. C/ Music Education Magda Tagliaferro School of Piano, with teacher Lina Pires de Campos, São Paulo, Brazil, 1948-1958. Private teaching: Magda Tagliaferro, São Paulo 1948-1958. Mozarteum Academy Buenos Aires, Argentina, teacher Moises Makaroff May-August, 1961. École Magda Tagliaferro: Magda Tagliaferro, 1958, Paris, France. Mozarteum Academy, Salzburg, Austria, teacher Magda Tagliaferro, 1958. Professor Sequeira Costa, Lisbon, Portugal, August- December, 1964. !Professor Helena Costa Oporto, Portugal, January- !September, 1965. 1 Summer Camp Cascais, Portugal, teachers Karl Engel and Sandor Vegh, 1965-1966. Hochschule für Musik Hannover, Germany, teacher Karl Engel, 1966-1968. !Hochschule für Musik Hamburg, Germany, teacher Conrad !Hansen, 1968-1970 Harpsichord Studies, Pro-Arte, São Paulo, Brazil, teacher Stanislav Heller, 1964. Theory & Harmony, teachers O. Lacerda and Caldeira Filho, São Paulo, Brazil, 1952-1957. Form and Analysis, São Paulo, Brazil, teacher Camargo Guarnieri 1958. 2 1. Full-Time Professorships .1 Piano Professor in Music seminars at Pro-Arte; São Paulo, Brazil, 1963. .2 Piano Professor at the University of São Paulo, Brazil Department of Music, 1970-1984. .3 Visiting Professor at Texas Christian University, Fort Worth, TX, U.S.A., 1984-1986. Second term 1989/1990. .4 Professor at Arizona State University, Tempe AZ, U.S.A., 1986-present; since 1999, Regents’ Professor; in 2010 !selected Professor of the Year .5 Artistic Director at Centre for Studies of the Arts, Belgais, Portugal, 2001-2002.
    [Show full text]
  • French Performance Practices in the Piano Works of Maurice Ravel
    Studies in Pianistic Sonority, Nuance and Expression: French Performance Practices in the Piano Works of Maurice Ravel Iwan Llewelyn-Jones Submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy School of Music Cardiff University 2016 Abstract This thesis traces the development of Maurice Ravel’s pianism in relation to sonority, nuance and expression by addressing four main areas of research that have remained largely unexplored within Ravel scholarship: the origins of Ravel’s pianism and influences to which he was exposed during his formative training; his exploration of innovative pianistic techniques with particular reference to thumb deployment; his activities as performer and teacher, and role in defining a performance tradition for his piano works; his place in the French pianistic canon. Identifying the main research questions addressed in this study, an Introduction outlines the dissertation content, explains the criteria and objectives for the performance component (Public Recital) and concludes with a literature review. Chapter 1 explores the pianistic techniques Ravel acquired during his formative training, and considers how his study of specific works from the nineteenth-century piano repertory shaped and influenced his compositional style and pianism. Chapter 2 discusses Ravel’s implementation of his idiosyncratic ‘strangler’ thumbs as articulators of melodic, harmonic, rhythmic and textural material in selected piano works. Ravel’s role in defining a performance tradition for his piano works as disseminated to succeeding generations of pianists is addressed in Chapter 3, while Chapters 4 and 5 evaluate Ravel’s impact upon twentieth-century French pianism through considering how leading French piano pedagogues and performers responded to his trailblazing piano techniques.
    [Show full text]
  • Horizontes Pedagógicos E Pianísticos Nas Escritas Autobiográficas De Magda Tagliaferro
    e - I S S N 1 9 8 4 - 7 2 3 8 Horizontes pedagógicos e pianísticos nas escritas autobiográficas de Magda Tagliaferro Resumo No presente artigo, aborda-se a trajetória pedagógica e musical de Ednardo Monteiro Gonzaga Magdalena Tagliaferro, artista que idealizou e implantou no Brasil, Monti juntamente com Gustavo Capanema, o Curso Público de Doutor em Educação pela Interpretação Pianística. Com base no livro autobiográfico Universidade do Estado do Rio denominado Quase tudo, busca-se analisar a relevância da sua de Janeiro – UERJ – Brasil formação e os desdobramentos de seu trânsito entre o Brasil e a [email protected] França, como também, as contribuições desta professora na consolidação da performance musical impressionista ao piano, estilo que influenciou muitos jovens brasileiros estudantes de música. Nesta perspectiva, percebe-se que, ao atravessar o Oceano Atlântico, a pianista estabelecia intercâmbios de conhecimentos didáticos, pedagógicos, musicais e técnicos interpretativos, promovendo a circularidade do saber entre os dois países. Palavras-chave: Educação-História; Tagliaferro, Magdalena; Autobiografia; Viagens pedagógicas. Para citar este artigo: MONTI, Ednardo Monteiro Gonzaga. Horizontes pedagógicos e pianísticos nas escritas autobiográficas de Magda Tagliaferro. Revista Linhas. Florianópolis, v. 16, n. 32, p. 150 – 171, set./dez. 2015. DOI: 10.5965/1984723816322015150 http://dx.doi.org/10.5965/1984723816322015150 Revista Linhas. Florianópolis, v. 16, n. 32, p. 150 – 171, set./dez. 2015. p.150 Linhas Educational and pianistic horizons in the autobiographical writings of Magda Tagliaferro This article deals with the pedagogical and musical trajectory of Magdalena Tagliaferro, an artist who idealised and implemented, along with Gustavo Capanema, the Public Course of pianistic interpretation in Brazil.
