GUIDE to the ERNEST BRADBURY ARCHIVE 1965 Those Wishing to Discover the Most Outstanding Events of 1965 Should Refer to the Cutt

Total Page:16

File Type:pdf, Size:1020Kb

GUIDE to the ERNEST BRADBURY ARCHIVE 1965 Those Wishing to Discover the Most Outstanding Events of 1965 Should Refer to the Cutt GUIDE TO THE ERNEST BRADBURY ARCHIVE 1965 Those wishing to discover the most outstanding events of 1965 should refer to the cutting of 31.12.65. Owing to limitations, producers and designers consistently mentioned by Ernest Bradbury are not detailed in the annotated reference sheets. Nor are reviews of other critics. Festivals do not appear by name but rather by city.. e.g. Gloucester for this year’s Three Choirs. On occasion a soloist or ensemble may be listed under the initial of the first name rather than the surname. Whether to place a reference under an artist’s name in the body of the reference sheets (listed alphabetically) or in Miscellaneous (listed chronologically) is a grey area and readers are advised to check both. In common with other years there are some items for which I have no cutting but hopefully the Brotherton may have been able to photocopy these from the Yorkshire Post by the time you read this. I list them below:- Excitement & Discipline by the Belgrade (page 4) 22.2.65 Verdi Requiem is Big Occasion (page 9) 10.5.65 Are We a Musical Nation ? (page 5) MM 1.6.65 Reputation in the Balance (Nielsen) (page 4) 8.6.65 Applause in the Abbey (page 14) 19.6.65 Premiere of a Masterpiece MM 22.6.65 Segovia recital (page 8) 20.10.65 Should editions vary, so may some of the pages quoted above. I remind readers that the letters RR and MM used here and throughout the reference sheets stand for Recent Records and Music & Musicians. Such cuttings are placed after the ordinary cuttings month by month. In some cases, also listed below, I have at the time of writing only my husband’s carbon copy of a notice and have inserted this. The Brotherton may in time substitute this with a photocopy from the Yorkshire Post. The dates, for MM articles \ are 19.1; 9.2; 23.3;/28.9; 19.10; 23.11; 26.11 (Hess obituary). And for RR 9.1; 25.6; 17.9; 15.10; 9.12. There are also 3 reviews of a D’Oyly Carte season at Leeds Grand Theatre which I believe to have been used on 16th,17th & 18th September. All cuttings throughout are from the Yorkshire Post unless otherwise stated. If a publication has misspelled something it is possible 1 have copied the error; for this and for any errors or omissions of my own, I apologise and ask that you bring them to the attention of the librarian so that a correction may be made for the benefit of others. Susan Bradbury CONDUCTORS & CHORUS DIRECTORS ABRAVANEL, Maurice RR 9.1.65 Ancerl, Karel l > » *. ¡- 29.11.65 Ansermet R R 6.3;11.6;29.10.65 Armour, Bernard 23.6.65 Auriacombe, Lovis 17.4.65 