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MP2 Bio with Photos
www.millerporfirisduo.org Email: Millerporfi[email protected] MP2 Miller-Porfiris Duo Anton Miller, violin Rita Porfiris, viola The Miller-Porfiris Duo has been delighting audiences since 2005. Recent seasons have seen tours around the United States, Europe, Asia and the Middle East; appearances on the Chamber Music of Little Rock, Chamber Music Pittsburgh, Tel Aviv Museum, and Sheldon Friends of Music series; and collaborations with Lynn Harrell, Jamie Laredo, and Joseph Kalichstein. On faculty of the Hartt School in Connecticut, the duo has been in residency and given seminars and masterclasses at festivals and institutions such as New York University, Duke University, Kutztown University, University of New Mexico, the Foulger Festival, St. George International Festival in Greece, ARIA International Arts Academy at Mt. Holyoke College, Three Bridges International Chamber Music Festival at the University of Minnesota Duluth, Conciertos de la Villa Santo Domingo, the Harpa International and Iceland Academy for the Arts. In 2017, they were appointed co-directors of the Point Counterpoint Chamber Music camp and started a partnership with the Harpa International Academy and Icelandic Chamber Festival. In 2020 the partnership will be with the Music and More SummerFest in Bosnia- Herzegovina. Committed to expanding the repertoire for violin and viola, in 2010 they commissioned and recorded 3 new works for violin and viola by Belize-born British composer Errollyn Wallen, Argentinean composer Mario Diaz Gavier, and American "You would have composer Libby Larsen for their debut CD “Five Postcards.” Their second to go a long way CD, titled “Eight Pieces” and released in 2013, was deemed a “fine new to hear better recording” and praised for its “wonderfully smooth ensemble work” and “vibrant and focused” playing by Gramophone and Audible Audiophile duet playing than Magazines. -
Rezension Für: Deutsches Symphonie-Orchester Berlin
Rezension für: Deutsches Symphonie-Orchester Berlin Edition Friedrich Gulda – The early RIAS recordings Ludwig van Beethoven | Claude Debussy | Maurice Ravel | Frédéric Chopin | Sergei Prokofiev | Wolfgang Amadeus Mozart 4CD aud 21.404 Radio Stephansdom CD des Tages, 04.09.2009 ( - 2009.09.04) Aufnahmen, die zwischen 1950 und 1959 entstanden. Glasklar, "gespitzter Ton" und... Full review text restrained for copyright reasons. Neue Musikzeitung 9/2009 (Andreas Kolb - 2009.09.01) Konzertprogramm im Wandel Konzertprogramm im Wandel Full review text restrained for copyright reasons. Piano News September/Oktober 2009, 5/2009 (Carsten Dürer - 2009.09.01) Friedrich Guldas frühe RIAS-Aufnahmen Friedrich Guldas frühe RIAS-Aufnahmen Full review text restrained for copyright reasons. page 1 / 388 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de DeutschlandRadio Kultur - Radiofeuilleton CD der Woche, 14.09.2009 (Wilfried Bestehorn, Oliver Schwesig - 2009.09.14) In einem Gemeinschaftsprojekt zwischen dem Label "audite" und Deutschlandradio Kultur werden seit Jahren einmalige Aufnahmen aus den RIAS-Archiven auf CD herausgebracht. Inzwischen sind bereits 40 CD's erschienen mit Aufnahmen von Furtwängler und Fricsay, von Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau u. v. a. Die jüngste Produktion dieser Reihe "The Early RIAS-Recordings" enthält bisher unveröffentlichte Aufnahmen von Friedrich Gulda, die zwischen 1950 und 1959 entstanden. Die Einspielungen von Beethoven, Debussy, Ravel und Chopin zeigen den jungen Pianisten an der Schwelle zu internationalem Ruhm. Die Meinung unserer Musikkritiker: Eine repräsentative Auswahl bisher unveröffentlichter Aufnahmen, die aber bereits alle Namen enthält, die für Guldas späteres Repertoire bedeutend werden sollten: Mozart, Beethoven, Debussy, Ravel, Chopin. -
Susan Philipsz: You Are Not Alone, Edited by James Lingwood and Brigitte Franzen, Cologne: Koenig Books, 2014: 82-84
