DOCSLIB.ORG

American String Teachers Association Teachers American String EACHER Plus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

AMERICAN STRING TEACHER August 2007 | Volume 57 | Number 3 AUGUST 2007 AUGUST Back to School Issue: The Use of Tartini Tones in Teaching Music Room Basics: Budget Battles Set-up: Fitting the Instrument to the Body, When All Bodies Are Different plus... String Industry Council Directory American String Teachers Association 3 www.astaweb.com AMERICAN STRING TEACHER CONTENTS August 2007 | Volume 57 | Number 3 Features and Forums The Use of Tartini Tones in Teaching What are all of those weird noises that appear and disappear when you play double stops? 32 If you’ve never heard them, you might want to close your eyes and stop reading immediately. But for those of you already familiar with TTs, you might not realize the exciting teaching tool you have in your grasp, and how it can inspire a deeper understanding of intonation, tone color, and bow control. by Fritz Gearhart Music Room Basics: Budget Battles 36 Did you know that some of your students are going to stay in school and continue their educa- tion because of a single teacher or a single class? The unfortunate truth is that some students are barely hanging on by a single thread and are almost “looking for” any excuse to quit. Especially in high school, kids are facing serious challenges today that are tremendously stressful. by L. Dalton Potter Set-up: Fitting the Instrument to the Body, When All Bodies Are Different! 38 One prevalent issue among private and public school string teachers is setting up violin and viola students with a good shoulder rest/chin rest combination. There are many products on WKHPDUNHWDQGPRVWWHDFKHUVZRXOGDJUHHQRVLQJOHSURGXFWÀWVDOOVWXGHQWV:KDWFDQD teacher do if he has limited time to get a classroom full of kids set-up well? by Liz Dinwiddie Cello Forum: 66 Order of Importance: A Cellist’s Perspective $FHOORLVDEHDXWLIXOH[SHQVLYHJORULÀHGQRLVHPDNHUWKDWFDQLIWKHSOD\HULVVNLOOHGDQG motivated to do so, give expressive sounds to music. Its range and timbre more closely paral- OHOVWKDWRIWKHKXPDQYRLFHWKDQGRHVDQ\RWKHUDUWLÀFLDOO\FRQVWUXFWHGLQVWUXPHQW by Edward Laut Viola Forum: Viola Music by Women Composers In recent years there has been a tremendous interest in learning more about music by women 68 composers. Many works that were thought to have been by male composers are now believed to have been composed by women. by Carolyn Waters Broe www.astaweb.com | 5 AMERICAN STRING TEACHER CONTENTS August 2007 | Volume 57 | Number 3 Columns Special 10 Inspirations by Donna Sizemore Hale Sections 24 Member2Member 18 ASTA Award Winners In the Beginning: In Tune 42 2008 Conference Preview by Sondra Simmons 52 2007 String Industry A Priceless Lesson Council Directory by John Jarboe 92 Special Rostropovich Tribute 80 Teaching Tips Eight Tips for the Traveling Teacher’s Survival by Jennifer Kessler Mission Statement The American String Teachers Association 104 My Turn promotes excellence in string and orchestra Improvisation in the Classroom: teaching and playing. ASTA pursues its mis- Watering the Seeds sion through: DQRSHQVKDULQJRILGHDV by Matt Turner EHQHÀWVVHUYLFHVDQGDFWLYLWLHVUHVSRQVLYH WRWKHQHHGVRIDOOPHPEHUV GHYHORSPHQWRIVWURQJVWDWHOHDGHUVKLS DQGFKDSWHUV Departments HQKDQFLQJWKHLPDJHDQGYLVLELOLW\RIVWULQJ WHDFKLQJDQGVWXG\ DGYRFDF\IRUVWULQJHGXFDWLRQDQG 14 Association News DQLQFOXVLYHFRPPXQLW\RIVWULQJWHDFKHUV Message from the President, award and grant and players. announcements, new publications, and other American String Teacher (ISSN: 0003-1313) association-related information is published quarterly by the American String Teachers Association (ASTA). American String Teacher (AST) is available exclusively to ASTA Notes PHPEHUVWKHDQQXDOVXEVFULSWLRQSULFHLV 84 included in membership dues ($96). Known News of people, places, and events of interest to RIÀFHRISXEOLFDWLRQLV$PHULFDQ6WULQJ string teachers and players Teachers Association, 4153 Chain Bridge Rd., Fairfax, VA 22030. Periodicals postage paid at Fairfax, Virginia 22030 and additional 90 Showcase PDLOLQJRIÀFHV The latest news from members of the String POLICY: As the primary means of profes- Industry Council sional communication of ASTA, the American String TeacherUHSUHVHQWVDQGUHÁHFWVWKHPLV- sion of the association. It is not the intention 96 Reviews of AST to promote or endorse any particular Of books, music, software, and videos person or commercial product. The ideas and opinions expressed are those of the writers and not necessarily those of ASTA or AST. ASTA reserves the right to refuse advertising for any reason. No article or editorial matter Every Issue in AST may be photocopied or reprinted without written permission from ASTA. Visit www.copyright.com for more information. 