BAINBRIDGE, Charles 12.4.65 Balkwill, Bryan 19.5.65 Ball, Eric 28.6.65 Barbirolli, Sir John 4.1; 26.4; 1.5; 8.5; 7.7; 10.7; 12.7; 4.12; 18.12.65 RR 11.6; 3.9; 15.10; 24.12.65 Basic, Mladen R R 25.6.65 Bernstein, Leonard R R 1.10;26.11;9.12.65 ^Bliss, Sir Arthur Musical Times 11.65 W " " 6.9.65 Boulez, Pierre 30.8.65 R R 23.7; & 9.12.65 Boult, Sir Adrian Musical Times 11.65 " R R 20.2.65 20.2; &6.9.65 Bradshaw, George 23.6.65 Brott, Boris 27.10.65 Brymer, Jack R R 25.6.65 Bunney, Herrick_______________________________________________________17.5.65 \ Bonynge, Richard RR _____________ 9.7.65/ CANTELLI, Guido RR 20.2.65 Caracciolo, Franco RR 17.4.65 Cluytens R R 6.3; &9.12.65 Comissiona, Sergiu R R 12.11.65 ok, Dr.Melville Musical Times 11.65 e 30.4;8.9;10.9.65 Cooke, Anthony 14.7.65 Craft, Robert RR 10.12.65 D AVIS, Colin 28.1; 27.2; 26.6; 8.9.65 R R 17.4;25.6;29.10.65 De Fabritiis, Oliviero 2.12.65 Del Mar, Norman RR 23.1.65 19.11.65 De Nobel, Felix 26.8.65 Denny, Prof. 19.3.65 Dorati, Antal R R 23.1; &23.7.6S 10.4.65 E H R LIN G , Sixten 13.12.65 Erede, Alberto 26.8.65 farhcoMSE, c w / e s 24-6-65^ h c O k e ¿ J c ¿is- B u r g o s , d l----------------- - " ' 1' ^ CONDUCTORS & CHORUS DIRECTORS G A L L IE R A R R 9.12.65 Gamba, Pierino RR 9.12.65 Gavazzen, Gianandrea 12.6.65 Gedge, David 21.6.65 Gibson, Alexander 24.8; &4.10.65 Giulini, C-Maria 25.8.65 Godfrey, Isidore c. 18.9.65 Goffin, Dean 8.11.65 Goldberg, Szymon 1.9.65 Groves, Charles 18.1;1.2;8.7;10.11. ($5" Guest, George RR 9.1.65 HAITINK, Bernard RR 3.9.65 Halsey, Louis RR 9.12.65 Handford, Maurice 15.10.65 V Hannikainen, Tauno 30.10.65 Heger, Robert RR 10.12.65 Hunt, Donald 30.4;16 &22.12.65 INGHELBRECHT RR 9.12.65 JA N IG R O , Antonio R R 11.6; &12.11.65 Jochum R R 9.12.65 Jones, Alan 1.2.65 Jones, Leslie 25.6; &12.11.65 Jorysz, Walter 14.7.65 Joubert, John 3.5.65 KEILBERTH RR 1.10.65 Kempe R R 3.9;1.10;9.12.65 Kertesz, Istvan R R 23.1; & 1.5.65 Klemperer R R 3.4;11.6;1.10.65 Kletzki R R 11.6.65 — Kpnwitschny R R 9.12.65 Krips R R 11.6.65 LEHEL, Gyorgy RR 11.6.65 , , r ¿. , LCc'tj-hfeM■ ----------------- — ----- ---------------------------- , 0^ 7 r Lovett, Leon 28.7.65 J I ) „j^ MAAZEL, Lorin RR 20.2.65 McCarthy, John R R 15.10.65 Malcolm, George RR 20.3.65 Markevitch RR 17.4.65 ^iVionteuz Pierre RJ?_ p 1; ,9.7; 3.9: / X ^ M arri^r. N evf(|e.>y 9 1' &ZS.5-65 M arkland, M a r g a r e t ____________________________________2^10.65" y Munchinger, Karl RR 3.4.65 NEWSTONE, Harry RR 12.11.65 OLDHAM, Arthur 24.8.65 P R IT C H A R D , John R R 24.12.65 " I) i3.H-.kS' “ " 2 3 ^ ^ . 