DOCSLIB.ORG

Lazare-Lévy & Victor Staub

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE FRENCH PIANO SCHOOL LAZARE-LÉVY VICTOR STAUB The complete studio recordings CONTENTS TRACK LISTING page 3 ENGLISH page 6 FRANÇAIS page 22 2 COMPACT DISC 1 Victor Staub (77.29) 1. LOUIS-CLAUDE DAQUIN Le coucou (Pièces de clavecin, 3ème suite) ............................ (1.20) Recorded in June 1927; matrix Ki 1264-1 (Odéon 166043) 2. MENDELSSOHN Song without words in C major Op 67 No 4 ‘Spinning Song’ ............. (1.40) Recorded in June 1927; matrix Ki 1264-1 (Odéon 166043) 3. CHOPIN Waltz in F major Op 34 No 3 ......................................................... (2.48) Recorded in June 1927; matrix Ki 1274-2 (Odéon 166044) 4. CHOPIN Waltz in G flat major Op 70 No 1 .................................................... (2.16) Recorded in June 1927; matrix Ki 1273-2 (Odéon 166044) SCHUMANN Fantasiestücke Op 12 5. No 1, Des Abends .................................................................................. (2.22) Recorded on 25 January 1929; matrix Ki 2167-1 (Odéon 166173) 6. No 2, Aufschwung .................................................................................. (2.25) Recorded on 25 January 1929; matrix Ki 2166-2 (Odéon 166172) 7. No 4, Grillen ........................................................................................ (2.37) Recorded on 25 January 1929; matrix Ki 2168-2 (Odéon 166173) 8. SCHUMANN/LISZT Frühlingsnacht S568 ..................................................... (2.30) Recorded in June 1927; matrix Ki 1286-2 (Odéon 166045) 9. MOSZKOWSKI Valse d’amour (Liebeswalzer) Op 57 No 5 ................................. (2.45) Recorded on 25 January 1929; matrix Ki 2165-2 (Odéon 166172) 10. SINDING Rustle of Spring Op 32 No 3 ......................................................... (2.15) Recorded on 25 January 1929; matrix Ki 2164-2 (Odéon 166171) 11. DEBUSSY Golliwogg’s Cake-Walk (Children’s Corner, No 6) ................................. (2.52) Recorded in June 1927; matrix Ki 1288-1 (Odéon 166048) 12. DEBUSSY Minstrels (Préludes, Book 1, No 12) .................................................. (2.09) Recorded in June 1927; matrix Ki 1287-2 (Odéon 166048) 13. RAVEL Rigaudon (Le tombeau de Couperin, No 4) ............................................... (2.39) Recorded in June 1927; matrix Ki 1275-1 (Odéon 166045) 14. RHENÉ-BATON Fileuses près Carantec No 5 of En Bretagne, Op 13 ......................... (2.14) Recorded on 25 January 1929; matrix Ki 2163-2 (Odéon 166171) 15. STAUB Sous-bois Op 6 .......................................................................... (2.48) Recorded in June 1927; matrix Ki 1263-1 (Odéon 166043) 3 Lazare-Lévy 16. MOZART Fantasia in C minor K475 .......................................................... (8.59) Recorded on 18 February 1931; matrices 2G 290-1, 291-1 (HMV France DB4808) 17. CHABRIER Sous-bois (Pièces pittoresques No 4) ................................................ (4.18) Recorded on 18 May 1937; matrix 2LA 1813-1 (HMV DB5039) 18. CHABRIER Idylle (Pièces pittoresques No 6) ..................................................... (3.40) Recorded on 18 May 1937; matrix 2LA 1814-1 (HMV DB5039) 19. DEBUSSY Masques .............................................................................. (4.22) Recorded on 17 October 1929; matrix CS 4354-2 (HMV W1059) 20. DUKAS La plainte, au loin, du faune (from Tombeau de Claude Debussy) ................... (3.59) Recorded on 18 February 1931; matrix 2G 289-1 (HMV L909) 21. ROUSSEL Sicilienne (No 2 from Suite pour piano, Op 14) ........................................ (4.17) Recorded on 8 July 1931; matrix 2G 288-2 (HMV L909) 22.- LAZARE-LÉVY Préludes 1, 2 & 5 from Vingt préludes ................................... (4.37) 24. Recorded on 17 October 1929; matrix CS 4356-2 (HMV W1059) 25. LAZARE-LÉVY Va l s e s ............................................................................ (7.27) Recorded on 7 November 1950; matrices M 155, 156 (Victor Japan SD54 in set JAS136) COMPACT DISC 2 (74.18) 1. F COUPERIN Les Lis naissans (Pièces de clavecin, Book 3, 13e Ordre No 1) ................... (1.35) Recorded on 7 November 1950; matrix M 153 (Victor Japan SD53 in set JAS136) 2. F COUPERIN Les rozeaux (Pièces de clavecin, Book 3, 13e Ordre No 2) ......................... (2.43) Recorded on 7 November 1950; matrix M 153 (Victor Japan SD53 in set JAS136) 3. SCHUBERT Impromptu in A flat major Op 142 No 2, D935/2 ................................ (4.32) Recorded on 7 November 1950; matrix M 154 (Victor Japan SD53 in set JAS136) 4. SCHUMANN Des Abends (No 1 from Fantasiestücke, Op 12) .................................... (2.40) Recorded on 7 November 1950; matrix M 158 (Victor Japan SD55 in set JAS136) 5. SCHUMANN Traumes Wirren (No 7 from Fantasiestücke, Op 12) .............................. (2.21) Recorded on 7 November 1950; matrix M 158 (Victor Japan SD55 in set JAS136) 6. CHOPIN Mazurka in C sharp minor Op 6 No 2 .............................................. (1.40) Recorded on 7 November 1950; matrix M 157 (Victor Japan SD55 in set JAS136) 7. CHOPIN Mazurka in A flat major Op 50 No 2 ................................................ (2.27) Recorded on 7 November 1950; matrix CS M 157 (Victor Japan SD55 in set JAS136) 4 Lazare-Lévy 8. F COUPERIN Les rozeaux (Pièces de clavecin, Book 3, 13e Ordre No 2) ......................... (3.09) 1 Recorded on 14 December 1951, Tel-Aviv; matrix L90U 2121-1 (Crown 59-14034, 7" 33 /3 rpm) 9. LOUIS-CLAUDE DAQUIN Le coucou (Pièces de clavecin, 3ème suite) ............................ (2.02) 1 Recorded on 14 December 1951, Tel-Aviv; matrix L90U 2121-1 (Crown 59-14034, 7" 33 /3 rpm) 10. DEBUSSY La cathédrale engloutie (Préludes, Book 1, No 10) ............................... (5.23) 1 Recorded on 14 December 1951, Tel-Aviv; matrix L90U 2122-1 (Crown 59-14034, 7" 33 /3 rpm) MOZART Sonata No 10 in C major K330 11. Allegro moderato .................................................................................. (5.38) 12. Andante cantabile ................................................................................. (6.11) 13. Allegretto ........................................................................................... (4.41) Recorded in 1952; (Ducretet Thomson LP8518) MOZART Sonata No 11 in A major ‘Alla Turca’ K331 14. Tema con variazioni: Andante grazioso ........................................................... (6.26) 15. Menuetto & trio .................................................................................... (6.04) 16. Alla Turca .......................................................................................... (3.03) Recorded in 1952; (Ducretet Thomson LP8518) MOZART Sonata No 8 in A minor K310 17. Allegro maestoso ................................................................................... (3.51) 18. Andante cantabile con espressione ............................................................... (7.10) 19. Presto .............................................................................................. (2.33) Recorded on 7 October 1955; (Pathé DTX196) 5 The French Piano School An introduction CHARLES TIMBRELL OR SOME 150 YEARS a distinctively Diémer and Philipp were the pre-eminent French piano style was nourished at the teachers at the beginning of the twentieth FParis Conservatoire. During the first half century. Diémer must have allowed individu ality, of the nineteenth century Paris was the centre for his students included such very different of pianistic activity in Europe, with performers, pianists as Alfred Cortot, Yves Nat, Robert piano-makers, composers and publishers vying Casa desus, Lazare-Lévy, Édouard Risler, for the attention of a music-loving public. It Marius-François Gaillard and Victor Staub. didn’t take too long for the state-run Con - Philipp’s students also showed stylistic variety, servatoire to become ingrown, with its faculty with Paul Loyonnet, Jeanne-Marie Darré, made up mostly of distinguished graduates Monique de La Bruchollerie and Guiomar Novaes whose students would in turn become the next sounding very different. And we must not forget generation of teachers. At first, foreign students Aline van Barentzen, the first American to win were not allowed, and even Liszt was turned a first prize at the Conservatoire. She represents down. The repertoire was quite narrow, and all an entirely different line, having been a pupil of students competing for prizes at the end of the Charles-Valentin Alkan’s student Élie Delaborde. year had to play the same required piece. A But van Barentzen later studied in Vienna with premium was placed on fast, clean and brilliant Theodore Leschetizky and in Berlin with Ernst finger work (‘le jeu perlé’) and on a trans parent von Dohnányi, and she may have been following and unforced sound that was never marred by a trend for French-trained pianists to do post- excessive pedal, with variety of tone produced graduate study elsewhere. Risler, for example, ideally by the fingers and wrists rather than the worked with three of Liszt’s students, arms or shoulders. Early recordings by Camille Bruchollerie studied with Emil von Sauer, Darré Saint-Saëns, Francis Planté, Louis Diémer, worked briefly with Istvan Thomán, and Isidor Philipp and Marguerite Long are classic Loyonnet studied with Martinus Sieveking. examples of this style. Inevitably the old French school became But the piano school did not operate in diluted by the 1950s, due to the dissemination complete isolation. Links with composers and of other performing styles through recordings, pianists both at home and
Recommended publications
  • 18.7 Instrumental 78S, Pp 173-195

