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A Chronology of All Artists' Appearances with the Chamber
75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 Season, 1938 – 1939 Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 Season, 1939 – 1940 The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 Season, 1940 – 1941 Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian PianoString Quartet The Coolidge Quartet th 4 Season, 1941 – 1942 The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 Season, 1942 – 1943 The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 Season, 1943 – 1944 The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 Season, 1944 – 1945 The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 Season, 1945 – 1946 The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 Season, 1946 – 1947 The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 Season, 1947 – 1948 Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 Season, 1948 – 1949 The Alma Trio -
14 January 2011 Page 1 of 9
Radio 3 Listings for 8 – 14 January 2011 Page 1 of 9 SATURDAY 08 JANUARY 2011 05:37AM virtuosity, but it's quite possible he wrote this concerto to play Mozart, Wolfgang Amadeus (1756-1791) himself. One early soloist commented that the middle SAT 01:00 Through the Night (b00wx4v1) Alma Dei creatoris (K.277) movement was 'too clever by half', but it's the finale that's The Genius of Mozart, presented by John Shea Ursula Reinhardt-Kiss (soprano); Annelies Burmeister (mezzo); catches most attention today, as it suddenly lurches into the Eberhard Büchner (tenor); Leipzig Radio Chorus & Symphony 'Turkish' (or more accurately Hungarian-inspired) style - and 01:01AM Orchestra), Herbert Kegel (conductor) the nickname has stuck. Mozart, Wolfgang Amadeus (1756-1791) Thamos, König in Ägypten (K.345) 05:43AM Conductor Garry Walker is no stranger to Mozart, last season Monteverdi Choir; English Baroque Soloists; cond. by John Mozart, Wolfgang Amadeus (1756-1791) he visited the St David's Festival in West Wales with the Eliot Gardiner 16 Minuets (K.176) (excerpts) Nos.1-4 orchestra, taking the 'Haffner' symphony. Today he conducts Slovak Sinfonietta, cond. Tara Krysa the players in Symphony No. 25, written when Mozart was a 01:50AM teenager. It's his first symphony in a minor key, and maybe the Mozart, Wolfgang Amadeus (1756-1791) 05:51AM passion and turbulence we hear in the outer movements a young Piano Sonata in C minor (K. 457) (1784) Mozart, Wolfgang Amadeus (1756-1791) man struggling out of his adolescence. Denis Burstein (piano) Quartet for strings in B flat major (K.458) "Hunt" Quatuor Mosaïques MOZART 02:15AM Violin Concerto No. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
APRIL 2009 LIST See Inside for Valid Dates
tel 0115 982 7500 fax 0115 982 7020 APRIL 2009 LIST See inside for valid dates Dear Customer As the weather here becomes positively agreeable and the evenings lengthen, we offer you a cornucopia of delights containing both new growth and old returning favourites in a seductively priced spring bouquet - we hope you cannot resist! The major new release this month is Angela Hewitt’s re-visit of the Bach 48, a fresh look at this masterpiece of the keyboard repertoire. The reports indicate a quite different approach from her original recordings a decade ago, resulting from her years of performing and living with this music - a ‘new-found freedom’ as Ms Hewitt calls it. We have made it available at a special price for this list, along with reductions on the whole of her Hyperion back catalogue. The LSO Live Gergiev Mahler series continues with Symphony no.8 recorded in the mammoth acoustic of St Paul’s Cathedral. DG, in this Handel year, provide us with the first ever studio recording of his neglected Ezio, first performed in London in 1732 and a fine example of ‘opera seria’. For fans of the Gheorghiu/Alagna duo, there is a fascinating new world premiere recording on the Larghetto label (see page 8) of excerpts from a little known opera by Vladimir Cosma, Marius and Fanny, inspired by the writings of Marcel Pagnol. As always, we have negotiated reduced price offers - HM Gold, Praga, Delphian, Accord, Handel sets on Hyperion, EMI Gemini and British Composers, and the Medici Arts DVD catalogue. Make the most of them. -
Octet D. 803 for Strings, Clarinet, Bassoon and Horn Octet D