7. ¿ o CONDUCTORS & CHORUS DIRECTORS REDEL, Dr.Kurt RR 3.4.65 Reiner - * * " R R 9.12.65 Rivoli, Gianfranco RR 1.5.65 Robinson, Christopher Musical Times 11.65 6.9.65 Rodzinsky RR 9.12.65 Rudel, Julius R R 17.9.65 SARGENT, Sir Malcolm Radio Times (programme details attache^ 29.4.65 26.8.65 R R 9.12.65 Scherchen R R 11.6;25.6;3.9;17.9.65 Schippers, Thomas R R 1.5 &9.12.65 chuchter R R 20.2.65 devering, W 16.7.65 Silvestri, Constantin 1.11.65 Solti, Georg ... _ /*. • 30.1; &29.6.65 " M M 2.2.65 R R 15.5;28.5;9.12;24.12.65 Stead, George E. 28.6.65 Steinberg RR 9.12.65 Stokowski, Leopold R R 10.12.65 Stravinsky R R 29.10.65 Sumsion, Dr.Herbert Musical Times 11.65 6.9;8.9;9.9;10.9.65 Susskind, Walter 15.2.65 Szell, George R R 11.6;23.7;1.10.65 T A U S K Y , Vilem 2.9.65;«» E M Jiofti Tippett, Michael 24.8.65 0/?/" VAN BEINUM RR 28.5.65 Von Dohnanyi, Christoph RR 9.12.65 .WALLENSTEIN RR 9.12.65 webster, Donald 27.3.65 Wetherell, Eric 22.5.65 Wilkinson, Stephen 11.11.65 Wilks, John 3.3.65 Willcocks, David 20.3.65 RR 24.12.65 Williams, W.G. 26.3.65 _VV< x A r u-*\o I ' . 7, ORCHESTRAS, CHOIRS/CHORUSES ACADEMY of St.Martin-in-the-Fields RR 9.1; &2S.5.65 Accademia de Sa.Cecilia, Rome RR 1.5.65 Aeolian String Quartet 7.9.65 Alldis Choir RR 23.7.65 Amadeus Quartet RR 20.3.65 Anglian Ensemble RR 17.9.65 BACH Choir R R 24.12.65 Bamberger Symphony R R 3.9;1.10;10.12.65 Bath Festival R R 23.7.65 BBC Northern Singers 11.11.65 c - . , r , . H C c . - i c t r b ___________________ __________ — -- ------------------------------------------- fcic-ivibv..h/-tsnvi( bii v ^ ,x Symphony R R 23.1 &23.7.65 J r J n " 15.2;10.4;13.12.65,-,. , rw.,.. " -S t V tt I i- -------------------------------------------------- --------------------- ------------------- ’ ------?---------- fct'i frtOl/;';.* iv h ?« I H Beaux Arts Trio R R 17.9.65 ^v : h :uyv|v^ ^ ) Belgrade Philharmonic MM 23.2.65 C Berlin " " R R 9.12.65 $ ¡.lo.-ts* Birmingham Symphony Musical Times 11.65 ................................... 6.9.65 R 8, H,to5 Bournemouth Symphony 19.5;22.5;1.11.65 Boyd Neel 1.2.65 Bradford Festival Choral Soc. 20.3; &2S.6.65 " Institute o f Technology SU Choral 27.3.65 Brass Bands & Voices (Bradford Victoria;Lindley etc) 28.6.65 Bretton Hall 3.5.65 Budapest Philharmonic & Radio Choir R R 11.6.65 CARMELITE Priory Choir RR 15.10; & 9.12.65 Catterall Quartet 5.1.65 Chicago Symphony RR 29.10 &9.12.65 Cleveland R R 11.6&23.7.65 Columbia Symphony RR 29.10.65 Concertgebouw R R 28.5;3.9;1.10;9.12.65 Cl Czech Philharmonic 29.11.65 DENNIS BRAIN Wind Ensemble 13.1.65 D'Oyly Carte RR 9.12.65 16.9;17.9;cl8.9.65 Dortmund Piano Accordion Youth Orchestra 16.7.65 Douglas Bentley 12.4.65 citC*i<.Lc Hall 19.3; &27.3.65 EDINBURGH University Singers 17.5.65 Elizabethan Singers R R 9.12.65 English Baroque R R 17.9.65 English Chamber Orchestra 22.2.65 English Opera Group 2.9.65 GABRIELI Ensemble 14.6 &3.12.65 Geneva Baroque , RR 17.9.65 Cj6 rav,vC l o n t z R-ixL \5.) 0.
Recommended publications
  • The Musical Partnership of Sergei Prokofiev And
    THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St.
    [Show full text]
  • There's Even More to Explore!
