Mondomusica New York 2013 March 15/17Th, 2013 EVENTS Program Updated for 12Th March, 2013

Total Page:16

File Type:pdf, Size:1020Kb

Mondomusica New York 2013 March 15/17Th, 2013 EVENTS Program Updated for 12Th March, 2013 Mondomusica New York 2013 March 15/17th, 2013 EVENTS Program Updated for 12th march, 2013 March 14th, 2013 Special event From 4:00 to 5:00 p.m. Violins to Share the Gift of Music Organized by: Mondomusica New York and Mt. Carmel-Holy RosarySchool Mondomusica New York will not only be an extraordinary trade St. Patrick's Cathedral fair, but most of all an important tool to spread the values related to 460 Madison Ave, the centuries-old tradition of violin-making, man work, excellence, New York, NY and music. In order to make the youngest approaching this positive and fascinating world, and to help developing the violin programs in schools, Mondomusica New York by Mondomusica New York for Children will donate 70 violins to the worthy children of two New York City’s schools. In St. Patrick’s Cathedral will be protagonist the Mt. Carmel-Holy RosarySchool This school has a long history of educating children in East Harlem. It first opened in 1949 and today the school serves Pre-K3 through eighth grade students from the neighborhood as well as students whose parents work in the area. It provides group violin lessons to students who wish to pursue violin beyond the fifth grade, as well as performance opportunities alongside professional musicians, and educational outings to concerts and events. The donation ceremony to Mt. Carmel-Holy Rosary School will be followed by the open concerts: organ performance by M. Emilio Brambilla and a violin concert performed by the children of Mt. Carmel/ Holy Rosary School. March 15th, 2013 Violin master class “Difficult passages and solos” From 10:45 a.m. to 2:00 By Francesco De Angelis, Concertmaster at Milan's La p.m. Scala Theater. Master class room (First day) Organized by: Mondomusica New York Francesco De Angelis has established himself as one of the most talented musicians in the international music scene, highly acclaimed by critics and audiences alike. His performances are characterized by an unmistakable sound that expresses the romantic cult of bel canto, combined with the rigor of the great central European instrumental tradition. March 15th, 2013 Lecture From 11:00 a.m. to Strad 3D: Seeing the Invisible Violin 12:00 p.m. Speaker: Samuel Zygmuntowicz Seminar room Organized by: Mondomusica New York Renowned violin maker SAM ZYGMUNTOWICZ explores how hi-tech studies combine with traditional knowlege to create better sounding violins. His team of scientists, violinmakers and musicians examined the Titian and Willemotte Stradivari and the Plowden Guarneri, for “One of the most groundbreaking and comprehensive studies of the violin form ever conceived”. Cutting-edge laser scans revealed the first 3D animations of a Stradivari’s vibrations; What a violin does, not only what it looks like! Adding CT-scans 1 and acoustic analysis helps moves our focus away from history and mystique, into the realm of function and sound. March 15th, 2013 Presentation concerning the integrated approach to From 12:00 p.m. to cultural heritage preservation at the University of 12:30 p.m. Pavia Seminar room Interdepartmental Research Unit on Heritage Conservation - CISRiC Speaker: Prof. Marco Morandotti – CISRiC Director Organized by: University of Pavia CISRiC Research centre proposes an innovative, integrated and multidisciplinary approach to heritage preservation, which foresees cooperation and sharing of skills present in the University of Pavia. In particular, CISRiC foresees scientific resources in the field of preservation of built heritage (diagnostic and conservation experts, engineers, restorers, historians) beside a high-level, multi-faced approach, which combines high-tech methodologies with the careful and mindful preservation of the historic and architectural substance. CISRiC research activities aims to demonstrate that heritage is important not only for identity, culture, traditional values, but also as a field where an advanced concept of innovation can be applied and developed. Innovation is a matter of changing attitudes and increasing