Martin Labazevitch, Piano
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Firlngllne Copyright University
rights other a All infringement. makes resale. for user a copyright not If for are liable material. be Copies may 94305-6010 user copyrighted prohibited. CA of is that use, New FIRlnGLlne This Transcripts 29205 HOST GUESTS FIRING Stanford, SUBJECT fair distribution of is reproductions York 8031799-3449 : a and further transcript LINE excess University, : other videocassettes : City in or and is , March "IS WILLIAM Stanford produced material. ROSALYN of reprints purposes a re GOOD this FIRING available for photocopies of 31, of Archives, and 1999, additional MUSIC through copies) re-use and Copyright F. LINE TURECK making directed BUCKLEY, any and Producers the Library program purposes; GOING telecast 1999 before handwritten by Inc and governs o FIRING WARREN rporated Institution owner SCHUYLER #2833/1200, UNDER?" JR. later educational Code) (including fo LINE and Hoover r on Television, U.S. copyright public University. 17, STEIBEL. the Jr. Director, taped CHAPIN reproduction 2700 (Title from television or Cypress Stanford contact at non-commercial, States HBO Street, permission photocopy Leland stations United private, a Columbia, Studios the for the obtain information, of is uses of to . SC later laws further in or material Trustees advised For of for, this are of copyright ©Board reserved. Users Use The request © Board of Trustees of the Leland Stanford Jr. University. MR. BUCKLEY: Every few years Firing Line touches down on the question, Is classical music dying? We are lucky enough this time around to have got in to discuss the question two persons who have spoken to us before on the subject. One is perhaps the most distinguished pianist alive, the second, the senior man of music in New York City. -
The Pianist's Freedom and the Work's Constrictions
The Pianist’s Freedom and the Work’s Constrictions What Tempo Fluctuation in Bach and Chopin Indicate Alisa Yuko Bernhard A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2017 Declaration I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Alisa Yuko Bernhard 10 November 2016 i Abstract The concept of the musical work has triggered much discussion: it has been defined and redefined, and at times attacked and deconstructed, by writers including Wolterstorff, Goodman, Levinson, Davies, Nattiez, Goehr, Abbate and Parmer, to name but a few. More often than not, it is treated either as an abstract sound-structure or, in contrast, as a culturally constructed concept, even a chimera. But what is a musical work to the performer, actively engaged in a “relationship” with the work he or she is interpreting? This question, not asked often enough in scholarship, can be used to yield fascinating insights into the ontological status of the work. My thesis therefore explores the relationship between the musical work and the performance, with a specific focus on classical pianists of the twentieth and twenty-first centuries. I make use of two methodological starting-points for considering the nature of the work. Firstly, I survey what pianists have said and written in interviews and biographies regarding their role as interpreters of works. Secondly, I analyse pianists’ use of tempo fluctuation at structurally significant moments in a selection of pieces by Johann Sebastian Bach and Frederic Chopin. -
2016-2017 Master Class-Stanislav Ioudenitch
Guest Pianist Weekend with Stanislav Ioudenitch Pianist Stanislav Ioudenitch In Recital Saturday, Dec. 3 7:30 p.m. Count and Countess de Hoernle International Center Amarnick-Goldstein Concert Hall PROGRAM Spanish Rhapsody Franz Liszt Partita No. 2 in C minor JS Bach Sinfonia Allemande Courante Sarabande Rondeaux Capriccio Moment Musicaux Franz Schubert No. 3 Allegro moderato in F minor No. 4 Moderato in C-sharp minor Sonata No. 2 (1913 edition) Sergei Rachmaninoff Allegro agitato Non allegro Allegro molto Artist Biography STANISLAV IOUDENITCH has garnered notable successes in music competitions including the Gold Medal at the XI Van Cliburn International Piano Competition in 2001. The Van Cliburn Competition launched a career that has taken Ioudenitch around the world for appearances with major venues, including Carnegie Hall, the Kennedy Center, Fort the Moscow Conservatoire, Mariinsky Concert Hall, the Great Hall