Leopold Auer: Violin Master Works and Their Interpretation Pdf, Epub, Ebook
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Maïté Louis & Jasmina Kulaglich
Programmes 2021 violin • • • • • • piano Maïté Louis & Jasmina Kulaglich Maïté Louis impresses by A spiritual ascent and a virtuosity never useless. jubilant, a musical Ayrton Desimpelaere, Crescendo pilgrimage leading to a rare plenitude. “ Etienne Muller, Appoggiature Biography Maïté Louis, violin An atypical personality in the world of classical This particularity of her career, this refusal to fit into music, Maïté Louis makes a lasting impression the prefabricated mould of soloists, this attach- with his overwhelming playing and extraordinary ment to finding music at the heart of everything, stage presence. make her the unique and rich artist she is today. Winner of numerous national and internation- al competitions (1st prize at the Golden Classical When Maïté Louis makes Music Awards in New York, 1st prize at the Interna- “ tional Grand Prize Virtuoso Competition in Rome, 2nd prize at the Glazounov International Compe- her violin cry, that’s all the tition, Silver Medal at the Ivo Pogorelich Interna- hall crying with her tional Competition in Manhattan, 3rd prize at the Le Dauphin Rising Star International Competition in Berlin, Prix d’Honneur de France Musique...), often praised by Some of these concerts: Berlioz Festival, Festival her peers, she divides her time between her ca- d’Auvers sur Oise, Grand Odéon in Paris, Festival reer as a soloist on the great classical stages and des Musiques Rares, Salle Cortot in Paris, Festival teaching at the Geneva Conservatory. Multirythmes, Bonlieu Scène Nationale d’Annecy, “Festival d’Evian, Festival Interceltique de Lorient, Her extreme virtuosity, combined with her ex- Festival Jeunes Talents, Palais des Congrès de traordinary expressiveness and musical sensitivity, Megève, Académie de Villecroze, Archipel Scène wonderfully serves the entire range of the great Nationale de Guadeloupe,.. -
Pablo Ferrandez-Castro, Cello
Pablo Ferrández-Castro, Cello Awarded the coveted ICMA 2016 “Young Artist of the Year”, and prizewinner at the XV International Tchaikovsky Competition, Pablo Ferrández is praised by his authenticity and hailed by the critics as “one of the top cellists” (Rémy Louis, Diapason Magazine). He has appeared as a soloist with the Mariinsky Orchestra, Vienna Symphony Orchestra, St. Petersburg Philharmonic, Stuttgart Philharmonic, Kremerata Baltica, Helsinki Philharmonic, Tapiola Sinfonietta, Spanish National Orchestra, RTVE Orchestra, Maggio Musicale Fiorentino, and collaborated with such artists as Zubin Mehta, Valery Gergiev, Yuri Temirkanov, Adam Fischer, Heinrich Schiff, Dennis Russell Davies, John Storgårds, Gidon Kremer, Ivry Gitlis and Anne-Sophie Mutter. Highlights of the 2016/17 season include his debut with BBC Philharmonic under Juanjo Mena, his debut at the Berliner Philharmonie with the Deutsches Symphonie-Orchester Berlin, his collaboration with Christoph Eschenbach playing Schumann’s cello concerto with the HR- Sinfonieorchester and with the Spanish National Symphony, the return to Maggio Musicale Fiorentino under Zubin Mehta, recitals at the Mariinsky Theater and Schloss-Elmau, a European tour with Kremerata Baltica, appearances at the Verbier Festival, Jerusalem International Chamber Music Festival, Intonations Festival and Trans-Siberian Arts Festival, his debuts with Orchestra Sinfonica Nazionale RAI, Barcelona Symphony Orchestra, Munich Symphony, Estonian National Symphony, Taipei Symphony Orchestra, Queensland Symphony Orchestra, and the performance of Brahms' double concerto with Anne-Sophie Mutter and the London Philharmonic Orchestra. Mr. Ferrández plays the Stradivarius “Lord Aylesford” (1696) thanks to the Nippon Music Foundation. . -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects -
Phd April 2019 Pp
The University of Adelaide Elder Conservatorium of Music Faculty of Arts Revisiting George Enescu’s 1921 Bucharest Recital Series: a performance-based investigation with recordings and exegesis. by Elizabeth Layton submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) Adelaide, April 2019 Table of Contents Abstract 5 Declaration 6 Acknowledgements 7 List of Musical Examples 8 List of Tables 11 Introduction 12 PART A: Sound recordings 22 A.1 CD 1 Tracks 1-4 Pierre de Bréville, Sonata no. 1 in C # minor 39:17 Tracks 5-8 Gabriel Fauré, Sonata no. 1 in A major, Op. 13 26:14 A.2 CD 2 Tracks 1-4 André Gédalge, Sonata no. 1 in G major, Op. 12 23:39 Tracks 5-7 Claude Debussy, Sonata in G minor (performance 1) 13:44 Tracks 8-10 Claude Debussy, Sonata in G minor (performance 2) 13:36 A.3 CD 3 