knowledge and skills. CISRiC offers innovative models of exploiting restoration works as opportunities for education, learning, marketing, communication, capacity building, networking, and exchange. The presentation will be preceded by a violin performance held by students of Istituto Superiore di Studi Musicali “Monteverdi” of Cremona: Sara Zeneli , Lena Yokoyama and Anastasiya Petrishak March 15th, 2013 Round Table: From 2:30 p.m. to 4:00 Sound Investments p.m. Organized by: Mondomusica New York Seminar room Musical instruments have all the crucial elements of an extremely attractive investment for a large number of key players in the economic and financial communities. Large dealers may find value in inviting managers of banks, funds, cultural institutions and auction houses to consider investment in old and modern musical instruments. During the round table experts will explain the principal dynamics of the market and answer the questions of prospective investors. Participants: Tony Finley, Partner of Artist Rare Instrument Fund Christophe Landon, Rare Violins - New York Kerry Keane, Global Specialist Head of Musical Instruments at Christie’s Jason Price, Director at Tarisio Seth Novatt, Managing Director of Alliance Bernstein Moderator: Nathaniel Baker, Editor of Bloomberg L.P.'s Hedge Funds Brief. March 15th, 2013 Quartet master class From 2:30 p.m. to 6:00 “Opera composers and the string quartet” p.m. by Roberto Tarenzi, quartet professor at Milan's Verdi Master class room Conservatory. (First day) Organized by: Mondomusica New York As the founder of the Borciani Quartet, Roberto Tarenzi has performed in major concert 2 halls, both in Italy and internationally, giving performances of the most representative operas of the great quartet repertoire, from Haydn to contemporary composers. He has held master classes in interpretation of quartet and chamber music throughout Europe and in the USA. March 15th, 2013 Lecture From 4:00 to 5:00 p.m. Make A Sound Choice Seminar Room How String Selection Can Impact Performance Organized by: Connolly Music Company, Inc. Using just a basic understanding of string design and the sound characteristics of winding materials combined with a working knowledge of tension, you can consistently choose the right strings for your instrument. Come to our clinic and make a sound choice. Speakers: Chris Rohrecker and Franz Klanner “The fascinating and useful presentation helped me to understand the ‘hows’ and ‘whys’ of the working of our instruments.” Jeffrey Solow, Past-ASTA President March 15th, 2013 Presentation: From 5:00 p.m. to 5:30 The Department of Musicology and its activity for p.m. the violin world Seminar room Speaker: Prof. Pietro Zappalà Organized by: University of Pavia The Department of Musicology (University of Pavia) has its origins in the early 50s of the 20th century as a center for studies specializing in early music from the Middle Ages to the Renaissance, developping specific studies in musical philology. Since the 80s it expanded its teaching and research in all areas of historical and systematic musicology as well as ethnomusicology, with a strong presence of the organological studies, often in collaboration with the Violin maker school [courses on baroque violin and on the history of the bow]. Among the most original contributions to the environment of violin making, the Department has offered a first in-depth scholarly study on the handwriting of Stradivari, conducted on specimens at the Museum of Cremona. This study was able to confirm the authenticity of many Stradivari's exhibits, and relocated the authorship of other pieces to his children or other luthiers. Crucial, moreover, is also the contribution of the Department in the procedures that led to the recognition by UNESCO of the Cremonese violin making as Intangible Heritage of Humanity (2012). The Department's activities in favor of the violin world is also expressed through the recovery, the edition and study of music dedicated to the strings. Among the most recent initiatives, the edition of a Quartet by Amilcare Ponchielli and the interest for the Lombard violinism, with the remake of the thematic catalog of the music of Alessandro Rolla and the publication of