    18.7 Instrumental 78S, Pp 173-195

    78 rpm INSTRUMENTAL Sets do NOT have original albums unless indicated. If matrix numbers are needed for any of the items below in cases where they have been omitted, just let me know (preferably sooner rather than later). Albums require wider boxes than I use for records. If albums are available and are wanted, they will have to be shipped separately. U.S. postal charges for shipment within the U.S. are still reasonable (book rate) but out of country fees will probably be around $25.00 for an empty album. Capt. H. E. ADKINS dir. KNELLER HALL MUSICIANS 2107. 12” PW Plum HMV C.2445 [2B2922-IIA/2B2923-IIA]. FANFARES (Composed for the Musicians’ Benevolent Fund by Lord Berners, Sir. W. Davies, Dorothy Howell and Dame Edith Smyth). Two sides . Lt. rubs, cons . 2. $15.00. JOHN AMADIO [flutist] 2510. 12” Red Orth. Vla 9706 [Cc8936-II/Cc8937-II]. KONZERTSTÜCK, Op. 98: Finale (Heinrich Hofmann) / CONCERTINO, Op. 102 (Chaminade). Orch. dir. Lawrance Collingwood . Just about 1-2. $12.00. DANIELE AMFITHEATROF [composer, conductor] dir. PASDELOUP ORCH. 3311. 12” Green Italian Columbia GQX 10855, GQX 10866 [CPTX280-2/ CPTX281-2, CPTX282-3/ CPTX283- 1]. PANORAMA AMERICANO (Amfitheatrof). Four sides. Just about 1-2. $25.00. ENRIQUE FERDNANDEZ ARBOS [composer, conductor] dir. ORCH. 2222. 12” Blue Viva-Tonal Columbia 67607-D [WKX-62-2/WKX-63]. NOCHE DE ARABIA (Arbos). Two sides. Stkr. with Arbos’ autograph attached to lbl. side one. Just about 1-2. $20.00. LOUIS AUBERT [composer, con- ductor] dir. PARIS CONSERVA- TOIRE ORCH. 1570. 10” Purple Eng.
  • 4.Murtomäki 2017.10192 Words

    4.Murtomäki 2017.10192 Words

    Sibelius in the Context of the Finnish-German History Veijo Murtomäki Introduction The life and career of a composer cannot be considered as an isolated case without taking into account the wider context. The history of ideas and ideologies is always part of any serious enquiry into an artist’s personal history. Therefore we must bear in mind at least four points when considering the actions of artist and his or her country. Firstly, as the eminent Finnish historian Matti Klinge has observed, "the biggest challenge for understanding history is trying to situate oneself in the preconditions of the time-period under scrutiny while remembering that it did not know what the posterity knows."[1] Writing history is not primarily a task whereby the historian provides lines for actors to speak, but rather is an attempt to understand and explain why something happened, and to construct a context including all of the possible factors involved in a certain historical process. Secondly, supporting (or not opposing) an ideology prevailing at a certain time does not mean that the supporter (or non-opponent) is committing a crime. We could easily condemn half of the European intellectuals for supporting Fascism, Nazism, Communism or Maoism, or just for having become too easily attracted by these – in their mind – fascinating, visionary ideologies to shape European or world history. Thirdly, history has always been written by the winners – and thus, historiography tends to be distorted by exaggerating the evil of the enemy and the goodness of the victor. A moral verdict must be reached when we are dealing with absolute evil, but it is rare to find exclusively good or bad persons or civilizations; therefore history is rarely an issue of black and white.
  • Interpreting Tempo and Rubato in Chopin's Music

