Basic Sound Recordings Workshop, 2008
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Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence
Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years. -
Joseph Kuipers Is One of the Rare Musical Voices of Today: the Fresh Sincerity of His Playing, Combined with Technical Sovereignty Over the Instrument
“Joseph Kuipers is one of the rare musical voices of today: the fresh sincerity of his playing, combined with technical sovereignty over the instrument. He draws a dark, singing sound out of his Ceruti Cello, and creates lines that seem to float effortlessly.” Berliner Abend Post American cellist Joseph Kuipers is renowned for his creativity and versatility in his captivating performances on both modern and gut strings. Appearing at festivals and music centers around the globe, he has performed at the Ravinia Music Festival, Aspen Music Festival, Les Festival International du Domaine Forget, Kronberg Academy, Ascoli Piceno Festival, Carl Orff Festival, and the World Cello Congress. Equally at home with modern and baroque performance styles, and often juxtaposing them in concert programs, Joseph has worked extensively with living composers, among them Robert Cogan, Heinz Holliger, Helmut Lachenmann and Arvo Part: and has performed with the Ensemble für Neue Musik Basel, Neue Musik Ensemble Mannheim, Second Instrumental Unit, New York, and the Callithumpian Consort of Boston. Joseph is the Artistic Director of the Fredericksburg Music Festival where world renowned European classical musicians gather in historic Fredericksburg TX for a week of music making. In 2010 Joseph founded the Marinus Project an international collective of chamber musicians dedicated to the tradition of classical music in our time. Marinus is the “Ensemble in Residence” at Washington and Lee University and Eastern University. In April 2011 the Marinus Ensemble received a $200,000 unrestricted artist development grant to further the Marinus Project. Joseph completed his undergraduate studies at the New England Conservatory of Music in Boston, where his primary teachers were Paul Katz for cello and Pozzi Escot for composition. -
KATEGORIE / GENRE LAND BIBLIOGRAPHISCHE ANGABEN Verlag Ersch
Ersch. KATEGORIE / GENRE LAND BIBLIOGRAPHISCHE ANGABEN Verlag SIGNATUR -jahr DOKU Mali Vogel, Susan : Living memory. Prince Street Pictures 2003 AP 19734 V878DVD DOKU Deutschland Knopf, Eva : Majubs Reise. 2013 AP 44910 M234DVD DOKU / Diawara, Manthia : Neues afrikanisches Kino.- Afrika Prestel 2010 AP 44970 D541DVD Interview München [u.a.] (Begleit DVD zum Buch) DOKU Sudan Müller, Ray : Leni Riefenstahl - Der Traum von Afrika. EuroVideo 2003 AP 49400 M946DVD DOKU Südafrika Rogosin, Lionel : Coffret Lionel Rogosin 1 On the Bowery.- Paris Carlotta Films 2010 AP 49400 R735DVD-1 SPIEL Südafrika Rogosin, Lionel : Coffret Lionel Rogosin 2 Come back, Africa.- Paris Carlotta Films 2010 AP 49400 R735DVD-2 Rogosin, Lionel : Coffret Lionel Rogosin 3 Good times, wonderful DOKU Afrika Carlotta Films 2010 AP 49400 R735DVD-3 times.- Paris DOKU Sahara/Sahel region Herzog, Werner : Wodaabe. 0 AP 51164 W838DVD SPIEL Frankreich Bouchareb, Rachid : Tage des Ruhms.- Stuttgart Ascot Elite Home Entmt 2008 AP 51400 B752DVD SPIEL Mali Cissé, Souleymane : Yeelen.- Ennetbaden Trigon-Film 2009 AP 51400 C579 Y4-DVD SPIEL Äthiopien Gerima, Haile : Teza.- Ennetbaden Trigon-Film 2010 AP 51400 G369 T3DVD DOKU Südafrika Hirsch, Lee : Amandla!.- [London] Metrodome 2009 AP 51400 H669DVD SPIEL Frankreich Kassovitz, Mathieu : La haine.- Paris Studio Canal 2006 AP 51400 K19DVD DOKU Afrika Schmerberg, Ralf : Hommage à noir.- New York Palm Pictures 1999 AP 51400 S347 H7DVD SPIEL Senegal Sembène, Ousmane : Mandabi.- New York New Yorker Films Artwork 2005 AP 51400 S471DVD SPIEL England/Nigeria Nwandu, Adaora : Rag tag.- [Studio City, CA] Ariztical Entmt 2010 AP 52000 R144DVD DOKU USA Blank, Les : J'ai été au bal.- El Cerrito, CA. -