until now unpublished repertoire of nineteenth century violinists (Carlo and Giacomo Bignami). The presentation will be preceded by a violin performance held by Anastasiya Petrishak student of Istituto Superiore di Studi Musicali “Monteverdi” of Cremona 3 March 15th, 2013 Shanghai Quartet 7:30 p.m. Concert Organized by: Mondomusica New York Helen Mills Theater Programm 137-139 West 26th - L.v. Beethoven Street NYC 10001 String quartet in G major op.18 no.2 Allegro - Adagio cantabile-allegro-tempo 1 - Scherzo: allegro - Allegro molto quasi presto - Selections from "ChinaSong" Arr. Yi-Wen Jiang (b.1963) Yao Dance - Shepherd song - Harvest celebration - A. Dvorak String Quartet no.14 in Ab major op.105. Adagio ma non troppo—Allegro appassionato, Molto vivace, Lento e molto cantabile, Finale. Allegro non tanto Shanghai Quartet Weigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello Renowned for its passionate musicality and impressive technique, the Shanghai Quartet has become one of the world's foremost chamber ensembles. Its elegant style melds the delicacy of Eastern music with the emotional breadth of Western repertoire, allowing it to traverse musical genres from masterpieces of Western music to cutting-edge contemporary works. The Shanghai Quartet has worked with the world's most distinguished artists and regularly tours the major music centers of Europe, North America and Asia, from the Beijing International Music Festival to Carnegie Hall and Lincoln Center. Among innumerable collaborations with noted artists, they have performed with the Tokyo, Juilliard and Guarneri Quartets, Yo-Yo Ma, Lynn Harrell and Peter Serkin. March 16th, 2013 Lecture From 10:30 to 11:30 Walking through Milan with two musical giants: a.m. Verdi and Puccini Seminar room Italy celebrates their music in 2013 Organized by: Mondomusica New York Only a few steps in Milan separate two of its most meaningful musical institutions: the La Scala Theatre and the Conservatorio.
Recommended publications
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • Classical Music Manuscripts Collection Finding Aid (PDF)
    University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketches …………………………………………………………………... 2 Scope and Content …………………………………………………………………………... 13 Series Notes …………………………………………………………………………………... 13 Container List …………………………………………………………………………………... 15 Robert Ambrose …………………………………………………………………... 15 Florence Aylward …………………………………………………………………... 15 J.W.B. …………………………………………………………………………………... 15 Jean-Guillain Cardon …………………………………………………………………... 15 Evaristo Felice Dall’Abaco …………………………………………………………... 15 Alphons Darr …………………………………………………………………………... 15 P.F. Fierlein …………………………………………………………………………... 15 Franz Jakob Freystadtler …………………………………………………………... 16 Georg Golterman …………………………………………………………………... 16 Gottlieb Graupner …………………………………………………………………... 16 W. Moralt …………………………………………………………………………... 16 Pietro Nardini …………………………………………………………………………... 17 Camillo de Nardis …………………………………………………………………... 17 Alessandro Rolla …………………………………………………………………... 17 Paul Alfred Rubens …………………………………………………………………... 17 Camillo Ruspoli di Candriano …………………………………………………... 17 Domenico Scarlatti …………………………………………………………………... 17 Friederich Schneider …………………………………………………………………... 17 Ignaz Umlauf …………………………………………………………………………... 17 Miscellaneous Collections …………………………………………………………... 17 Unknown …………………………………………………………………………... 18 MS226-Classical Music Manuscripts Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION
    [Show full text]
  • Concertino a Tre, Bi 388, Edited by Michael Elphinstone
    alessandro rolla concertino a tre, bi 388, edited by Michael Elphinstone olla’s appealing Concertino Edition HH @mozart for viola, cello and bassoon, dating from the early 1780s, Rwas written to be played by the composer and two of his fellow virtuosos in the orchestra of the ducal court of Parma when touring in northern Italy. Though classical in its harmonic and melodic language, and in the structure and number of its movements, the work features several solos that alessandro rolla exploit the higher registers of the Concertino a tre instruments, particularly the cello bi 388 and bassoon, in a somewhat ‘un- edited by michael elphinstone classical’ manner. This is an unusual and most welcome addition to the Viola · violoncello · bassoon chamber repertoires of all three instruments. Alessandro Rolla (1757–1841) Concertino a tre edited by Michael Elphinstone hh317.fsp x/18 + 16 + 12 +11 pages www.editionhh.co.uk “Edition HH should be applauded for distribution in all countries their willingness to seek out rare but mds wholly worthwhile repertoire, and their music distribution services gmbh knack of bringing it to our attention Carl Zeiss-Strasse 1 through extremely high quality and 55129 mainz usable editions.” germany The Consort +49 (0) 6131 505 100 +49 (0) 6131 505 115/116 Available in all good music shops [email protected] Edition HH Edition HH Ltd 68 West End alessandro rolla Launton Nr. Bicester Oxfordshire concertino a tre, bi 388 ox26 5dg edited by Michael Elphinstone Tel: +44 (0) 1869 241 672 Concertino a Tre BI 388 Fax: +44
    [Show full text]
  • Dissertation First Pages
    Dissertation in Music Performance by Joachim C. Angster A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance) in the University of Michigan 2020 Dissertation Committee: Assistant Professor Caroline Coade, Co-Chair Professor David Halen, Co-Chair Professor Colleen Conway Associate Professor Max Dimoff Professor Daniel Herwitz Joachim C. Angster [email protected] ORCID iD: 0000-0002-2563-2819 © Joachim C. Angster 2020 ACKNOWLEDGEMENTS I would like to express my gratitude to members of my Doctoral Committee and to my teacher Professor Caroline Coade in particular, for making me a better musician. I also would like to give special thanks to my collaborators Arianna Dotto, Meridian Prall, Ji-Hyang Gwak, Taylor Flowers, and Nathaniel Pierce. Finally, I am grateful for the continuous support of my parents, and for the invaluable help of Anna Herklotz and Gabriele Dotto. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT iv FIRST DISSERTATION RECITAL: Program 1 Program Notes 2 SECOND DISSERTATION RECITAL: Program 18 Program Notes 19 THIRD DISSERTATION RECITAL: Program 27 Program Notes 28 BIBLIOGRAPHY 40 iii ABSTRACT This dissertation pertains to three viola recitals, which were respectively performed on 2 October 2019, 20 January 2020, and 9 March 2020. Each recital program embraced a specific theme involving little-performed works as well as staples from the viola repertoire, and covered a wide range of different musical styles. The first recital, performed with violinist Arianna Dotto, focused on violin and viola duo repertoire. Two pieces in the Classical and early Romantic styles by W. A. Mozart and L.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 129, 2009-2010
    BOSTON SYMPHONY ORCHESTRA James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 129th Season, 2009-2010 g=*<l? «^ CHAMBER TEA II Friday, November 13, at 2:30 COMMUNITY CONCERT III Sunday, November 15, at 3, at Tuckerman Hall in Worcester COMMUNITY CONCERT IV Sunday, November 22, at 3, at Fuller Craft Museum in Brockton The free Community Concerts are made possible by a generous grant from The Lowell Institute. JULIANNE LEE, violin (Rolla; Dohnanyi) CATHERINE FRENCH, violin (1st violin in Debussy) SI-JING HUANG, violin (2nd violin in Debussy) EDWARD GAZOULEAS, viola BLAISE DEJARDIN, cello ROLLA Duo concertant in C for violin and viola, Opus 6, No. 1 Allegro Cavatina. Andante Rondo. Allegretto DOHNANYI Serenade in C for violin, viola, and cello, Opus 10 Marcia. Allegro Romanza. Adagio non troppo, quasi andante Scherzo. Vivace Tema con variazioni. Andante con moto Rondo (Finale). Allegro vivace DEBUSSY String Quartet in G minor, Opus 10 Anime et tres decide Assez vif et bien rythme Andantino, doucement expressif Tres modere Weeks 6/7 Alessandro Rolla (1757-1841) Duo concertant in C for violin and viola, Opus 6, No. 1 Alessandro Rolla was nearly an exact contemporary of W.A. Mozart but out- lived him by fifty years. Born in Pavia, near Milan, he was already well-known in his teens as a violin and viola virtuoso and composer. In 1782 he became principal viola of the orchestra of the Duke of Parma, where he remained for twenty years. In 1802 he became director of La Scala opera in Milan, remaining until 1833; in 1808 he became director of the new Milan Conservatory.