86 ASTA Publications Library POSTMASTER: Send address changes to 88 Membership Application American String Teacher Journal, 4153 Chain Leadership Directory Bridge Rd., Fairfax, VA 22030. © 2007 by 94 American String Teachers Association. 103 Advertisers Index 6 | American String Teacher | August 2007 Inspirations by Donna Sizemore Hale ASTA Board of Directors 3UHVLGHQW Mary Wagner 5833 Cove Landing Rd., #204 Burke, VA 22015 [email protected] President-Elect -HIIUH\6RORZ ASTA Adds New Services! 7914 Park Ave. Elkins Park, PA 19027-2629 [email protected] Past President 5REHUW*LOOHVSLH It is hard to believe that summer is almost over, and a new school year is School of Music, Ohio State University just beyond the horizon. Before we know it, your studio will be alive with 110 Weigel Hall, 1866 College Rd. Columbus, OH 43010 the sounds of students practicing. Many of you will be busy recruiting [email protected] for the school orchestra. And industry members will be busy outfitting Secretary 'HQHVH2GHJDDUG students with instruments, bows, and accessories. 3033 38 1/2 Ave. S, Fargo, ND 58104 [email protected] Member-at-Large -XG\:%RVVXDW In September, ASTA will also launch our annual fundraising campaign, 2913 Hempstead Way, Stockton, CA “$50 for 50 New Programs.” As most of you know, the organization has [email protected] experienced tremendous growth and change during the past few years, Member-at-Large %HWK*LOEHUW 1928 E Calle De Caballos, Tempe, AZ 85284-2507 adding a variety of new programs and member services. Both the String [email protected] Teacher Enrichment Program (STEP) and Certificate Program for Strings Member-at-Large .ULVWLQ7XUQHU (CPS) programs will be officially launched this year providing avenues for 1708 N Morrison Rd., Muncie, IN 47304 professional development and growth for teachers and students. You can [email protected] read about both programs in this issue of AST. We choose the theme of Publications Chair %DUEDUD)(DGV 9509 Rustic Gate Rd., La Porte, TX 77571-3997 “$50 for 50 New Programs” to draw attention to the number of school [email protected] systems without string and orchestra programs. We are asking each String Industry Council President 1HLO/LOLHQ member to donate $50 as a symbolic gesture towards starting one new Meisel Stringed Instruments &RPPHUFH6W32%R[6SULQJÀHOG1- program in each state. We hope you will consider donating to the annual [email protected] campaign. Last year we raised the most money ever thanks to your gen- Executive Director 'RQQD6L]HPRUH+DOH erosity and support. Donors will again be invited to a special reception at $67$1DWLRQDO2IÀFH 4153 Chain Bridge Rd., Fairfax, VA 22030 the conference to say thank you. [email protected] American String Teacher A number of you have also asked how you might support the organiza- Editor0DU\-DQH'\H tion through your own estate planning. Later this year, we will unveil a Articles Editor .ULVWLQ0RUWHQVRQ planned giving program that will provide a step-by-step guide on how Reviews Editor 0DUJ6FKPLGW Design and Layout 6N\+HQGHUVRQ you can support string education through bequests and other forms of Production &RUSRUDWH3UHVV giving. Look for information on the website later this year. Advertising Representative6WHYH'L/DXUR Correspondence Subscriptions, change of address (send mailing label), individual issues, Speaking of websites, we are in the middle of a complete overhaul of the billing, membership, and other business matters VKRXOGEHGLUHFWHGWRWKH$67$1DWLRQDO2IÀFH ASTA website to make it more user friendly and easier to navigate. The &KDLQ%ULGJH5G)DLUID[9$WHO )$;(PDLO new website will be launched along with the new school year. With nearly [email protected]. 50 programs, it is hard to organize a site that reflects the organization’s $GYHUWLVLQJ'HDGOLQHVare: August issue—June 1RYHPEHULVVXH³6HSWHPEHU)HEUXDU\ complexity in a simple and effective manner. We are working with a LVVXH³'HFHPEHU0D\LVVXH³0DUFK,QTXL- ULHVVKRXOGEHGLUHFWHGWR$67$1DWLRQDO2IÀFH team of professionals who specialize in this area. Our goal is to create and &KDLQ%ULGJH5G)DLUID[9$ WHO)$; maintain an attractive and interactive site that reflects the tremendous Email: [email protected]. potential of our association. Your input and suggestions in this process are (GLWRULDOAST welcomes letters and articles from its readers. Query letters are preferred over welcomed. unsolicited manuscripts. For a copy of the AST Au- thor Guidelines, visit www.astaweb.com. Inquiries and articles should be submitted to ASTarticles@ As you prepare for the new academic year, don’t forget to mark you astaweb.com. 5HYLHZVReview materials should be sent to Marg calendars for the 2008 ASTA National Conference in New Mexico. The Schmidt, School of Music, ASU, 40 Gammage Parkway, PO Box 870405, Tempe, AZ 85287- line-up of pre-conference workshops, string sessions, world-class perfor- 0405. Requests
Recommended publications
  • The Baroque Cello and Its Performance Marc Vanscheeuwijck