Octet D. 803 for strings, clarinet, bassoon and horn Octet D. 72 for oboes, clarinets, bassoons and how Schubert Ensemble, Budapest Franz Schubert (1797 - 1828) Octets, D. 803 and D. 72 Franz Schubert was born in 1797, the son of a Vienna schoolmaster, and had his education as a chorister of the Imperial Chapel at the Staatskonvikt. At school and at home he had an active musical life, both as a player and as a composer, and when his voice broke and he was offered the means to continue his academic education, he decided, instead, to train as a teacher, thus being able to devote more time to music. By the age of eighteen he had joined his father in the schoolroom, while continuing to compose and to study with the old court composer Antonio Salieri. In 1816 he moved away from home, sharing rooms with a friend and the following years found him generally in the company of friends, with an occasional resumption of teaching, an advocation for which he had no great talent, at least in the classroom. Schubert's brief career continued in Vienna, and while there were occasional commissions and some of his works were published, there was never the opportunity of the kind of distinguished patronage that Beethoven had had and still enjoyed, nor the possibility of an official position in the musical establishment of the city. It was February 1828 before Schubert was able to have a concert devoted to his work, an event that proved both successful and profitable, but by the autumn his health had weakened, the consequence of a venereal infection contracted six years earlier. -
Espressivo Program Notes April 2018 the Evolution of Chamber Music For
Espressivo Program Notes April 2018 The evolution of chamber music for a mixed ensemble of winds and strings coincides with the domestication of the double bass. Previously used as an orchestral instrument or in dance music, the instrument was admitted into the salon in the late eighteenth century. The granddaddy of the genre is Beethoven’s Septet of 1800, for four strings, clarinet, horn and bassoon. Beethoven seems to have discovered that the largest string instrument, essentially doubling the cello an octave lower and with the capability to play six notes below the lowest note on the bassoon, provided overtones that enhanced the vibrations of the higher instruments. In any case, the popularity of the Septet, which sustains to this day, caused the original players to have a similar work commissioned from Franz Schubert, who added a second violin for his Octet (1824). (Espressivo performed it last season.) It is possible, if not probable, that Schubert’s good friend Franz Lachner wrote his Nonet for the same group, adding a flute, but the origins, and even the date of the composition are in dispute. An indicator might be the highlighting of the virtuosic violin part, as it would have been played by Ignaz Schuppanzigh, who had premiered both the Septet and the Octet. All three works, Septet, Octet and Nonet, have slow introductions to the first and last uptempo movements, and all include a minuet. All seem intended to please rather than to challenge. Beethoven’s Septet was commissioned by a noble patron for the delectation of his guests, as was Schubert’s Octet. -
Complete Dissertation
LOOKING BACK, LISTENING FORWARD: A NEW TRANSCRIPTION OF LEOŠ JANÁČEK’S SUITE FOR STRINGS FOR DOUBLE WIND QUINTET IN THE HARMONIEMUSIK TRADITION A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Bradley Jay Miedema In Partial Fulfillment for the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music June 2014 Fargo, North Dakota North Dakota State University Graduate School Title Looking Back, Listening Forward: A New Transcription of Leoš Janáček’s Suite for Strings for Double Wind Quintet in the Harmoniemusik Tradition By Bradley Jay Miedema The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Warren Olfert Chair Dr. Robert Groves Dr. Jo Ann Miller Dr. Sherri Nordstrom Stastny Approved: June 27, 2014 Dr. John Miller Date Department Chair ABSTRACT The Harmoniemusik tradition has provided the wind chamber repertoire with a tremendous wealth of literature. Spanning the late eighteenth and early nineteenth centuries, these transcriptions of large-scale works had a formative influence on the creative activity of subsequent composers. Most notable are the transcriptions of operas. Some include more than twenty movements and capture much of the drama and intensity of the stage versions. While the Viennese wind octet with pairs of oboes, clarinets, bassoons and horns became the standard instrumentation for the properly defined Harmonie, many pieces were also arranged and composed for ensembles ranging from six to ten players. Composers such as Haydn (1732-1809), Stamitz (1745-1801), Mozart (1756-1791), Krommer (1759-1831), Beethoven (1770-1827) and Mendelssohn (1809- 1847) contributed works to the Harmoniemusik genre. -