of the St Petersburg Philharmonic, the Conservatorio Giuseppe Verdi in Milan, the Théâtre du Châtelet in Paris, the Oriental Art Center in Shanghai and appeared at major festivals including the International Piano Festival in the United States and the Ruhr Music Festival in Germany among others. Ioudenitch has collaborated with a wide range of international conductors including James Conlon, Valery Gergiev, Mikhail Pletnev, Asher Fisch, Vladimir Spivakov, Günther Herbig, Pavel Kogan, James DePreist, Michael Stern, Stefan Sanderling, Carl St. Clair and Justus Frantz, and with such orchestras as the National Symphony in Washington DC, the Munich Philharmonic, Mariinsky Orchestra, the Rochester Philharmonic, the National Philharmonic of Russia, the Fort Worth Symphony and the Kansas City Symphony among others. He has also performed with the Takács, Prazák and Borromeo String Quartets and is a founding member of the Park Piano Trio. -
Music for Viola and Piano, September 30, 2018 Lawrence University
Lawrence University Lux Conservatory of Music Concert Programs Conservatory of Music 9-30-2018 12:00 AM Music for Viola and Piano, September 30, 2018 Lawrence University Follow this and additional works at: https://lux.lawrence.edu/concertprograms Part of the Music Performance Commons © Copyright is owned by the author of this document. Recommended Citation Lawrence University, "Music for Viola and Piano, September 30, 2018" (2018). Conservatory of Music Concert Programs. Program 311. https://lux.lawrence.edu/concertprograms/311 This Concert Program is brought to you for free and open access by the Conservatory of Music at Lux. It has been accepted for inclusion in Conservatory of Music Concert Programs by an authorized administrator of Lux. For more information, please contact [email protected]. Guest Recital Music for Viola and Piano Sheila Browne, viola Julie Nishimura, piano Sunday, September 30, 2018 6:00 p.m. Harper Hall Sonatensatz from the F-A-E Sonata, WoO posth. 2 Johannes Brahms (1833-1897) Sonata for Viola and Piano (1979) George Rochberg Allegro moderato (1918-2005) Adagio lamentoso Fantasia: Epilogue INTERMISSION Convergence (2009) Andrea Clearfield (b. 1960) Sonata for Viola and Piano (1919) Rebecca Clarke Impetuoso (1886-1979) Vivace Adagio PERFORMER BIOS Hailed by the New York Times as a “stylish player” for a concerto performance in Carnegie Hall’s Stern Auditorium, violist Sheila Browne is an accomplished international soloist, chamber musician and professor. Honored to be named the William Primrose Memorial Recitalist of 2016, Ms. Browne has performed in major halls on six continents, including solo performances with the Juilliard Orchestra, Kiev Philharmonic, New World Symphony, in Carnegie Hall with the New York Women’s Ensemble, South African International Viola Congress Festival Orchestra, and the Viva Vivaldi!, Reina Sofia and German French chamber orchestras, and with the Highland Mountain Correctional Center Women’s String Orchestra in Alaska. -
01-31-21-Dewire-Fac-Piano-Rec
FROSTBURG STATE UNIVERSITY DEPARTMENT OF MUSIC SPRING 2021 EVENTS DEPARTMENT OF MUSIC STREAMING ONLINE Follow the link at www.frostburg.edu/concerts FACULTY ARTIST SERIES FEBRUARY 21 West Shore Piano Trio Faculty-Guest Artist Series – 3pm 26 Scott Rieker, composition Faculty Artist Series – 7:30pm JAY DeWIRE, PIANO MARCH 3 FSU Percussion Ensemble – 7:30pm 26 Spring Choral Concert – 7:30pm “L’chaim! A Jewish Composers Showcase” APRIL 4 Joseph Yungen, piano Faculty Artist Series – 3pm 9 FSU Wind Ensemble – 7pm Outdoor performance – Open to the public 11 President’s Concert – 3pm 18 FSU Piano Ensemble – 3pm 19 FSU Opera Theatre – 7:30pm 20 FSU Opera Theatre – 7:30pm 24 FSU Jazz Orchestra & Jazz Combos – 3pm Outdoor performance – Open to the public 28 FSU String Ensemble – 7:30pm 30 FSU Chamber Singers & University Chorale FSU Percussion Ensemble Joint Recital – 7:30pm Concerts subject to change. Info & updates: 301-687-4109, www.frostburg.edu/concerts View our recital recordings on YouTube: Frostburg Music Department Sunday January 31, 2021 Pealer Performing Arts Center 3:00 p.m. Pealer Recital Hall PROGRAM BIOGRAPHY Italian Concerto, BWV 971 Johann Sebastian Bach JAY DEWIRE, piano, has performed across the I. Allegro (1685-1750) United States as a soloist, collaborator, and II. Andante member of the West Shore Trio. Highlights include III. Presto two performances as soloist with the Prince George’s Philharmonic, concerts in Chautauqua, Los Angeles and New Mexico. with the West Shore Humoreske, Op. 20 Robert Schumann Piano Trio, a performance at the North American I. Einfach (1810-1856) Saxophone Alliance in Lubbock, Texas, with Dr. -