    [Show full text]
  • Acceptance of Western Piano Music in Japan and the Career of Takahiro Sonoda
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE ACCEPTANCE OF WESTERN PIANO MUSIC IN JAPAN AND THE CAREER OF TAKAHIRO SONODA A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By MARI IIDA Norman, Oklahoma 2009 © Copyright by MARI IIDA 2009 All Rights Reserved. ACKNOWLEDGEMENTS My document has benefitted considerably from the expertise and assistance of many individuals in Japan. I am grateful for this opportunity to thank Mrs. Haruko Sonoda for requesting that I write on Takahiro Sonoda and for generously providing me with historical and invaluable information on Sonoda from the time of the document’s inception. I must acknowledge my gratitude to following musicians and professors, who willingly told of their memories of Mr. Takahiro Sonoda, including pianists Atsuko Jinzai, Ikuko Endo, Yukiko Higami, Rika Miyatani, Y ōsuke Niin ō, Violinist Teiko Maehashi, Conductor Heiichiro Ōyama, Professors Jun Ozawa (Bunkyo Gakuin University), Sh ūji Tanaka (Kobe Women’s College). I would like to express my gratitude to Teruhisa Murakami (Chief Concert Engineer of Yamaha), Takashi Sakurai (Recording Engineer, Tone Meister), Fumiko Kond ō (Editor, Shunju-sha) and Atsushi Ōnuki (Kajimoto Music Management), who offered their expertise to facilitate my understanding of the world of piano concerts, recordings, and publications. Thanks are also due to Mineko Ejiri, Masako Ōhashi for supplying precious details on Sonoda’s teaching. A special debt of gratitude is owed to Naoko Kato in Tokyo for her friendship, encouragement, and constant aid from the beginning of my student life in Oklahoma. I must express my deepest thanks to Dr.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1983
    . ^ 5^^ mar9 E^ ^"l^Hifi imSSii^*^^ ' •H-.-..-. 1 '1 i 1^ «^^«i»^^^m^ ^ "^^^^^. Llii:^^^ %^?W. ^ltm-''^4 j;4W»HH|K,tf.''if :**.. .^l^^- ^-?«^g?^5?,^^^^ _ '^ ** '.' *^*'^V^ - 1 jV^^ii 5 '|>5|. * .««8W!g^4sMi^^ -\.J1L Majestic pine lined drives, rambling elegant mfenor h^^, meandering lawns and gardens, velvet green mountain *4%ta! canoeing ponds and Laurel Lake. Two -hundred acres of the and present tastefully mingled. Afulfillment of every vacation delight . executive conference fancy . and elegant home dream. A choice for a day ... a month . a year. Savor the cuisine, entertainment in the lounges, horseback, sleigh, and carriage rides, health spa, tennis, swimming, fishing, skiing, golf The great estate tradition is at your fingertips, and we await you graciously with information on how to be part of the Foxhollow experience. Foxhollow . an tver growing select family. Offerings in: Vacation Homes, Time- Shared Villas, Conference Center. Route 7, Lenox, Massachusetts 01240 413-637-2000 Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundred and Second Season, 1982-83 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu J. P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland Mrs. Norman L. Cahners Albert L. Nickerson Mrs. George Lee Sargent George H.A.
    [Show full text]
  • Jean Berger (1909–2002): a Biographical Chronology
    AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 18 2010 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado at Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009 –2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro - posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado at Boulder, 301 UCB, Boulder, CO 80309-0301.