    Background artwork: SPECIAL COLLECTIONS UCHICAGO LIBRARY Kaplan and Fridkin, Agit No. 2 MUSIC THEATER ART MUSIC THEATER LECTURE / CLASS MUSIC MUSIC MUSIC / FILM LECTURE / CLASS MUSIC University of Chicago Presents University Theater/Theater and Performance Studies The University of Chicago Library Symphony Center Presents Goodman Theatre University of Chicago Presents Roosevelt University Rockefeller Chapel University of Chicago Presents TOKYO STRING QUARTET THEATER 24 PLAY SERIES: GULAG ART Orchestra Series CHEKHOv’S THE SEAGULL LECTURE / DEmoNSTRATioN PAciFicA QUARTET: 19TH ANNUAL SILENT FiLM LECTURE / DEmoNSTRATioN BY MARiiNskY ORCHESTRA FRIDAY, OCTOBER 1, 2010 A CLOUD WITH TROUSERS THROUGH DECEMBER 2010 OCTOber 16 – NOVEMBER 14, 2010 BY PACIFICA QUARTET SHOSTAKOVICH CYCLE WITH ORGAN AccomPANimENT: MAsumi RosTAD, VioLA, AND (FORMERLY KIROV ORCHESTRA) Mandel Hall, 1131 East 57th Street SATURDAY, OCTOBER 2, 2010, 8 PM The Joseph Regenstein Library, 170 North Dearborn Street SATURDAY, OCTOBER 16, 2 PM SUNDAY OCTOBER 17, 2010, 2 AND 7 PM AELITA: QUEEN OF MARS AMY BRIGGS, PIANO th nd chicagopresents.uchicago.edu, 773.702.8068 First Floor Theater, Reynolds Club, 1100 East 57 Street, 2 Floor Reading Room Valery Gergiev, conductor Goodmantheatre.org, 312.443.3800 Fulton Recital Hall, 1010 East 59th Street SUNDAY OCTOBER 31, 2010, 2 AND 7 PM Jay Warren, organ SATURDAY, OCTOBER 30, 2 PM 5706 South University Avenue Lib.uchicago.edu Denis Matsuev, piano Chicagopresents.uchicago.edu, 773.702.8068 FRIDAY, OCTOBER 29, 2010, 8 PM Fulton Recital Hall, 1010 East 59th Street Mozart: Quartet in C Major, K. 575 As imperialist Russia was falling apart, playwright Anton SUNDAY JANUARY 30, 2011, 2 AND 7 PM ut.uchicago.edu TUESDAY, OCTOBER 12, 2010, 8 PM Rockefeller Chapel, 5850 South Woodlawn Avenue Chicagopresents.uchicago.edu, 773.702.8068 Lera Auerbach: Quartet No.
    [Show full text]
  • 95.3 Fm 95.3 Fm
    October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Sergei Prokofiev
    Sergei Prokofiev Sergei Sergeyevich Prokofiev (/prɵˈkɒfiɛv/; Russian: Сергей Сергеевич Прокофьев, tr. Sergej Sergeevič Prokof'ev; April 27, 1891 [O.S. 15 April];– March 5, 1953) was a Russian composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous musical genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard works as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet – from which "Dance of the Knights" is taken – and Peter and the Wolf. Of the established forms and genres in which he worked, he created – excluding juvenilia – seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, and nine completed piano sonatas. A graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915 Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d'acier and The Prodigal Son – which at the time of their original production all caused a sensation among both critics and colleagues. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the following decade in Europe and Russia.
    [Show full text]
  • RUSSIAN, SOVIET & POST-SOVIET CONCERTOS a Discography Of
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers H-P GAGIK HOVUNTS (see OVUNTS) AIRAT ICHMOURATOV (b. 1973) Born in Kazan, Tatarstan, Russia. He studied clarinet at the Kazan Music School, Kazan Music College and the Kazan Conservatory. He was appointed as associate clarinetist of the Tatarstan's Opera and Ballet Theatre, and of the Kazan State Symphony Orchestra. He toured extensively in Europe, then went to Canada where he settled permanently in 1998. He completed his musical education at the University of Montreal where he studied with Andre Moisan. He works as a conductor and Klezmer clarinetist and has composed a sizeable body of music. He has written a number of concertante works including Concerto for Viola and Orchestra No1, Op.7 (2004), Concerto for Viola and String Orchestra with Harpsicord No. 2, Op.41 “in Baroque style” (2015), Concerto for Oboe and Strings with Percussions, Op.6 (2004), Concerto for Cello and String Orchestra with Percussion, Op.18 (2009) and Concerto for Piano and Orchestra, Op 40 (2014). Concerto Grosso No. 1, Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion (2011) Evgeny Bushko/Belarusian State Chamber Orchestra ( + 3 Romances for Viola and Strings with Harp and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) 3 Romances for Viola and Strings with Harp (2009) Elvira Misbakhova (viola)/Evgeny Bushko/Belarusian State Chamber Orchestra ( + Concerto Grosso No. 1 and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) ARSHAK IKILIKIAN (b. 1948, ARMENIA) Born in Gyumri Armenia.