    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.
  • LOUISE ALDER | JOSEPH MIDDLETON Serge Rachmaninoff, Ativanovka, Hisfamily’S Country Estate,C

    LOUISE ALDER | JOSEPH MIDDLETON Serge Rachmaninoff, Ativanovka, Hisfamily’S Country Estate,C

    RACHMANINOFF TCHAIKOVSKY BRITTEN GRIEG SIBELIUS MEDTNER LOUISE ALDER | JOSEPH MIDDLETON Serge Rachmaninoff, at Ivanovka, his family’s country estate, c. 1915 estate,c. country hisfamily’s atIvanovka, Serge Rachmaninoff, AKG Images, London / Album / Fine Art Images Lines Written during a Sleepless Night – The Russian Connection Serge Rachmaninoff (1873 – 1943) Six Songs, Op. 38 (1916) 15:28 1 1 At night in my garden (Ночью в саду у меня). Lento 1:52 2 2 To Her (К ней). Andante – Poco più mosso – Tempo I – Tempo precedente – Tempo I (Meno mosso) – Meno mosso 2:47 3 3 Daisies (Маргаритки). Lento – Poco più mosso 2:29 4 4 The Rat Catcher (Крысолов). Non allegro. Scherzando – Poco meno mosso – Tempo come prima – Più mosso – Tempo I 2:42 5 5 Dream (Сон). Lento – Meno mosso 3:23 6 6 A-oo (Ау). Andante – Tempo più vivo. Appassionato – Tempo precedente – Più vivo – Meno mosso 2:15 3 Jean Sibelius (1865 – 1957) 7 Våren flyktar hastigt, Op. 13 No. 4 (1891) 1:35 (Spring flees hastily) from Sju sånger (Seven Songs) Vivace – Vivace – Più lento – Vivace – Più lento – Vivace 8 Säv, säv, susa, Op. 36 No. 4 (1900?) 2:32 (Reed, reed, whistle) from Sex sånger (Six Songs) Andantino – Poco con moto – Poco largamente – Molto tranquillo 9 Flickan kom ifrån sin älsklings möte, Op. 37 No. 5 (1901) 2:59 (The girl came from meeting her lover) from Fem sånger (Five Songs) Moderato 10 Var det en dröm?, Op. 37 No. 4 (1902) 2:04 (Was it a dream?) from Fem sånger (Five Songs) Till Fru Ida Ekman Moderato 4 Edvard Grieg (1843 – 1907) Seks Sange, Op.
  • 8.111327 Bk Cortot EU 13/7/08 22:47 Page 4

    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.
  • Abraham Ojanperän Vaikutus Suomalaiseen Kirkkomusiikkiin 37 Tekijän Nimi Lukukausi Teresa Ahola Kevät 2020 Aineryhmän Nimi Kirkkomusiikki

    Abraham Ojanperän Vaikutus Suomalaiseen Kirkkomusiikkiin 37 Tekijän Nimi Lukukausi Teresa Ahola Kevät 2020 Aineryhmän Nimi Kirkkomusiikki