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. -
Mercredi 13 Mai, 20H Brahms/Wagner - Accentus
Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Mercredi 13 mai, 20h Brahms/Wagner - accentus Dans le cadre du cycle Les querelles du passé Du mardi 12 au jeudi 14 mai 2009 | Mercredimai 13 Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Brahms/Wagner - accentus Brahms/Wagner Cycle Les Querelles du passé L’histoire s’écrit souvent au rythme des polémiques qui font rage et qui résument une époque ou un moment. Ce fut le cas de Monteverdi attaqué par un austère théoricien de son temps. Ou de la célèbre Querelle des Boufons. Ou enin de ce qu’on appelle parfois la « guerre des romantiques ». Écoutant les madrigaux composant le Quatrième Livre de Monteverdi, le chanoine Giovanni Maria Artusi, attaché aux valeurs anciennes de la polyphonie, n’entendait en 1600 qu’« un mélange de voix, une rumeur d’harmonies insupportables aux sens ». Au regard des « saints principes » auxquels il croit, la musique de Monteverdi est impure. Monteverdi, qui n’a pas le temps de répondre à ce pamphlet, fait rédiger par son frère une Déclaration, imprimée en tête de son Cinquième Livre de Madrigaux en 1605. Entre les lignes de cette controverse, c’est une révolution qui se trame. Monteverdi déblaie le terrain pour que sa musique puisse devenir une pure peinture des « afections de l’âme ». Délié des règles anciennes qui l’entravaient, le madrigal devient la reproduction sonore idèle des passions, le calque des drames intérieurs qui secouent les voix. -
MUSICWEB INTERNATIONAL Recordings of the Year 2019
MUSICWEB INTERNATIONAL Recordings Of The Year 2019 This is the seventeenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2018-November 2019). The 128 selections have come from 27 members of the team and 65 different labels, the choices reflecting as usual, the great diversity of music and sources; I say that every year, but still the spread of choices surprises and pleases me. Of the selections, one has received three nominations: An English Coronation on Signum Classics and ten have received two nominations: Gounod’s Faust on Bru Zane Matthias Goerne’s Schumann Lieder on Harmonia Mundi Prokofiev’s Romeo & Juliet choreographed by John Cranko on C Major Marx’s Herbstymphonie on CPO Weinberg symphonies on DG Shostakovich piano works on Hyperion Late Beethoven sonatas on Hyperion Korngold orchestral works on Chandos Coates orchestral works on Chandos Music connected to Leonardo da Vinci on Alpha Hyperion was this year’s leading label with nine nominations, just ahead of C Major with eight. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2300 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year one recording in particular put itself forward as the obvious candidate. An English Coronation 1902-1953 Simon Russell Beale, Rowan Pierce, Matthew Martin, Gabrieli Consort; Gabrieli Roar; Gabrieli Players; Chetham’s Symphonic Brass Ensemble/Paul McCreesh rec. -
12 August 2021