Nicolas Namoradze Honens Prize Laureate Chamber Music / Works for Piano & Voice
NICOLAS NAMORADZE HONENS PRIZE LAUREATE CHAMBER MUSIC / WORKS FOR PIANO & VOICE K. Agócs Immutable Dreams (quintet) Bartók Piano Quintet Beethoven Sonata for Piano and Violin in A Major Op. 12 No. 2 Quintet for Piano and Winds Op. 16 Sonata for Piano and Horn in F Major Op. 17 Sonata for Piano and Violin in F Major Op. 24 Sonata for Piano and Cello in A Major Op. 69 Sonata for Piano and Cello in D Major Op. 102 No. 2 Brahms Piano Trio in B Major Op. 8 Piano Quartet in G minor Op. 25 selections from Waltzes Op. 39 Sonata for Piano and Violin in G Major Op. 78 Sonata for Piano and Cello in F Major Op. 99 Piano Trio in C minor Op. 101 Britten Gemini Variations for flute, violin and piano four-hands (Secondo) Cartan Introduction et Allegro for Piano and Wind Quintet Castiglioni Quickly—Variations for Chamber Ensemble Copland Appalachian Spring (chamber version for 13 players) Why do the shut me out of heaven? (voice and piano) Danzon Cubano (Piano I) Rodeo Hoe-Down (Piano I) Debussy Sonata for Piano and Violin L. 140 La Mer (transcription for piano four-hands / Secondo) Jeux (transcription for two pianos: Roques / Primo) Petite Suite (Secondo) Prélude à l’après-midi d’une faune (transcription for two pianos / Piano I) Prélude à l’après-midi d’une faune (transcription for piano four-hands: Ravel / Secondo) Danses sacrée et profane (transcription for two pianos / Piano II) Dvorak selections from Slavonic Dances Opp. 46 & 72 Dohnányi selections from Ruralia Hungarica Op. -
A Healing Return to the Stage for the Canton Symphony Orchestra by Tom Wachunas
A Healing Return to the Stage for the Canton Symphony Orchestra by Tom Wachunas Reasons to be cheerful: they’re back! The May 23 concert by the Canton Symphony Orchestra marked the first time in more than a year that the ensemble has performed live at Umstattd Performing Arts Hall. This occasion was certainly an important step on the road back to cultural “normalcy” as we recover from the dreadful pandemic shutdown. For a May 21 article by Ed Balint in The Repository (Canton’s daily newspaper), CSO president and CEO Michelle Charles said of the concert, “That’s what we do, that’s what we love and that’s why we exist, to perform music live. You do take for granted how readily available (classical music) is until it’s not. So I think it’s going to be very emotional.” Noting the special significance of the concert to Gerhardt Zimmermann, CSO music director and conductor since 1980, she added, “It’s been so long, and Canton has held a special place in his heart for many, many years. I think it’s going to be more emotional for him than anyone.” The emotional factor becomes even more resonant when considering Zimmermann’s own battle with coronavirus which led to weeks of hospitalization and rehabilitation in 2020. He’s still not at optimal strength, and consequently conducted the program while seated on a raised platform. This short concert (with no intermission) was an altogether unique sensory experience, and not a CSO business-as-usual affair. Zimmermann chose just two works to be on the program: Mendelssohn’s String Octet, and Mozart’s Symphony No. -
Fundamental Techniques in Viola Spaces of Garth Knox. (2016) Directed by Dr