    ABRAHAM OJANPERÄN VAIKUTUS SUOMALAISEEN KIRKKOMUSIIKKIIN Taideyliopiston Sibelius-Akatemia Klassisen musiikin osasto Kirkkomusiikin ja urkujen aineryhmä, Kuopio Kirjallinen työ (SKM-25) Teresa Ahola 2020 Tutkielman tai kirjallisen työn nimi Sivumäärä Abraham Ojanperän vaikutus suomalaiseen kirkkomusiikkiin 37 Tekijän nimi Lukukausi Teresa Ahola Kevät 2020 Aineryhmän nimi Kirkkomusiikki Käsittelen työssäni Abraham Ojanperän elämänhistoriaa ja hänen vaikutustaan suomalaiseen kirkkomusiikkiin. Tiesin etukäteen Ojanperän olleen kanttori ja laulunopettaja. Kiinnostuin aiheesta, kun kotikunnallani järjestettiin suuri oopperaprojekti, Abrahamin pidot. Aihe on alkanut kiinnostamaan minua yhä enemmän, kun olen saanut selville tietoja Abraham Ojanperästä. Kerron ensin Ojanperän eri elämänvaiheista, hänen opiskelustaan ja urasta musiikin parissa kanttorina ja laulunopettajana. Sen jälkeen tutkin Ojanperän yhteyksiä aikansa säveltäjiin ja muihin muusikkoihin, erityisesti kirkkomuusikoihin. Etsin myös tietoa Ojanperän lauluoppilaista. Tutkin työssäni, onko Ojanperä myötävaikuttanut suomalaisen, suomenkielisen kirkkomusiikin syntymiseen tai julkaisemiseen, ja minkälaisia vaikutuksia suomalaiseen musiikkikulttuuriin hänellä on ollut. Työssäni käytän lähteenä Anna-Maija Näsäsen kirjoittamaa teosta Abraham Ojanperä, laulajan elämä, Iikka Niemelän lukuisia kirjoituksia Ojanperän elämään liittyen sekä erilaisia lehtiartikkeleita ja muita lyhyempiä tekstejä, jotka löysin Limingan kirjaston arkistokansiosta. Ojanperästä on kirjoitettu melko vähän. Sibelius-Akatemiassa
  • Magda Tagliaferro (1893-1986) a Discography1

    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.
  • Jean Sibelius Jean Sibelius (1865–1957)

    Jean Sibelius Jean Sibelius (1865–1957)

    SIBELIUS TAPIOLA | EN SAGA | 8 SONGS ANNE SOFIE VON OTTER Finnish Radio Symphony Orchestra HANNU1 LINTU JEAN SIBELIUS JEAN SIBELIUS (1865–1957) 1 Tapiola, Op. 112 (1926) 18:14 2 En Saga, Op. 9 (1892, rev. 1902) 18:40 (clarinet: Christoffer Sundqvist; viola: Ilari Angervo) Eight Songs Orchestrated by Aulis Sallinen (b. 1935) 3 De bägge rosorna (The Two Roses), Op. 88 No. 2 5:40 4 Sippan (The Anemone), Op. 88 No. 4 1:31 5 Dold förening (Hidden Connection), Op. 86 No. 3 1:05 6 Under strandens granar (Under the Fir Trees on the Shore), Op. 13 No. 1 1:07 7 Kyssens hopp (The Kiss’s Hope), Op. 13 No. 2 1:11 8 Hennes budskap (Her Message), Op. 90 No. 2 2:35 9 Men min fågel märks dock icke (But my Bird is Nowhere to be Seen), Op. 36 No. 2 2:14 10 Jägargossen (The Young Huntsman), Op. 13 No. 7 2:41 Orchestrations commissioned by the Finnish Radio Symphony Orchestra and Hannu Lintu. Premiered by Anne Sofie von Otter on 6th December 2015 Anne Sofie von Otter, mezzo-soprano Finnish Radio Symphony Orchestra Hannu Lintu, conductor 3 Jean Sibelius (1865–1957) is appreciated first and foremost as a composer of symphonies, but he was equally ambitious and productive in writing tone poems. In fact, his single-movement Seventh Symphony Op. 105 (1924) and the tone poem Tapiola Op. 112 (1926) demonstrate just how close these two genres came to merging in his output. Tone poems linked Sibelius to the radical Romantic composers of the 19th century: programme music allowed composers to expand their musical idiom and to break out of the bounds of formal structures.
  • Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, Vbucha1@Lsu.Edu

    Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected]