    [Show full text]
  • Settembre Musica 1
    Città Unione di Torino Musicale Assessorato per la Cultura lunedì 17 settembre 1984, ore 16 San Francesco d’Assisi Angelo Stefanato,violino Dino Asciolla,viola Rocco Filippini, violoncello Franco P etracchi,contrabbasso M argaret B arton,pianoforte SETTEMBRE MUSICA 1 Angelo Stefanato,nato a Venezia, è stato allievo del violinista ceco- slovacco Vàsa Prihoda. Ha suonato con il Quintetto Chigiano e cor i Virtuosi di Roma. È primo violino solista dell’Orchestra Sinfonie; dell’Accademia di Santa Cecilia e professore al Conservatorio di Roma. Suona un Guadagnini del 1771. Dino Asciolla, nato a Roma, ha fatto parte di famosi complessi tra i quali I Virtuosi di Roma, I Musici, il Quintetto Chigiano e il Quartetto Italiano. Già professore nei Conservatori di Bari, Bologna, l’Aquila Roma e Firenze è accademico di Santa Cecilia. Suona una viola Maggini del 1600. Rocco Filippini, nato a Lugano, ha studiato violoncello con Pierre Fournier e ha esordito come concertista nel 1964 vincendo il Concorso Internazionale di Ginevra. Insegna dal 1979 al Conservatorio di Mila­ no. È stato primo violoncello solista dell’Accademia di Santa Cecilie', a Roma e dell'Orchestra Filarmonica di Milano. Appassionato di liute ria classica, possiede uno dei più pregiati violoncelli di Antonio Stradi­ vari, il «Gore-Botti» del 1710. Franco Petracchiè nato a Pistoia da una famiglia di musicisti. Prima di dedicarsi al contrabbasso ha studiato pianoforte, tromba e batteria. Ha suonato con Bruno Walter, Léonard Bernstein, Herbert von Kara- jan, Sergiu Celibidache. Allievo per la direzione d'orchestra di Franco Ferrara svolge attività di­ dattica alla Scuola di Musica di Fiesole, al Campus di Sermoneta e all’Accademia Chigiana di Siena.
    [Show full text]
  • Journal of the American Viola Society Volume 32 Online, Summer 2016
    Features: In Review: Tertis Festival and Competition Alessandro Rolla’s Viola Duets An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part II Volume 32 Summer 2016 Online Issue 2016 Online Summer 32 Volume Journal of the American ViolaSociety American the of Journal Journal of the American Viola Society A publication of the American Viola Society Summer 2016: Volume 32, Online Issue p. 3 From the Editor p. 5 From the President News & Notes p. 6 Announcements Feature Articles p. 7 In Review: The 12th Lionel Tertis International Viola Festival & Competition: Louise Lansdown and two of her students take us to the Isle of Man, and give a special look at their experience at this famous festival and competition through their studio’s Facebook page. p. 13 Alessandro Rolla’s Viola Duets: Kenneth Martinson examines a very interesting set of viola duets by a composer whose music is not widely known. p. 31 An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part II: Analyzing and Performing Musical Play: In this part II article, Edward Klorman explores an analysis of the Mozart “Kegelstatt” Trio. Part I can be found in the previous JAVS Issue (Vol. 32, No. 1). Departments p. 43 The Eclectic Violist: Emilie Catlett takes readers through her personal musical journey, from her background in Texas-style fiddle music to her present music performance studies at the University of Houston. p. 49 Chamber Music: Les Jacobson’s interview with Claudia Lasareff-Mironoff yields some great tips for forming and maintaining your own chamber group. p. 53 Music Reviews: Andrew Braddock reviews two exciting new works for viola.