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MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
Bach's Goldberg Variations
Bach’s Goldberg Variations - A survey of the piano recordings by Ralph Moore Let me say right away that while I am well aware that Bach specified on the title page that these variations are for harpsichord, I much prefer them played on the modern piano in what is technically a transcription and venture to suggest that Bach would have loved the sonorities and flexibility of the modern instrument, even though it inevitably involves essentially faking the changes of register available on a double manual harpsichord. I hardly seem to be alone in this, in that, just as every great cellist wants to engage with the Cello Suites, so almost every great pianist seems to want to record his or her interpretation of the Goldbergs for posterity and the public appetite for recordings and performances on the pianoforte seems undiminished. I have accordingly confined this survey to that category; doubtless more authentic accounts on an original instrument have great merit but they lie beyond my scope, knowledge and experience; I have neither the acquaintance with, nor appreciation for, harpsichord versions to attempt a meaningful conspectus of them; nor, indeed, do I have the recording on my shelves and leave that task to a better-qualified reviewer. Here, however, is a good collective survey of the harpsichord recordings from The Classic Review aimed at the average punter like me. In common with many a devotee of this miraculous music, my own first encounter with it was via the second Glenn Gould recording when, many years ago, a cultivated girlfriend introduced me to it; it was love at first hearing (assisted, perhaps by my attachment to said lady, but that’s another story…). -
Rosalyn Tureck Appointed Professor of Music
Rosalyn Tureck appointed Professor of Music May 17, 1966 Rosalyn Tureck, famed concert pianist and harpsichordist, has accepted appointment as Professor of Music at the University of California, San Diego it has been announced by University President Clark Kerr and San Diego Chancellor John S. Galbraith. Miss Tureck, one of the two or three outstanding proponents of baroque music in the world today, will join the faculty on July 1. She will teach in the newly formed Department of Music at Muir College, the second of 12 colleges planned for the UCSD campus. Muir College will accept its first students in the fall of 1967. In the meantime, Miss Tureck and the other members of the Muir College faculty will be engaged in the development of curriculum as well as teaching classes in the fine arts at Revelle College. Rosalyn Tureck is internationally acclaimed as "the greatest scholar and interpreter of Bach in the world today". She was born in Chicago where, at the age of 14, she was urged to specialize in Bach by her teacher, Jan Chiapusso. A year later she gave two all-Bach recitals in Chicago, and the following year, at the age of 16, won a full scholarship to the Juilliard School of Music in New York. She graduated cum laude with Life Fellowship from Juilliard in 1935 and immediately began a series of concert tours through the United States and Canada. Since 1947 her tours have been international taking her to England, Europe, Israel, South America and South Africa. In 1956, Miss Tureck began to conduct concerto and orchestral performances of Bach with the Collegium Musicum in Copenhagen. -
Why the Theremin Fell by the Wayside a Case Study in the Evolution of Paradigms in Music