    The Baroque Cello and Its Performance Marc Vanscheeuwijck

    Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f.
  • The Science of String Instruments

    The Science of String Instruments

    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
  • Christians and Jews in Muslim Societies

    Christians and Jews in Muslim Societies

    Arabic and its Alternatives Christians and Jews in Muslim Societies Editorial Board Phillip Ackerman-Lieberman (Vanderbilt University, Nashville, USA) Bernard Heyberger (EHESS, Paris, France) VOLUME 5 The titles published in this series are listed at brill.com/cjms Arabic and its Alternatives Religious Minorities and Their Languages in the Emerging Nation States of the Middle East (1920–1950) Edited by Heleen Murre-van den Berg Karène Sanchez Summerer Tijmen C. Baarda LEIDEN | BOSTON Cover illustration: Assyrian School of Mosul, 1920s–1930s; courtesy Dr. Robin Beth Shamuel, Iraq. This is an open access title distributed under the terms of the CC BY-NC 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https://creativecommons.org/licenses/by-nc/4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Library of Congress Cataloging-in-Publication Data Names: Murre-van den Berg, H. L. (Hendrika Lena), 1964– illustrator. | Sanchez-Summerer, Karene, editor. | Baarda, Tijmen C., editor. Title: Arabic and its alternatives : religious minorities and their languages in the emerging nation states of the Middle East (1920–1950) / edited by Heleen Murre-van den Berg, Karène Sanchez, Tijmen C. Baarda. Description: Leiden ; Boston : Brill, 2020. | Series: Christians and Jews in Muslim societies, 2212–5523 ; vol.
  • Cool Trombone Lover

    Cool Trombone Lover

    NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J.
  • Daniel Saidenberg Faculty Recital Series

    Daniel Saidenberg Faculty Recital Series

    Daniel Saidenberg Faculty Recital Series Misha Amory, Viola Thomas Sauer, Piano Hsin-Yun Huang, Viola Photo by Claudio Papapietro Support Scholarships The Juilliard Scholarship Fund provides vital support to any student with need and helps make a Juilliard education possible for many deserving young actors, dancers, and musicians. With 90 percent of our students eligible for financial assistance, every scholarship gift represents important progress toward Juilliard’s goal of securing the resources required to meet the needs of our dedicated artists. Gifts in any amount are gratefully welcomed! Visit juilliard.edu/support or call Tori Brand at (212) 799-5000, ext. 692, to learn more. The Juilliard School presents Misha Amory, Viola Thomas Sauer, Piano Hsin-Yun Huang, Viola Part of the Daniel Saidenberg Faculty Recital Series Friday, October 18, 2019, 7:30pm Paul Hall ZOLTÁN KODÁLY Adagio (1905) (1882-1967) FRANK BRIDGE Pensiero (1908) (1879-1941) PAUL HINDEMITH “Thema con Variationen” from Sonata, (1895-1963) Op.31, No. 4 (1922) ARTHUR BLISS “Furiant” from Viola Sonata (1934) (1891-1975) BRUCE ADOLPHE Dreamsong (1989) (b.1955) GEORGE BENJAMIN Viola, Viola (1998) (b.1960) Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by the Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 ELLIOTT CARTER Elegy (1943) (1908-2012) IGOR STRAVINSKY Elegy (1944) (1882-1971) GYÖRGY KURTÁG Jelek (1965) (b.1926) Agitato Giusto Lento Vivo Adagio Risoluto DMITRI SHOSTAKOVICH “Adagio” from Viola Sonata (1975) (1906-75) Performance time: approximately 1 hour and 30 minutes, including an intermission The Viola in the 20th Century By Misha Amory The 20th century was transformative for the viola as a solo instrument.
  • Boston Symphony Orchestra Concert Programs, Summer, 2009