Maeve Connolly, 'Reverberations in Time and Space: You Are Not Alone' Susan Philipsz: You Are Not Alone, edited by James Lingwood and Brigitte Franzen, Cologne: Koenig Books, 2014: 82-84. ISBN 9783863354053 Standing in the light-filled atrium of Haus des Rundfunks in Berlin, the site of Susan Philipsz’s work You Are Not Alone, I found myself speculating upon the material and acoustic properties of this distinctive space, with its walls clad in small shiny ceramic tiles, and also remembering earlier encounters with Philipsz’s work. I recalled moving through the everyday confusion of a bus station in Belfast, drawn by an unaccompanied female voice rising above the crowd and, some years later, hearing music as I climbed the stairs to the upper floor of a white-walled New York gallery, catching fragments of a 16th century lament emanating from tall trees in the parkland of Kilkenny castle and, most recently, discerning a composition for strings as I approached the end of a platform in what was once the main train station of Kassel. As these disparate memories of Philipsz’s work cohered, I was struck by the complex interplay between loss, longing and evocation – and between memory and history – in her practice. In an article that reflects upon the relationship between history and memory in contemporary art, Peter Osborne proposes that concepts of ‘trauma’, ‘melancholy’ and ‘mourning’ have become prevalent in art discourse, reinstating a ‘metaphorically expanded conception of memory as the medium of historical experience’.1 Osborne also suggests that, by comparison with history, memory is ‘temporally restricted’2 because it only enlivens the past in relation to the present. -
Historie Der Rheinischen Musikschule Teil 1 Mit Einem Beitrag Von Professor Heinrich Lindlahr
Historie der Rheinischen Musikschule Teil 1 Mit einem Beitrag von Professor Heinrich Lindlahr Zur Geschichte des Musikschulwesens in Köln 1815 - 1925 Zu Beginn des musikfreundlichen 19. Jahrhunderts blieb es in Köln bei hochfliegenden Plänen und deren erfolgreicher Verhinderung. 1815, Köln zählte etwa fünfundzwanzigtausend Seelen, die soeben, wie die Bewohner der Rheinprovinz insgesamt, beim Wiener Kongreß an das Königreich Preußen gefallen waren, 1815 also hatte von Köln aus ein ungenannter Musikenthusiast für die Rheinmetropole eine Ausbildungsstätte nach dem Vorbild des Conservatoire de Paris gefordert. Sein Vorschlag erschien in der von Friedrich Rochlitz herausgegebenen führenden Allgemeinen musikalischen Zeitung zu Leipzig. Doch Aufrufe solcher Art verloren sich hierorts, obschon Ansätze zu einem brauchbaren Musikschulgebilde in Köln bereits bestanden hatten: einmal in Gestalt eines Konservatorienplanes, wie ihn der neue Maire der vormaligen Reichstadt, Herr von VVittgenstein, aus eingezogenen kirchlichen Stiftungen in Vorschlag gebracht hatte, vorwiegend aus Restklassen von Sing- und Kapellschulen an St. Gereon, an St. Aposteln, bei den Ursulinen und anderswo mehr, zum anderen in Gestalt von Heimkursen und Familienkonzerten, wie sie der seit dem Einzug der Franzosen, 1794, stellenlos gewordene Salzmüdder und Domkapellmeister Dr. jur. Bernhard Joseph Mäurer führte. Unklar blieb indessen, ob sich der Zusammenschluss zu einem Gesamtprojekt nach den Vorstellungen Dr. Mäurers oder des Herrn von Wittgenstein oder auch jenes Anonymus deshalb zerschlug, weil die Durchführung von Domkonzerten an Sonn- und Feiertagen kirchenfremden und besatzungsfreundlichen Lehrkräften hätte zufallen sollen, oder mehr noch deshalb, weil es nach wie vor ein nicht überschaubares Hindernisrennen rivalisierender Musikparteien gab, deren manche nach Privatabsichten berechnet werden müssten, wie es die Leipziger Allgemeine musikalische Zeitung von 1815 lakonisch zu kommentieren wusste. -
Sibelius Society
UNITED KINGDOM SIBELIUS SOCIETY www.sibeliussociety.info NEWSLETTER No. 84 ISSN 1-473-4206 United Kingdom Sibelius Society Newsletter - Issue 84 (January 2019) - CONTENTS - Page 1. Editorial ........................................................................................... 4 2. An Honour for our President by S H P Steadman ..................... 5 3. The Music of What isby Angela Burton ...................................... 7 4. The Seventh Symphonyby Edward Clark ................................... 11 5. Two forthcoming Society concerts by Edward Clark ............... 12 6. Delights and Revelations from Maestro Records by Edward Clark ............................................................................ 13 7. Music You Might Like by Simon Coombs .................................... 20 8. Desert Island Sibelius by Peter Frankland .................................. 25 9. Eugene Ormandy by David Lowe ................................................. 34 10. The Third Symphony and an enduring friendship by Edward Clark ............................................................................. 38 11. Interesting Sibelians on Record by Edward Clark ...................... 42 12. Concert Reviews ............................................................................. 47 13. The Power and the Gloryby Edward Clark ................................ 47 14. A debut Concert by Edward Clark ............................................... 51 15. Music from WW1 by Edward Clark ............................................ 53 16. A -