    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 6-4-2018 Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons Recommended Citation Buchanan, Vivian, "Evolving Performance Practice of Debussy's Piano Preludes" (2018). LSU Master's Theses. 4744. https://digitalcommons.lsu.edu/gradschool_theses/4744 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EVOLVING PERFORMANCE PRACTICE OF DEBUSSY’S PIANO PRELUDES A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The Department of Music and Dramatic Arts by Vivian Buchanan B.M., New England Conservatory of Music, 2016 August 2018 Table of Contents Abstract……………………………………………………………………………..iii Chapter 1. Introduction………………………………………………………………… 1 2. The Welte-Mignon…………………………………………………………. 7 3. The French Harpsichord Tradition………………………………………….18 4. Debussy’s Piano Rolls……………………………………………………....35 5. The Early Debussystes……………………………………………………...52 Bibliography………………………………………………………………………...63 Selected Discography………………………………………………………………..66 Vita…………………………………………………………………………………..67 ii Abstract Between 1910 and 1912 Claude Debussy recorded twelve of his solo piano works for the player piano company Welte-Mignon. Although Debussy frequently instructed his students to play his music exactly as written, his own recordings are rife with artistic liberties and interpretive freedom.
  • LUNI 30 August 2021 0.00 Nocturn Jazz. Realizator Simona Dumitriu 1.00

    LUNI 30 August 2021 0.00 Nocturn Jazz. Realizator Simona Dumitriu 1.00

    LUNI 20 septembrie 2021 1.0 Nocturn jazz. Realizator Dan Ghineraru 1.00 – 7.00 Notturno. Coordonator Ion Cristian Niţu. Realizator Doina Constantinescu. Repere: *Concertul nopţii (ora 3.00): Orchestra Simfonică a Radioteleviziunii Italiene, dirijor Daniele Gatti; *Alte repere: William Babell – Sonata nr. 1 în Si bemol major pentru vioară şi clavecin (ora 1.05); Wolfgang Amadeus Mozart – Cvartetul K 298 în La major (ora 2.29); Erich Wolfgang Korngold – Cvintetul op. 15 în Mi major (ora 4.28); Johan Helmich Roman – Simfonia nr. 20 în mi minor (ora 6.01) 7.00 Musica viva. Realizator Gabriel Marica. *Meteo (orele 7.10; 8.10; 9.10); *Concurs (orele 7.30; 8.30); *Ştiri muzicale (orele 8.00 şi 9.00); 9.55 Promo 10.00 Arpeggio. Realizator Marina Nedelcu. Joseph Haydn – Simfonia nr. 102 în Si bemol major (”Les Musiciens du Louvre”, dirijor Marc Minkowski); Charles Tessier – ”Carnete de călătorie” (”Le Poeme Harmonique”, dirijor Vincent Dumestre); Robert Schumann – Concertul op.129 în la minor pentru violoncel şi orchestră (Steven Isserlis, Deutsche Kammerphilharmonie, dirijor Christoph Eschenbach); Claude Debussy – «Stampe» pentru pian (Rafał Blechacz); Edvard Grieg – Suita nr. 2 op. 55 “Peer Gynt” (Orchestra Simfonică din Göteborg, dirijor Neeme Jarvi); Ralph Towner – ”Joyful departure” (”Oregon”) 11.55 Promo 12.00 Interpretul zilei. Realizator Petre Fugaciu. Pianistul Glenn Gould. Wolfgang Amadeus Mozart – Sonata nr. 7 KV 309 în Do major; Johann Sebastian Bach – Variațiunile Goldberg BWV 988 13.00 Polifonii. Realizator Sorina Bobeico. Franz Schubert – Simfonia nr. 3 D 200 în Re major (Orchestra Filarmonicii din Berlin, dirijor Karl Böhm); Johann Sebastian Bach - Partita nr.
  • New Resume Ate Fim De 9, Completo

    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.
  • City Research Online

    City Research Online

    Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) City Research Online Original citation: Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) Permanent City Research Online URL: http://openaccess.city.ac.uk/7937/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. EARLY RECORDED VIOLINISTS CIHAT AS KIN 1996 EARLY RECORDED VIOLINISTS Cihat Askin Thesis submitted in partial fulfilment of the requirements for the degree of Doctorate of Musical Arts City University Music Department April 1996 2 CONTENTS Acknowledgements 25 Abstract 26 Preface 27 Introduction 29 Abbreviations & Symbols 32 1. Joseph Joachim 33 1.1 A Short Biography 34 1.2 Joachim: Beethoven and Brahms Concertos 35 1.3 Joachim as Performer 39 1.4 Joachim as Teacher 40 1.5 Analysis of Joachim's Recordings 43 1.5.1 Bach Adagio and Tempo di Borea 44 1.5.2 Vibrato 60 1.5.3 Chords 61 1.5.4 Perfect Rubato 62 1.5.5 Agogic Accents 62 1.5.6 Intonation 63 1.6 Conclusion 66 2.