    [Show full text]
  • Making Live Music Happen
    Making Live Music Happen Programme Notes By Emer Nestor Yury Revich, violin Benedict Kloeckner, cello Programme: INTERVAL J. S. Bach (1685 – 1750) Cello Suite No. 3 in C major, BWV 1009 Niccolò Paganini (1782 – 1840) 1. Prélude 2. Allemande Duet No. 3 in in D major, MS 130 3. Courante 2. Petite Romance (Larghetto); 3. Pollacchina 4. Sarabande (Andantino con grazia) 5. Bourrée I-II 6. Gigue Sebastian Adams (b. 1991) Reinhold Glière (1875 – 1962) 2018.3 New commission by Music Network A selection from Eight Pieces for Violin and Cello Op. 39 Prélude; 3. Berceuse; 4. Canzonetta; 7. Eugène Ysaÿe (1858 – 1931) Scherzo; 8. Etude Violin Sonata in D minor, Op. 27 No. 3, "Ballade” Fritz Kreisler (1875-1962) Maurice Ravel (1875 – 1937) Recitativo and Scherzo, Op. 6 Sonata for Violin and Cello 1. Allegro Alessandro Rolla (1875 – 1962) 2. Très vif Duo for Violin and Cello, No. 2 in C major, Bl. 3. Lent 242 4. Vif, avec entrain II. Andante; III. Rondo. Allegretto Making Live Music Happen J. S. Bach (1685 – 1750) Cello Suite No. 3 in C major, BWV 1009 1. Prélude 2. Allemande 3. Courante 4. Sarabande 5. Bourrée I-II 6. Gigue During his tenure as Kapellmeister at the court of Anhalt-Cöthen (1717-1723), Bach penned a set of Six Suites for unaccompanied cello. The world of musicology has yet to find a surviving facsimile of the works in the hand of the composer, however, scholars and performers consider the manuscripts of copyists Johann Peter Kellner (organist and composer) and Bach’s second wife, Anna Magdalena, as their most reliable sources.
    [Show full text]
  • JAVS 29.1.Pdf
    Features: Rossini’s Viola Solos Nadia Sirota and Nico Muhly Performance Practice Issues in Harold in Italy Volume 29 Volume Number 1 Tabuteau’s Journal of Journal the American Viola Society Number System Journal of the American Viola Society A publication of the American Viola Society Spring 2013 Volume 29 Number 1 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: In Memoriam ~ IVC Host Letter Feature Articles p. 11 A Double-Barreled Rossinian Viola Story: Carlos María Solare discovers two Rossini viola solos during his visit to the 2012 Rossini Opera Festival p. 15 “Meet People and Have a Nice Time”: A Conversation with Nadia Sirota and Nico Muhly: Alexander Overington enjoys good food and conversation with violist Nadia Sirota and composer Nico Muhly p. 25 The Viola in Berlioz’s Harold in Italy: Amanda Wilton, the second-prize winner of the 2012 David Dalton Viola Research Competition, examines performance issues for the solo viola part in Berlioz’s famous symphony p. 33 Forward Motion: Teaching Phrasing using Marcel Tabuteau’s Number System: Joyce Chan, the first-prize winner of the 2012 David Dalton Viola Research Competition, introduces Marcel Tabuteau’s number system and its application to standard viola repertoire Departments p. 39 The Eclectic Violist: A look at the world of a worship violist p. 43 Orchestral Training Forum: Learn essentials of opera performing and auditioning from CarlaMaria Rodrigues p. 51 Retrospective: Tom Tatton revisits viola music by Leo Sowerby and Alvin Etler p. 57 Student Life: Meet three young composers who are “rocking the boat” p.