Why the Theremin Fell By the Wayside A case study in the evolution of paradigms in music By: John Waymouth Sufficiency Course Sequence: Course Number Course Title Term HI1332 Introduction to the History of Technology A00 MU1611 Fundamentals of Music I A01 MU1612 Fundamentals of Music II B01 MU3611 Computer Techniques in Music C02 MU3612 Computers and Synthesizers in Music D02 Presented to: Professor Frederic Bianchi Department of Humanities and Arts Term B, 2004 Project FB-MU09 Submitted in Partial Fulfillment of the Requirements of The Humanities and Arts Sufficiency Program Worcester Polytechnic Institute Worcester, Massachusetts Abstract The theremin was the first major electronic musical instrument. Play- ers cause the theremin to produce sound without contact at all by ma- nipulating electromagnetic fields with their hands. This unique design often sparks interest in those that learn about it, but despite this fact, the theremin has remained in relative obscurity since its invention. This paper discusses the history of the theremin and explains why it failed to gain widespread adoption, drawing on research in the growing field of memetics. i Contents 1 The Theremin 1 2 Background 2 2.1 The Invention ............................. 2 2.2 Clara Rockmore ........................... 4 2.3 Termen Returns to Russia ...................... 5 2.4 The Mid-Century ........................... 6 2.5 The Present Day ........................... 7 3 Why the Theremin Failed to Thrive 7 3.1 Interface Problems .......................... 8 3.2 Instruction .............................. 11 3.3 A Series of Unfortunate Events ................... 11 3.4 Memetics ............................... 12 3.4.1 Universal Darwinism ..................... 12 3.4.2 Techniques Memes Use .................... 14 3.4.3 Instrument Interfaces as Memes .............. -
Americanensemble
6971.american ensemble 6/14/07 2:02 PM Page 12 AmericanEnsemble Peter Serkin and the Orion String Quartet, Tishman Auditorium, April 2007 Forever Trivia question: Where Julius Levine, Isidore Cohen, Walter Trampler and David Oppenheim performed did the 12-year-old with an array of then-youngsters, including Richard Goode, Richard Stoltzman, Young Peter Serkin make his Ruth Laredo, Lee Luvisi, Murray Perahia, Jaime Laredo and Paula Robison. New York debut? The long-term viability of the New School’s low-budget, high-star-power series (Hint: The Guarneri, is due to several factors: an endowment seeded by music-loving philanthropists Cleveland, Lenox and such as Alice and Jacob Kaplan; the willingness of the participants to accept modest Vermeer string quartets made their first fees; and, of course, the New School’s ongoing generosity in providing a venue, New York appearances in the same venue.) gratis. In addition, Salomon reports, “Sasha never accepted a dime” during his 36 No, not Carnegie Recital Hall. Not the years of labor as music director or as a performer (he played in most of the 92nd Street Y, and certainly not Alice Tully concerts until 1991, two years before his death). In fact, Sasha never stopped Hall (which isn’t old enough). New Yorkers giving—the bulk of his estate went to the Schneider Foundation, which continues first heard the above-named artists in to help support the New School’s chamber music series and Schneider’s other youth- Tishman Auditorium on West 12th Street, at oriented project, the New York String Orchestra Seminar. -
Carmel Music Society
Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna -
Boston Symphony Orchestra Concert Programs, Summer, 1983
. ^ 5^^ mar9 E^ ^"l^Hifi imSSii^*^^ ' •H-.-..-. 1 '1 i 1^ «^^«i»^^^m^ ^ "^^^^^. Llii:^^^ %^?W. ^ltm-''^4 j;4W»HH|K,tf.''if :**.. .^l^^- ^-?«^g?^5?,^^^^ _ '^ ** '.' *^*'^V^ - 1 jV^^ii 5 '|>5|. * .««8W!g^4sMi^^ -\.J1L Majestic pine lined drives, rambling elegant mfenor h^^, meandering lawns and gardens, velvet green mountain *4%ta! canoeing ponds and Laurel Lake. Two -hundred acres of the and present tastefully mingled. Afulfillment of every vacation delight . executive conference fancy . and elegant home dream. A choice for a day ... a month . a year. Savor the cuisine, entertainment in the lounges, horseback, sleigh, and carriage rides, health spa, tennis, swimming, fishing, skiing, golf The great estate tradition is at your fingertips, and we await you graciously with information on how to be part of the Foxhollow experience. Foxhollow . an tver growing select family. Offerings in: Vacation Homes, Time- Shared Villas, Conference Center. Route 7, Lenox, Massachusetts 01240 413-637-2000 Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundred and Second Season, 1982-83 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu J. P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland Mrs. Norman L. Cahners Albert L. Nickerson Mrs. George Lee Sargent George H.A.