ÉRTZ, SIMON ISTVÁN, D.M.A. Beyond Extended Techniques: Fundamental Techniques in Viola Spaces of Garth Knox. (2016) Directed by Dr. Scott Rawls. 49 pp. Viola Spaces are often seen as interesting extra projects rather than valuable pedagogical tool that can be used to fill where other material falls short. These works can fill various gaps in the violist’s literature, both as pedagogical and performance works. Each of these works makes a valuable addition to the violist’s contemporary performance repertoire as a short, imaginative, and musically satisfying work and can be performed either individually or as part of a smaller set in a larger program (see Appendix A). They all also present interesting technical challenges that explore what are seen as extended techniques but can also be traced back to work on some of the fundamentals of viola technique. Etudes for viola are often limited to violin transcriptions mostly written in the eighteenth, nineteenth, or early twentieth centuries. Contemporary etudes written specifically for viola are valuable but are usually not as comprehensive or as suitable for performance etudes as are Viola Spaces. Few performance etudes cover the technical varieties that are presented in these works of Garth Knox. In this paper I will discuss the historical background of the viola and etudes written for viola. Many viola etudes written in the earlier history of the viola have not continued to be published; this study will also look at why some survived and others are no longer used. Compared to literature for the violin there are large gaps in the violists’ repertoire that Viola Spaces does much to fill; furthermore many violinists have asked for transcriptions of these works. -
List of Works 2003
Christian Mason Full Works List 2003 – Present Date Piece Premiere Premiere Performer(s) / Subsequent Performances Date/Place Artist(s) ORCHESTRA In Preparation From Space the Earth is Blue… TBC Nathalie Forget, Ensemble Concerto for ondes martenot, soloist ensemble (8 l’Itinéraire, Orchestre players), chamber orchestra, female voice choice d’Auvergne and choir In Preparation New Commission 2021 - Lucerne Festival Academy c.20 mins. Donaueschingen Alumni Orchestra Symphony Orchestra, ondes martenot (tbc) Festival, Donaueschingen, Germany 2020 However long a time may pass…All things must 2020, June 4th, Konzerthausorchester Berlin 2020, June 5th – 6th, Berlin Konzerthaus, Germany yet meet again… Berlin Konzerthaus, (cond: Christoph Eschenbach) 21 mins. Berlin, Germany 2020, June 7th, Dortmund Konzerthaus, Germany Symphony Orchestra 2020, June 8th, Hamburg Elbphilharmonie, Germany 2020, June 20th, Mecklenburg-Vorpommern Festival, Germany (tbc) 2019 Eternity in an hour 2019, April 27th, Wiener Philharmoniker (cond: 2019, April 28th, Musikverein, Golden Hall, Vienna, 15 mins. Musikverein, Golden Christian Thielemann) Austria Symphony Orchestra Hall, Vienna, Austria 2019, May 2nd, Berlin Dom, Berlin, Germany 2019 Eternal Return 2019, January 26th - hr-sinfonieorchester (cond: 7 mins. Breitkopf Festival Michal Nesterowicz) Symphony Orchestra Jubilee concert, Kurhaus Wiesbaden, Wiesbaden, Germany 2018 Man Made 2018, May 24th, Royal Philharmonia, Anu Komsi 18 mins. Festival Hall (Music of (soprano) (cond: Gergely Soprano and Ensemble Today series), -
103 CHAPTER V STRING SEXTET, OP. 47 in the Standard
CHAPTER V STRING SEXTET, OP. 47 In the standard instrumentation of two violins, two violas, and two cellos, only a half-dozen works for string sextet, all from the Romantic tradition, enjoy a place in the standard repertoire today. These are: the two sextets of Johannes Brahms, op. 18 in B f and op. 36 in G; Dvorak’s Sextet in A, op. 48; and the program works of the Romantic era, Schoenberg’s Verklärte Nacht, Tchaikowsky’s Souvenir di Florence, and Richard Strauss’s Prelude to Capriccio. The efforts by Vincent d’Indy and Joseph Joachim Raff, as well as a handful of their lesser-known contemporaries, have fallen into obscurity. In the post-Romantic era, contributions to the genre have come from Frank Bridge, Erich Korngold, Bohuslav Martinu˚, Darius Milhaud, Walter Piston, Quincy Porter, and Max Reger, along with a few dozen works from lesser-known composers.1 Part of the reason for this sparsity of repertoire can be attributed to the overwhelming popularity of the string quartet, which since Haydn’s time has been the accepted proving ground for composers of chamber music. Another factor, in the post- 1 Margaret K. Farish, String Music in Print, 2nd ed. (New York, R.R. Bowker & Co, 1973), 289–90; 1984 Supplement (Philadelphia: Musicdata, Inc., 1984), 99–101; 1998 Supplement (Philadelphia: Musicdata, Inc.), 101–4. This periodically updated catalog offers the most complete listing of string chamber music available in the last thirty years. 103 104 tonal era, is the exploration of new and atypical sound combinations, which has led to a great proliferation of untraditional mixed ensembles, including acoustic and electronic instruments.