12 August 2021 12:01 AM Franz Berwald (1796-1868) Fantasia on 2 Swedish Folksongs for piano (1850-59) Lucia Negro (piano) SESR 12:10 AM Giacomo Puccini (1858-1924) Intermezzo (excerpt from 'Manon Lescaut' between Acts 2 and 3) BBC Philharmonic, Gianandrea Noseda (conductor) GBBBC 12:15 AM Ludwig van Beethoven (1770 - 1827) Romance in F major Op 50 (orig. for violin and orchestra) Taik-Ju Lee (violin), Young-Lan Han (piano) KRKBS 12:25 AM Richard Wagner (1813-1883), Mathilde Wesendonck (author) Wesendonck-Lieder for voice and orchestra Jane Eaglen (soprano), Bergen Philharmonic Orchestra, Juanjo Mena (conductor) NONRK 12:47 AM Marin Marais (1656-1728) Les Folies d'Espagne Lise Daoust (flute) CACBC 12:57 AM Anonymous Yo me soy la morenica Olga Pitarch (soprano), Accentus Austria, Thomas Wimmer (director) DEWDR 01:00 AM Joseph Bologne Chevalier de Saint-Georges (1745-1799) Violin Concerto in D major (Op 3 no 1) (1774) Linda Melsted (violin), Tafelmusik Orchestra, Jeanne Lamon (conductor) CACBC 01:22 AM Jean Sibelius (1865-1957) 6 Impromptus, Op 5 Juhani Lagerspetz (piano) FIYLE 01:38 AM Heikki Suolahti (1920-1936) Sinfonia Piccola (1935) Finnish Radio Symphony Orchestra, Kari Tikka (conductor) FIYLE 02:01 AM Wolfgang Amadeus Mozart (1756-1791) Overture to The Marriage of Figaro, K.492 Swedish Radio Symphony Orchestra, Patrik Ringborg (conductor) SESR 02:05 AM Wolfgang Amadeus Mozart (1756-1791), Lorenzo Da Ponte (librettist) 'Dove sono i bei momenti' - Countess' aria from The Marriage of Figaro. K.492 Christina Nilsson (soprano), Swedish -
Classical Music Radio Stations
Concerts from Home French National Orchestra https://www.youtube.com/watch?v=Sj4pE_bgRQI&feature=youtu.be #LAOAtHome: Opera Happy Hour https://www.youtube.com/watch?v=Mx6EEe9FkMg&feature=youtu.be LA Phil at Home https://www.youtube.com/playlist?list=PL7dQ19jsdStWuxLyQYNV4q-LmY5-uZExd Vengerov and friends from home https://youtu.be/nmwWNa4xunE Relaxation music from BGM https://www.youtube.com/channel/UCQINXHZqCU5i06HzxRkujfg #OurHouseToYourHouse from the Royal Opera House https://www.youtube.com/watch?v=cJQNl7D0AbQ Fly On The Wall series of behind-the-scenes videos of classical musicians https://www.youtube.com/channel/UCV0qOEWWrQ550s_BvUvGzWA/playlists OPERA A Comprehensive List of All Opera Companies Offering Free Streaming Services Right Now https://operawire.com/a-comprehensive-list-of-all-opera-companies-offering- free-streaming-services-right-now/ Met Opera free daily streaming http://tiny.cc/MetOpera Full Opera Performances | by EuroArts https://www.youtube.com/playlist?list=PLBjoEdEVMABIWxD- YGUwbjI2GY_uj51pV MAJOR RECORDING LABELS DeccaClassics https://www.youtube.com/user/DeccaMusicGroup/playlists Deutsche Grammophon https://www.youtube.com/channel/UC34DbNyD_0t8tnOc5V38Big ECM Records https://www.youtube.com/user/ECMRecordsChannel/playlists Harmonia Mundi https://www.youtube.com/user/harmoniamundivideo/playlists Nonesuch Records https://www.youtube.com/user/nonesuchrecords/playlists Sony Classical https://www.youtube.com/user/sonyclassicaluk/videos WORLD PHILHARMONICS Berliner Philharmoniker https://www.digitalconcerthall.com/en/home -
THE VISUAL STRATEGIES of ECM RECORDS By
IMAGE AND SOUND: THE VISUAL STRATEGIES OF ECM RECORDS by ERIK HOLM B.A., The University of Saskatchewan, 1999 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Fine Arts ) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 2001 © Erik Bjorn Holm, 2001 in presenting this thesis in partial fulfilment of the requirements for an advanced degree at the university of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives, it is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. rtment of ^H^Vf, l/lWl Art A T^crf y The university of British Columbia Vancouver, Canada Date \ Abstract Commercial recordings - CDs, LPs - are familiar objects. However, discussion about them has often attempted to conceal the fact that, as communicating objects, recordings pose special problems due to the fact that they unite text, image, and sound in a material commodity. This thesis examines the role of the visual in the production, circulation and use of recordings. The album cover is the primary category of study, with an emphasis on its functioning in relation to the recording as a sonic and material commodity. The label ECM, a German company which has been producing recordings since 1969, provides the main focus in this analysis. -