    [Show full text]
  • Aldo Ciccolini, 89 Virtuoso Pianist Shed Light on the Underappreciated
    The Washington Post February 6, 2015 Music Aldo Ciccolini, 89 Virtuoso pianist shed light on the underappreciated by Anne Midgette Aldo Ciccolini, a pianist who combined virtuosity with elegant reserve and over more than six decades of performing drew acclaim for his interpretations of underappreciated compositions and composers, died at his home in Asnieres-sur-Seine, outside Paris. He was 89. His manager, the pianist Paul Blacher, announced the death to Agence France-Presse without revealing the cause. He said Mr. Ciccolini died late Jan. 31 or early Feb. 1. Mr. Ciccolini was born in Italy but, as he said in an interview with Le Figaro two years ago, “I feel I definitely have a French soul.” He arrived in Paris in 1949 for the prestigious Marguerite Long-Jacques Thibaud piano competition — he was one of two winners that year — and stayed on to study with Long, Alfred Cortot and Yves Nat. Mr. Ciccolini made France his permanent home, taking citizenship in 1969. The next year, he began an 18-year tenure as professor at the Conservatoire de Paris, where his students included pianist Jean-Yves Thibaudet and the future conductor Fabio Luisi. His turn to teaching may have been one reason he was somewhat underappreciated in the United States, where he never received quite the acclaim of some flashier soloists. Another is his choice of repertoire: He was rare among concert pianists for focusing on quirky corners. His 1960s recordings of Erik Satie (1866-1925) helped bolster that composer’s reputation; other recordings in his impressive catalogue featured the little-known French composer Déodat de Séverac, piano music by the Italian composer Gioacchino Rossini and works by the Czech composer Leoš Janácek.
    [Show full text]
  • November 1934) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1934 Volume 52, Number 11 (November 1934) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 52, Number 11 (November 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/828 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE g cJMusic <9vtagazine November 1934 THE ETUDE NOVEMBER 1934. Page 631 THE Hill Recommended to Every Organist THE DILLER This new volume is de¬ PRACTICE KEYBOARD Music Mastery Series voted to the works of modern composers, con¬ The Keyb Popularly Priced taining more than ninety compositions, many of which have never been arranged for organ. The SIXTY CENTS value of this book to skilled organists as well EACH VOLUME as to students can hard¬ For Classes in Piano ly be over-estimated, as Keyboard Harmony, etc. THE LARGE AND ECONOMICAL EDITIONS, WHICH THE Excellent PIANO STUDY WORKS covering many phases of pianistic development in it will provide them DEMAND FOR THIS SUCCESSFUL SERIES OF MODERN all grades, and supplying important contributions to the teaching materials used by with a collection which many teachers, are found in this Series.
    [Show full text]
  • The Young Conductor Looks to the Future
    THE WORLD’S BEST CLASSICAL MUSIC REVIEWS Est 1923 . APRIL 2018 gramophone.co.uk Robin Ticciati The young conductor looks to the future PLUS Paul Lewis explores Haydn’s piano sonatas Handel’s Saul: the finest recordings UNITED KINGDOM £5.75 Intimate concerts featuring internationally acclaimed classical musicians in central London Now Booking Until July 2018 Igor Levit Cuarteto Casals: Beethoven Cycle Roderick Williams: Exploring Schubert’s Song Cycles O/Modernt: Purcell from the Ground Up Haydn String Quartet Series Jörg Widmann as Composer-Performer and much more… The Wigmore Hall Trust 36 Wigmore Street, London W1U 2BP Director: John Gilhooly OBE www.wigmore-hall.org.uk Registered Charity Number 1024838 A special eight-page section focusing on recent recordings from the US and Canada JS Bach Solo Violin Sonatas and Partitas, BWV1001-1006 talks to ... Johnny Gandelsman vn In a Circle F b ICR101 (124’ • DDD) Johnny Gandelsman The violinist and co-founder Bach’s Violin of Brooklyn Rider discusses his Sonatas and debut solo recording of Bach Partitas are among the most frequently Was it a challenge to plunge straight into performed works for the instrument, Bach for your first solo recording? or any instrument. Recordings evince a Not really. Over the the last three years spectrum of approaches, from historical I’ve performed all six Sonatas and Partitas treatments on period instruments to in concert about 30 times, which has been concepts Romantic and beyond. deeply rewarding. I wanted to capture this Among the newest journeys is Johnny moment of personal learning and growth. Gandelsman’s freshly considered account Do you miss the collaborative process of these monuments.
    [Show full text]