    Boston Symphony Orchestra Concert Programs, Summer, 2009

    SUMMER 2009 • . BOSTON SYMPHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstengaIleries.com Olive Brown and Coral Pink Persian Set * for a Changing World They're Preparing to Change the 'I'Mi P i MISS HALL'S SCHOOL what girls have in mind 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] m Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " "Hot is the WOrdfor this show. —The New York Times Museum of Fine Arts, Boston March 15-August 16, 2009 Tickets: 800-440-6975 or www.mfa.ore BOSTON The exhibition is organized the Museum by The exhibition is PIONEER of Fine Arts, Boston and the Musee du sponsored £UniCredit Group by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937.1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden • Alan Bressler • Jan Brett • Samuel B. Bruskin • Paul Buttenwieser • Eric D.
  • Information to Users

    Information to Users

    INFORMATION TO USERS This manuscript has been reproduced firom the microfilm master. UMT films the text directly fi’om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be fi’om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing fi’om left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Ifowell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE EMERGENCE AND DEVELOPMENT OF ARABIC RHETORICAL THEORY. 500 C £.-1400 CE. DISSERTATION Presented m Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Khaiid Alhelwah, M.A.
  • NMC227-Matthews-Wyastone Booklet-28-04-16.Indd

    NMC227-Matthews-Wyastone Booklet-28-04-16.Indd

    Colin Matthews Violin Concerto Cortège Cello Concerto No.2 Leila Josefowicz violin BBC Symphony Orchestra Oliver Knussen conductor Anssi Karttunen cello Rumon Gamba conductor Royal Concertgebouw Orchestra Riccardo Chailly conductor 2 Violin Concerto 20’00 1 Movement 1 10’38 Colin 12 Movement 2 9’22 Leila Josefowicz violin Matthews BBC Symphony Orchestra Oliver Knussen conductor Recorded live by BBC Radio 3 for the BBC Proms 3 Cortège 18’35 Royal Concertgebouw Orchestra Riccardo Chailly conductor Cello Concerto No.2 26’40 4 I Declamation. Sostenuto 4’40 5 II Song without text. Molto sostenuto 4’00 6 III Scherzo. Allegro energico 4’40 7 IV Song without text. Sostenuto 4’09 8 V Resolution. Sostenuto - Vigoroso 9’41 Anssi Karttunen cello BBC Symphony Orchestra • Rumon Gamba conductor Total 66’09 Rumon Gamba appears on this recording with the kind permission of Chandos Records Riccardo Chailly appears courtesy of Decca Music Group photo © Fiona Garden The critic Paul Griffiths, as usual, hits at least one nail on the in 2012, the other, from 2015, And there has, of course, been head. Colin Matthews, he writes, is “… the Isambard Kingdom another restrained work exploring more orchestral music. Traces Brunel of contemporary music: master of great time machines, silence, bring the tally to five. For Remain (2012-13) is an ingenious Claire Booth he has set Rilke in the summoning back and re-imagining steamy with energy derived from pulse and from massive, short cycle The Island (composed of discarded or unfinished fragments surging harmony, and openly displaying their structural in 2007-8, exactly a hundred years of others’ work, primarily the Robert engineering, all finished with a craftsman’s care.” after the words were written), Johnson lute song which may be accompanying soprano with seven all that remains of Shakespeare’s Since the inevitable but helpfully composer, made orchestral versions instruments.
  • New World Records