Tracks 1-3 Ferruccio Busoni, Sonata no. 2 in E minor, Op. 36a 34:25 Tracks 4-7 Zygmunt Stojowski, Sonata no. 2 in E minor, Op. 37 29:30 A.4 CD 4 Tracks 1-4 Louis Vierne, Sonata in G minor, Op. 23 32:44 Tracks 5-7 Stan Golestan, Sonata in E flat major 26:56 Tracks 8-10 George Enescu, Sonata in F minor, Op. 6 22:34 PART B: Exegesis Chapter 1 George Enescu: Musician, and his path to the 1921 Bucharest Recital Series 27 1.1 Understanding the context and motivation behind the series 35 2 Chapter 2 The 1921 Bucharest Recital Series 38 2.1 Recital 1: Haydn, d’Indy, Bertelin 38 2.2 Recital 2: Mozart, Busoni, Vierne 39 2.3 Recital 3: Sjögren, Schubert, Lauweryns 41 2.4 Recital 4: Weingartner, Stojowski, Beethoven 42 2.5 Recital 5: Bargiel, Haydn, Golestan 42 2.6 Recital 6: Le Boucher, Mozart, Saint-Saëns 43 2.7 Recital 7: Gédalge, Dvorák, Debussy, Schumann 44 2.8 Recital 8: Huré, Bach, Lekeu 45 2.9 Recital 9: Beethoven, Fauré, Franck 46 2.10 Recital 10: Gallon, de Bréville, Beethoven 48 2.11 Recital 11: Magnard, Le Flem, Brahms 49 2.12 Recital 12: Franck, Enescu, Beethoven 49 Chapter 3 Performance notes on nine sonatas selected from the 1921 Bucharest Recital Series 3.1 Pierre de Bréville, Sonata no. -
Monthly Letter NGP N
To Non-Governmental Organizations, Official partners of UNESCO Ref. : ERI/MSP/INO/2016/143 30 November 2016 Dear Partners, First of all, I wish to express great satisfaction for the successful organization of the Sixth International Forum of NGOs in official partnership with UNESCO held in Querétaro (Mexico) on 3 and 4 November last. I noted an excellent participation of our NGO official partners who strongly mobilized their local and regional branches. It was the first Forum to be held in Latin America and the largest Forum so far in terms of audience – it brought together around 800 participants. I am particularly pleased that, for the very first time, hundreds of young people from local high schools and universities joined this Forum and took part in the debate. The two-day discussions were held on the theme “From promoting to building Peace with NGOs”, a topic which lies at the heart of UNESCO’s mandate and of Sustainable Development Goal 16, which includes promoting peaceful and inclusive societies. The Forum emphasized the need for action, and the fact that peace cannot be a mere matter of policy making, but a process where the civil society is a full-fledged actor. I also wish to recall that we are fast approaching an important highlight in the cooperation between NGOs and UNESCO - the 2016 International Conference of Non-Governmental Organizations, which will be held at UNESCO Headquarters from 12 to 14 December on the theme “The challenge of the digital revolution for NGOs”. Your participation is essential, and I really hope that many of you will be present at this important event. -
Sirba-Tantz-Ang-Eng-2017-Site.Pdf
S I R B A O C T E T Tantz ! Sirba Octet www.sirbaoctet.com © © Bernard Martine “Tantz! has its roots in the Eastern IT IS A PORTRAIT OF LIFE ITSELF! Europe of my grandparents before they emigrated nearly 100 years “It is a portrait of life itself – a lifetime T A N ago. I wanted to rediscover this of love that no longer exists to which intrinsic element of my cultural song is the only possible testimony we orientation by revisiting this music as the classical musician I am can have in the end. It encapsulates a TZ today.” whole era which used to exist and isn’t there any more but which will live on in Inspired by the migration both of the souls of those who value it and we people and of their music, the must all value it because it comes ! show forms a kind of bridge directly from the heart. between Romania, Moldova, Russia and Hungary and their That is what it is. rich, interwoven treasuries of traditional folk music. Each We must thank these wonderful carefully selected piece retains the musicians who have come together to identity and authenticity which we share and sustain this symbol of love, must protect and pass on, like Ariadne’s thread, thereby continuing the musical heritage reanimating a forgotten time that is that is an ode to life – moving, joyful and tinged with humour. ever present. Richard Schmoucler, artistic Thank you!” director (translated from original French) Ivry Gitlis, Paris, September 30th 2014 (translated from the original French) AN ENERGETIC AND HEARTFELT MUSICAL JOURNEY Tantz! means dance in Yiddish and this title eludes to the emotion, elegance and vigour of the show itself. -
AM Jascha Heiftez Film Interviewees FINAL