Rathaus, Tiessen & Arma Sonatas for Violin and Piano
RATHAUS, TIESSEN & ARMA SONATAS FOR VIOLIN AND PIANO JUDITH INGOLFSSON, VIOLIN | VLADIMIR STOUPEL, PIANO RATHAUS, TIESSEN & ARMA SONATAS FOR VIOLIN AND PIANO KAROL RATHAUS (1895–1954) SONATA FOR VIOLIN AND PIANO, OP. 14 (1925) [01] I. Andantino ......................................09:40 [02] II. Intermezzo. Andante ............................. 06:13 [03] III. Rondo. Allegro ma non troppo ..................... 08:41 HEINZ TIESSEN (1887–1971) DUO-SONATA, OP. 35 (1925)* [04] I. Präludium. Allegro non troppo ...................... 01:48 [05] II. Andante quasi adagio .............................06:16 [06] III. Finale. Allegro molto vivace .......................07:48 2 RATHAUS, TIESSEN & ARMA SONATAS FOR VIOLIN AND PIANO PAUL ARMA (1905–1987) SONATA FOR VIOLIN AND PIANO (1949)* [07] I. Lento .......................................... 15:59 [08] II. Interlude. Sostenuto rubato ........................03:02 [09] III. Allegro .......................................08:36 [10] IV. Postlude. Sostenuto rubato ........................ 02:55 * WORLD PREMIERE RECORDING JUDITH INGOLFSSON, VIOLIN VLADIMIR STOUPEL, PIANO TOTAL 71:04 3 RATHAUS, TIESSEN & ARMA RATHAUS Es war Schrenk, dem Rathaus seine Sona- te für Violine und Klavier Nr. 1 op. 14 widmete. eboren in Tarnopol (damals Öster- Komponiert 1925, wurde sie gemäß sei- Greich-Ungarn) in einer polnisch-jüdi- nem Verlagsvertrag von der Universal Edition schen Familie, begann Karol Rathaus schon veröffentlicht. Die Uraufführung der Sonate früh zu komponieren. An der Akademie für fand im März 1926 in Berlin mit dem Kompo- Darstellende Kunst und Musik Wien nahm nisten am Klavier und seinem Freund Stefan er 1913 sein Studium auf, das jäh durch den Frenkel an der Violine statt. In diesem farben- Ersten Weltkrieg unterbrochen wurde: Vier freudigen und phantasievollen Stück kombi- Jahre lang musste er in der österreichischen niert Rathaus die Innigkeit der Kammermusik Armee dienen. -
Berliner Philharmoniker
Berliner Philharmoniker Sir Simon Rattle Artistic Director November 12–13, 2016 Hill Auditorium Ann Arbor CONTENT Concert I Saturday, November 12, 8:00 pm 3 Concert II Sunday, November 13, 4:00 pm 15 Artists 31 Berliner Philharmoniker Concert I Sir Simon Rattle Artistic Director Saturday Evening, November 12, 2016 at 8:00 Hill Auditorium Ann Arbor 14th Performance of the 138th Annual Season 138th Annual Choral Union Series This evening’s presenting sponsor is the Eugene and Emily Grant Family Foundation. This evening’s supporting sponsor is the Michigan Economic Development Corporation. This evening’s performance is funded in part by The Andrew W. Mellon Foundation and by the Michigan Council for Arts and Cultural Affairs. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Special thanks to Bill Lutes for speaking at this evening’s Prelude Dinner. Special thanks to Journeys International, sponsor of this evening’s Prelude Dinner. Special thanks to Aaron Dworkin, Melody Racine, Emily Avers, Paul Feeny, Jeffrey Lyman, Danielle Belen, Kenneth Kiesler, Nancy Ambrose King, Richard Aaron, and the U-M School of Music, Theatre & Dance for their support and participation in events surrounding this weekend’s performances. Deutsche Bank is proud to support the Berliner Philharmoniker. Please visit the Digital Concert Hall of the Berliner Philharmoniker at www.digitalconcerthall.com. -
The Influence of Green Areas and Roof Albedos on Air Temperatures During Extreme Heat Events in Berlin, Germany
Meteorologische Zeitschrift, Vol. 22, No. 2, 131–143 (April 2013) Open Access Article Ó by Gebru¨der Borntraeger 2013 The Influence of green areas and roof albedos on air temperatures during Extreme Heat Events in Berlin, Germany Sebastian Schubert* and Susanne Grossman-Clarke Potsdam Institute for Climate Impact Research, Germany (Manuscript received May 1, 2012; in revised form November 15, 2012; accepted November 19, 2012) Abstract The mesoscale atmospheric model COSMO-CLM (CCLM) with the Double Canyon Effect Parametrization Scheme (DCEP) is applied to investigate possible adaption measures to extreme heat events (EHEs) for the city of Berlin, Germany. The emphasis is on the effects of a modified urban vegetation cover and roof albedo on near-surface air temperatures. Five EHEs with a duration of 5 days or more are identified for the period 2000 to 2009. A reference simulation is carried out for each EHE with current vegetation cover, roof albedo and urban canopy parameters (UCPs), and