    [Show full text]
  • PAGANINI 24 Caprices, Op
    PAGANINI 24 Caprices, Op. 1 fly8 Kaler, Violin Nicolo Paganini (1782 - 1840) Twenty-Four Caprices, Op. 1 Paganini's popular reputation rested always on his phenomenal technique as a violinist, coupled with a showman's ability to dominate an audience and to stupefy those who heard him by astonishing feats of virtuosity. His playing served as an inspiration to other performers in the nineteenth century, suggesting to Chopin, in Warsaw, the piano Etudes, and to Liszt the material of the Paganini studies that he wrote in 1838. The veryappearance of Paganini impressed people. His gaunt aquiline features, his suggestion of hunched shoulders, his sombre clothing, gave rise to legends of association with the Devil, the alleged source of his power, an association supported by the frequent appearance by his side on his travels of his secretary, one Harris, thought by some to be a familiar spirit or a Mephistopheles watching over his Faust. Stories of a pact with the Devil were denied by Paganini himself, who, with characteristic understanding of the value of public relations in a more credulous age, told of an angelic visitation to his mother, in a dream, foretelling his birth and his genius. Paganini was born in Genoa in 1782 and was taught the violin first by his father, an amateur, and then by a violinist in the theatre orchestra and by the better known violinist Giacomo Costa, under whose tuition he gave a public performance in 1794. The following year he played to the violinist and teacher Alessandro Rolla in Parma, and on the latter's suggestion studied composition there under Paer.
    [Show full text]
  • The Twenty-Four Caprices of Niccolo Paganini
    CHAPTER I NICCOLO PAGANINI Op.1 TWENTY-FOUR CAPRICES FOR VIOLIN SOLO· Dedicated to the Artists "These perennial companions to the violinist, together with the 6 Sonatas and Partitas of 1.5. Bach, form the foundation of the violinist's manual, both Old and New Testament", Yehudi Menuhin writes in his preface to the facsimile edition of the manuscript of Paganini's 24 Caprices. 1 This "New Testament of the Violinist" was first published in 1820, creating a sensation in musical circles. With the Caprices, Paganini's contribution to the repertoire can now be seen as one of unchallengeable importance, both violinistically and musically. The Caprices stimulated creative exploration in violin playing by extending the limits of the instrument and encouraged the elaboration of new pedagogical approaches. They still exert their influence on the instruction of violinists of all countries. There is no conservatorium student who has not become acquainted, at least didactically, with this fundamental work (even when dully defined as "required repertoire"). In Poland and some other countries, the Caprices have made their appearance in the syllabus of secondary schools and are increasingly often played by violin students under fourteen years of age.2 1Facsimile of the autograph manuscript of Paganini's 24 Caprices, ed. by Federico Mompellio, Milano, Ricordi, 1974,p.5. 2See Tadeusz Wronski's preface to his edition of the 24 Caprices, Krak6w: Polskie Wydawnictwo Muzyczne, 1977,p.3. I Thanks to many recent performances and recordings, the listener too has become familiar with the Caprices, enjoying these products of a remarkable period in the evolution of Italian music above all for their musical content.
    [Show full text]
  • Requiem ~Uaitropezzi Sacri
    VERDI Requiem ~uaitroPezzi Sacri IElena Filipova Gloria Scalchi Cesar HernAndez ICarlo Colombara Hungarian State Opera Chorus and Orchestra Pier Giorgio Morandi Giuseppe Verdi (1813 - 1901) Messa da Requiem Quattro Peui Sacri Giuseppe Verdi occupied a leading position in the world of Italian opera from the success of Nabucm in 1842 until 1892, when he completed his Shakespearean opera Falstaff. Born at Le Roncole, near Busseto, in the region of Parma, in 1813, the son of an inkeeper-cum-grocer,he showed musical ability as a child and this was encouraged by his father so that by the age of seven he was deputising as an organist at the local church. His early schooling took him to Busseto where that he had his first formal musical training. It was there that he received particular help from the merchant Antonio Barezzi, President of the Busseto Philharmonic Society, moving;at the age of eighteen, into his house and giving lessons to Barezzi's daughter Margherita, who was to become Verdi's wife. The following year he applied for entry to the Milan Conservatory, but was rejected. Following the advice of the composer and violinist Alessandro Rolla, Verdi then decided to take private lessons in Milan with Vincenzo Lavigna, a former protege of Paisiello, and in 1835, his studies in counterpoint with Lavigna now completed, he returned to Busseto, taking up the position there of municipal master of music, marrying Margherita Barezzi and completing his first opera, Rocester. Four years later he returned to Milan, with his wife and son, his sixteen-month-old daughter having died.
    [Show full text]