Press Contact: Natasha Padilla, WNET, 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , http://instagram.com/pbsamericanmasters , #AmericanMasters American Masters Jascha Heifetz: God’s Fiddler Premieres nationwide Thursday, April 16 at 8 p.m. and Friday, April 17 at 9 p.m. on PBS (check local listings) Film Interviewees (in order of appearance) Ivry Gitlis , Israeli violinist, UNESCO Goodwill Ambassador Itzhak Perlman , child prodigy violinist Arthur Vered , Heifetz biographer John Anthony Maltese , Heifetz biographer, Albert Berry Saye Professor and head of the department of political science, University of Georgia Ayke Agus , child prodigy violinist and pianist, Heifetz’ student, accompanist and longtime companion Saulius Sondeckis , Lithuanian violinist Galina Kopytova , Author, Jascha Heifetz: Early Years in Russia Sergei Stadler , Russian violinist Nathaniel Rosen , American cellist, former faculty member at the USC Thornton School of Music and the Manhattan School of Music Ida Haendel , Polish child prodigy violinist Seymour Lipkin , concert pianist, piano and chamber music faculty member of The Curtis Institute of Music and The Juilliard School, Artistic Director of The Kneisel Hall Chamber Music Festival and School in Blue Hill, Maine Marvin Gross , Heifetz’s lawyer for the 40+ years Heifetz lived -
First Celebration of International Art Education Week
Final report First celebration of International Art Education Week 21-27 May 2012 First celebration of International Arts Education Week 21-27 May 2012 Final Report TABLE of CONTENTS Introduction and background p. 2 1. Event overview p. 3 2. Workshop “Kit Diversidades, Education for Diversity: the Diversity Game” p. 4 – Summary – Conclusions 3. Symposium “Arts Education, from Diversity to Sustainability” p. 5 3.1 Panel I: Implementation of the Seoul Agenda p. 5 - Summary - Conclusion and recommendations 3.2 Panel II: Cultural diversity in and through arts education p. 7 - Summary - Conclusion and recommendations 4. Ceremony “Life resembles arts, arts embraces life” p. 9 5. Exhibitions p. 10 6. Communication review p. 10 6.1 Communication material and platforms p. 10 6.2 Communication impact p. 12 6.3 Conclusion and recommendations p. 15 Appendix p. 16 1 International Arts Education Week 21-27 May 2012 Introduction and background Following the success of the Second World Conference on Arts Education (Seoul, 2010), UNESCO’s General Conference at its 36th session in 2011 proclaimed the 4th week of May as the International Arts Education Week (Resolution 36/C55). The main objective of the International Week is to increase global awareness on the importance of arts education by showcasing concrete arts education projects and practices and to reinforce cooperation with principal stakeholders in the area of arts education. The week of 21-27 May 2012 marked the first edition of the International Arts Education Week. The celebration was held at UNESCO Headquarters on Wednesday 23 May with various activities including a workshop, a symposium, a celebratory ceremony and exhibitions. -
Why the Support Is Required Become a Supporter and Benefits How To
At the age of three Karol Daniš studied violin position of the 1st Concert Master at the Graz Philharmonic Orchestra / with his father. At the age of five he became Opera. an extraordinary pupil of the Bratislava Conservatory. In 2006 he moved to Prof. Jozef Kopelman at the Conservatory in Bratislava, since 2012 he has been studying at the University of Art in Graz with Prof. Boris Kuschnir. Between 2004 and 2013 he attended international master classes with Jozef Rissin, György Pauk, David Takeno, Why the Support is Required Lydia Mordkovitch, Julian Rachlin, Krzysztof Wegrzyn, Thomas Brandis, Ivry Gitlis and Great musicians require great and historic music instruments to create took part in several competitions, where he won numerous first prizes, i.e. excellent music outcomes. Musicians must, even if playing in international the “Talents for Europe”, at Jaroslav Kocian competition, the international orchestra, provide their own equipment and finance the instruments competition of young violinists "Louis Spohr" at Weimar, where he was themselves. awarded the special prize for masterful interpretation of the opus „Thème To reach the next higher level of excellence Karol plans to get a rebuild from original varié, op. 15“ of Henryk Wieniawski. Karol Daniš played chamber a historic violin which costs around 24000 Euro. EuroSPI / ISCN has sponsored music with Benjamin Schmid, Natalie Prishepenko, Thomas Selditz, Petru him as a student at KUG (mentoring program) and we support his event at Iuga, Karl-Heinz Schutz, Christopher Hinterhuber, Milana Chernyavska, EuroSPI 2021. We also strongly recommend others to support his initiative Pauline Haas, Sharon Kam, Danjulo Ishizaka, Nils Zönkemeyer, Clemens by sponsoring his quest for the exceptional violin. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) N.P. Troubetskoy—an Outstanding Leader of the Moscow Branch of the Russian Musical Society Olga Glushkova State Institute of art studies Moscow, Russia E-mail: [email protected] Abstract—The article is devoted to one of the leaders of the The Society existed during the reigns of Emperors Moscow branch of the Imperial Russian musical society, Alexander II, Alexander III, and Nicholas II. Ever since its Prince Nikolai P.Troubetskoy, who participated, along with foundation, the RMS has always been under the auspices of many outstanding representatives of Russian musical culture, Grand Princes and Duchesses: Elena Pavlovna, Nikolai the August patrons of the Society and well-known Konstantinovich, Alexandra Iosifovna, Konstantin philanthropists in the creation of concert and educational Konstantinovich, Sergei Aleksandrovich, and Princess Elena traditions of musical life of Moscow and the Moscow of Sachsen-Altenburg. Conservatory. The main figures of the IRMS were the princes V.F. Keywords—Prince N.P. Troubetskoy; Russian Musical Odoyevsky, N.P. Troubetskoy, D.A. Obolensky and A.A. Society; Moscow conservatory; Ahturka Obolensky, who were philanthropists; the Rubinstein brothers, the pianists; the composers A.S. Dargomyzhsky I. INTRODUCTION and P.I. Tchaikovsky. Many town governors, important industrialists, merchants, and landlords contributed to the The 19th century saw dramatic changes in the history of very existence and elaboration of the Society’s endeavours: Russian musical culture. Undoubtedly, the establishment of M.P. Aznachevsky, S.M. Tretyakov, N.A. Alexeyeva and the Russian Musical Society in 1859 (that also existed under K.S. -
Recomposing National Identity: Four Transcultural Readings of Liszt’S Marche Hongroise D’Après Schubert
City Research Online City, University of London Institutional Repository Citation: Loya, S. (2016). Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert. Journal of the American Musicological Society, 69(2), pp. 409-476. doi: 10.1525/jams.2016.69.2.409 This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/15059/ Link to published version: http://dx.doi.org/10.1525/jams.2016.69.2.409 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert SHAY LOYA A Curious Attachment Sometime in 1882, past his seventieth year, Liszt decided that an old piece of his deserved another revision. This resulted in the last of many arrange- ments of the Marche hongroise d’après Schubert, a work that originally took form as the second movement of the Mélodies hongroises d’après Schubert of 1838–39 (S. -
FRIEDEMANN EICHHORN a Master’S Workshop Violin Masterclass and Conversation
FRIEDEMANN EICHHORN A Master’s Workshop Violin Masterclass and Conversation SUNDAY, MARCH 21 - SUNDAY, MAY 2 12:00 Chicago / 18:00 London / 19:00 Berlin Streaming from PianoForte Chicago on NSCMF.ORG and The Violin Channel North Shore Chamber Music Festival nstage/offstage nscmf.org FRIEDEMANN EICHHORN A Master’s Workshop Violin Masterclass and Conversation Students and Repertoire Masha Lakisova J. S. BACH - Largo and Allegro assai from Violin Sonata No. 3 in C major, BWV 1005 Jacqueline Audas MAURICE RAVEL - Tzigane Julian Rhee MAX BRUCH - Violin Concerto No. 1, in G minor Masha is pursuing a Bachelor’s Degree at the New England Conservatory in the studio of Professor Miriam Fried; Jacqueline is finishing her Master’s Degree at Rice University’s Shepherd School of Music in the studio of Professor Paul Kantor; and Julian is pursuing a Bachelor’s Degree at the New England Conservatory in the studio of Professor Miriam Fried. Vadim Gluzman, artistic director Angela Yoffe, executive director Today's masterclass is produced with special thanks to PianoForte Chicago and The Violin Channel Friedemann Eichhorn, guest artist Masha Lakisova, violin One of the leading German violinists of his generation, At just nineteen, Chicago violinist Masha Lakisova is fast Friedemann Eichhorn is a regular guest on concert becoming one of the rising stars of her generation and stages around the world. has appeared as a soloist with orchestras worldwide. Highlights for the 2021-22 season include She has taken top prizes at prestigious competitions concerts with the Konzerthausorchester Berlin and the such as the Stulberg and Klein International String Hong Kong Philharmonic under the baton of Christoph Competitions, the Tibor Junior and Andrea Postacchini Eschenbach and with the Orchestra di Santa Cecilia di International Violin Competitions, National YoungArts, Roma under Antonio Pappano, CD recordings with the and the Walgreens National Concerto Competition.