Samedi 21 Octobre Accentus a Cce N Tu S | S Amedi 21 Octobre
NP ACCENTUS:NP Accentus 21 oct 13/10/06 10:06 Page 1 Jean-Philippe Billarant, Président du Conseil d’administration Laurent Bayle, Directeur général Samedi 21 octobre Accentus Dans le cadre du cycle La Narration du voyage Du dimanche 8 au samedi 21 octobre 2006 Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.cite-musique.fr | 21 octobre Samedi Accentus NP ACCENTUS:NP Accentus 21 oct 13/10/06 10:06 Page 2 Cycle La narration du voyage DU DIMANCHE 8 AU SAMEDI 21 OCTOBRE Flamenco, en espagnol, c’était le «flamand », c’est-à-dire le Gitan venu des DIMANCHE 8 OCTOBRE, 20H Flandres. Et l’héritage gitan est en effet au cœur de la musique andalouse qui SALLE PLEYEL porte désormais ce nom. Doté d’une virtuosité proverbiale, Paco de Lucía avec sa guitare volubile et Paco de Lucía toujours inventive, est sans conteste le plus grand interprète de flamenco « Cositas Buenas » aujourd’hui. Mais le sceau inimitable de cette danse, Paco de Lucía l’appose également sur le jazz ainsi que sur la musique classique. À retrouver Paco de Lucía, guitare le 8 octobre à la Salle Pleyel en ouverture du cycle. Chonchi Heredia, chant Montse Cortés, chant Bardes, musiciens, acrobates, danseuses… : les artistes qui se produiront La Tana, chant le 10 octobre à la Cité sont issus des dernières castes errantes du Rajasthan, Niño Josele, guitare c’est-à-dire de ceux qui, arrivés en Europe au XVe siècle, furent nommés El Piraña, percussions Tsiganes. -
ALBA – ECM Records Release 2477 April 2016
Markus Stockhausen & Florian Weber - “Inside Out” ALBA – ECM records release 2477 April 2016 Short text (by ECM Records – please mention source!): Alba is the premiere recording of trumpeter Markus Stockhausen’s duo with pianist Florian Weber, a formation in existence for some six years now. Though very different in their connections to the language of jazz, both musicians share a deep interest in the process of creative expression: of looking inwards and outwards with intensity at things, for echoes, resonances, insights. Initially, the duo experimented with electronic sounds, also to create the “opening sounds” that have attracted Stockhausen since he first played with Rainer Brüninghaus’s trio in the early 1980s. But with Weber, the realization soon came that the duo sounded stronger playing acoustically. “Florian has this incredible touch and possibilities to modulate the sound of the piano. There are so many colours available”. Alba is Markus Stockhausen’s first ECM recording since Karta was released in 2000. Florian Weber, a German Jazz Critics prize winner who has played with Albert Mangelsdorff, Lee Konitz and many others, makes his ECM debut here. Long text (by ECM Records – please mention source!): Alba is the premiere recording of trumpeter Markus Stockhausen’s duo with pianist Florian Weber, a formation in existence for some six years now. Though very different in their connections to the language of jazz, both musicians share a deep interest in the process of creative expression: of looking inwards and outwards with intensity at things, for echoes, resonances, insights. The dramatic arc and palette of the duo’s music is wide, from the joyous melodic roll of “Befreiung” (Liberation) and refracted optimism of “Better World”, to the chill sobriety of “Die weise Zauberin” (The Wise Witch) and the intriguingly reflective cast of “Emilio” (written for Florian’s son).