is evaluated with temperature observations from weather stations in Berlin and its surroundings. The derivation of the UCPs from an impervious surface map and a 3-D building data set is detailed. Characteristics of the simulated urban heat island for each EHE are analysed in terms of these UCPs. In addition, six sensitivity runs are examined with a modified vegetation cover of each urban grid cell by À25%, 5% and 15%, with a roof albedo increased to 0.40 and 0.65, and with a combination of the largest vegetation cover and roof albedo, respectively. At the weather stations’ grid cells, the results show a maximum of the average diurnal change in air temperature during each EHE of 0.82 K and À0.48 K for the À25% and 15% vegetation covers, À0.50 K for the roof albedos of 0.65, and À0.63 K for the combined vegetation and albedo case. -
'Botschafter Der Musik': the Berlin Philharmonic Orchestra and The
Working Papers in the Humanities 1 ‘Botschafter der Musik’: The Berlin Philharmonic Orchestra and the Role of Classical Music in Post-War German Identity Lauren Freede University of Edinburgh Abstract This working paper looks at the role of classical music in the establishment of modern German identity. My wider doctoral research project examines the importance of music in shaping differing senses of positive collective identity in both West Germany and Austria since the 1920s, and explores the exclusion of classical music from critical memory narratives, with particular reference to musical autobiographies. This paper focuses more narrowly on the situation in Germany immediately after World War II. While traditional accounts of the period tend to deal with individual musicians, I argue that musical institutions were central to a sense of being German. A brief case study of the Berlin Philharmonic Orchestra illustrates the tangled relationship between music and politics, and shows the ways in which musical identity was contested. Germans saw positive continuity in their mastery of the classical tradition, while the American occupiers saw the German belief in their musical superiority as a dangerous and unstable base for national restoration. My analysis of the Orchestra reveals that classical music was adopted as a politically neutral source of national pride despite being both highly susceptible to political manipulation and implicated in past militaristic and racist ideologies from which it was supposedly aloof. Thomas Mann once argued: ‘Soll Faust der Repräsentant der deutschen Seele sein, so müßte er musikalisch sein’.2 Since the middle of the nineteenth century, classical music has indeed been the art form most closely identified with the development of the German nation, and musicians and writers have argued that the art form itself belongs to Germany. -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me. -
Chronology 1916-1937 (Vienna Years)
Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere -
Radical Than Most Gebrauchsjazz: Music for the “Berlin Im Licht”
More Radical Than Most Gebrauchsjazz. Music for the "Berlin im Licht" Festival by Nils Grosch 'The harmonies and melodies are more radical than with their "Berlin im Licht" pieces. On 8July 1928 Butting reported most Gebrauchsjazz" concluded Erwin Stein in his 1928 report to UE, ''I will speak with Weill and Tiessen about the festival to Universal Edition, Vienna (UE) when asked to evaluate the during the next few days." Six weeks later, on 18 August, music composed by Max Butting and Heinz Tiessen for the Butting submitted his two compositions (a "Blues" and a "Berlin im Licht'' festival. Butting and Tiessen, along with Kurt "Marsch") along with a "Foxtrott" and a "Boston" byTiessen. Weill, Wladimir Vogel, Stefan Wolpe, Hanns Eisler, and Philipp Weill's song was to follow in a few days.4 Jarnach , were counted among the leaders of the music section Butting made clear his intentions for the festival in a polemi of the Novembergruppe and considered representatives of cal announcement intended for publication in UE'sMusikblatter Berlin's musical avant-garde. des Anbruch. The open-air concerts were to be an affront to the Some months earlier, Max Butting had explained his ideas devotional behavior of bourgeois German concert-goers as for the "Berlin im Licht" festival in a letter dated 2July 1928 to well as a reaction to the snootiness of many of his colleagues. UE: "Naturally, only popular events "We Germans are a strange people. are planned, featuring about six simul We have an indestructible respect for taneous open-air concerts (Stand things thatwe can scarcely understand musiken).