    New World Records

    New World Records NEW WORLD RECORDS 701 Seventh Avenue, New York, New York 10036; (212) 302-0460; (212) 944-1922 fax email: [email protected] www.newworldrecords.org Songs of Samuel Barber and Ned Rorem New World NW 229 Songs of Samuel Barber romanticism brought him early success as a com- poser. Because of his First Symphony (1936, amuel Barber was born on March 9, 1910, in revised 1942), Bruno Walter thought of him as SWest Chester, Pennsylvania. He remembers “the pioneer of the American symphony.”(“That’s that his parents never particularly encouraged not true,” said Barber almost forty years later. him to become a musician, but as his mother’s “That should be Roy Harris.”) In the late thirties sister, the renowned Metropolitan Opera singer Barber was the first American to be performed Louise Homer, was a frequent visitor to the by Arturo Toscanini (Adagio for Strings and First Barber home, the atmosphere there was not at all Essay for Orchestra), and, not long after, his inimical to musical aspirations. Barber began to music was championed by artists of the stature study piano at six and composed his first music a of Bruno Walter (First Symphony and Second year later (a short piano piece in C minor called Essay for Orchestra), Eugene Ormandy (Violin “Sadness”). When he was ten he composed one Concerto), Artur Rodzinski (First Symphony), act of an opera, The Rose Tree, to a libretto by Serge Koussevitsky (Second Symphony), Martha the family’s Irish cook. At fourteen Barber Graham (Medea), and Vladimir Horowitz entered the newly opened Curtis Institute of (Excursions and Piano Sonata).
  • View PDF Online

    View PDF Online

    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.
  • Los Angeles Philharmonic

    Los Angeles Philharmonic

    LOS ANGELES PHILHARMONIC Critical Acclaim “The most successful American orchestra.” - Los Angeles Times “It should be chiseled above the doors of every symphony hall: What an orchestra plays matters as much as how it plays, if not more so. By that measure a strong case can be made that the Los Angeles Philharmonic…is the most important orchestra in the country.” - The New York Times “If ever an orchestra was riding the crest of a wave, it is the Los Angeles Philharmonic.” - The Times (London) “…the most multi-faceted orchestra in the world and certainly the one putting the greatest emphasis on music of our time.” - Los Angeles Times “Under Salonen, the [Los Angeles] Philharmonic became the most interesting orchestra in America; under Dudamel, it shows no signs of relinquishing the title.” - The New Yorker Best Orchestras of 2012 – #1) Los Angeles Philharmonic Orchestra – “The most talked-about and widely-travelled US orch, carrying Brand Dudamel to all four corners of the earth, split a Mahler cycle between US and Venezuela, advanced tremendous outreach work across its own urban area.” - Norman Lebrecht’s Slipped Disc “The L.A. Phil still boasts the most varied and venturesome offerings of any major orchestra.” - Los Angeles Times “At a time when many orchestras are offering ‘safer,’ crowd-pleasing repertoire picks online, it’s refreshing to see the LA Phil coming out of the gate with programming that speaks to why it is at the forefront of American orchestras today.” - Billboard “‘Blow bright’ is the seventh work commissioned and performed by the L.A.
  • Kalina Mrmevska

    Kalina Mrmevska

    KALINA MRMEVSKA EDUCATION Doctorate of Musical Arts in Piano Performance with Gilbert Kalish, State University of New York at Stony Brook, graduated 2018 Post-graduate Certificate, Piano and Chamber Music, Musikakademie Kassel, Germany, Summa cum Laude, 2005-07 Graduate Diploma, Instrumentalmusik Klavier, Hochschule für Musik und Theater Hamburg, Germany, 1998-2002 M.A. in Piano Performance, Ss. Cyril and Methodius University in Skopje, Macedonia, 1996-2000 B.A. in Piano Performance, Ss. Cyril and Methodius University in Skopje, Macedonia, Summa cum Laude, 1992-96 TEACHING EXPERIENCE Scriabin Summer Piano Academy, Tuscany, Italy, 2019 Mahanaim, Adjunct Faculty, piano lessons for collaborative majors and non-majors, 2018 - present Danube International Concerto Masterclass and Competition, Budapest, Hungary, Artistic Director and Piano Faculty, individual piano lessons and orchestra rehearsals, 2017, 2016 State University of New York at Stony Brook, Teaching Assistant, individual piano lessons, 2012 – 2015 State University of New York at Stony Brook, Adjunct Faculty, undergraduate theory for non-majors, 2013-14 State University of New York at Stony Brook, Chamber Music Coach, undergraduate chamber music ensembles, 2012-13 State University of New York at Stony Brook, Teaching Assistant, undergraduate history for non-majors, 2012-13 State University of New York at Stony Brook, Assistant Director, Children’s and Adults Community Music Programs, 2010-11 Long Island Conservatory, Piano Faculty, individual piano lessons, 2013 – 2017 The Connecticut School of Music, Piano Faculty, individual piano lessons, 2015- 2018 Music Academy of Long Island, Piano Instructor, pre-college level individual piano lessons, 2011-12 State Music School of Quickborn, Hamburg, Germany, Piano Faculty, pre-college individual piano lessons, 2003-2008 Ss.