    [Show full text]
  • Enescu Prokofiev Shostakovich Sonatas
    ENESCU PROKOFIEV SHOSTAKOVICH SONATAS LAURA BURUIANA CELLO ALEXANDRA SILOCEA PIANO George Enescu 1881–1955 1 Cello Sonata in F minor – Allegro 9.06 Sergei Prokofiev 1891–1953 Cello Sonata in C Op.119 2 I. Andante grave 10.08 3 II. Moderato 4.23 4 III. Allegro, ma non troppo 7.18 Dmitri Shostakovich 1906–1975 Cello Sonata in D minor Op.40 5 I. Allegro non troppo – Largo 10.48 6 II. Allegro 3.13 7 III. Largo 6.59 8 IV. Allegro 4.01 56.11 Laura Buruiana cello · Alexandra Silocea piano Recording: 3–6 September 2013, Église protestante de Bon Secours, Paris, France Recording producer & engineer: Sébastien Chonion Editing, mixing and mastering: Sébastien Chonion Piano: Steinway D 589079 Piano tuner/technician: Helmut Klemm Artist photos: Ben Ealovega Design: Jeremy Tilston for WLP Ltd. ൿ 2015 The copyright in this sound recording is owned by Laura Buruiana and Alexandra Silocea Ꭿ 2015 Laura Buruiana and Alexandra Silocea www.lauraburuiana.com www.alexandra-silocea.com Marketed by Avie Records www.avie-records.com DDD 2 Shostakovich · Prokofiev: Cello Sonatas ‘You will, I am sure, live long enough to see that Shostakovich and Prokofiev are and have been the best composers of our time.’ So claimed record producer Walter Legge in a letter to the writer Peter Heyworth quoted in On and Off the Record (1982). Was Legge being deliberately provocative in the course of a prickly exchange concerning the inescapably Teutonic legacy of Otto Klemperer? Here were two composers who, in their different ways, willingly or unwillingly, kept the flag flying for lower norms of dissonance and older ways of thinking generally overlooked by modernist critics in the West.
    [Show full text]
  • Russian Music for Cello & Piano
    Russian Music for Cello & Piano wendy warner cello irina nuzova piano In fond memory of my mentor, Mstislav Rostropovich. — WENDY WARNER Russian Music for Cello & Piano wendy warner cello irina nuzova piano Producer James Ginsburg Engineer Bill Maylone Recorded October 27–30, 2008, in the Fay and Daniel Levin Performance Studio, WFMT, Chicago Cello Pietro Guarneri II, Venice c.1739, nikolai miaskovsky (1881–1950) “Beatrice Harrison” Cello bow François Xavier Tourte, c.1815, the “De Lamare” on extended loan Sonata No. 2 in A minor for Cello and Piano, Op. 81 (23:11) through the Stradivari Society of Chicago Steinway Piano Charles Terr, Technician Design Kstudio, I. Allegro moderato (9:42) II. Andante cantabile (7:26) III. Allegro con spirito (5:56) Christiaan Kuypers Photography Lisa-Marie Mazzucco alexander scriabin (1872–1915) Etude Op. 8 No. 11 for Piano Solo (4:03) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit Transcription for cello and piano by Gregor Piatigorsky foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by contributions and grants alfred schnittke (1934–1998) from individuals, foundations, corporations, and government agencies including the Alphawood Musica Nostalgica, for Violoncello and Piano (3:22) Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, The MacArthur Fund for Arts and Culture at Prince, NIB Foundation, Negaunee Foundation, Sage Foundation, Chicago Department sergei prokofiev (1891–1953) of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. Contributions to Adagio from Ten Pieces from the Ballet Cinderella, Op 97b (3:51) The Chicago Classical Recording Foundation may be made at www.cedillerecords.org or 773-989-2515.
    [Show full text]
  • Jiyeon Hwang Scholarly Essay.Pdf
    A COMPARISION OF PROKOFIEV’S USE OF CELLO TECHNIQUES IN HIS CELLO CONCERTO, OP. 58 (1938) AND SINFONIA CONCERTANTE, OP. 125 (1952) BY JIYEON HWANG SCHOLARLY ESSAY Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Professor Emeritus Chester L. Alwes Associate Professor Dmitry Kouzov, Chair Professor Charlotte Mattax Moersch Professor Stephen Taylor, Director of Research ABSTRACT This document examines the artistic collaboration between Mstislav Rostropovich (1927– 2007) and Sergey Prokofiev (1891–1953) and provides a comparative study of Prokofiev's use of cello techniques in his Cello Concerto, Op. 58 (1938) and Sinfonia Concertante, Op. 125 (1952). It is interesting to see Prokofiev’s much better understanding of the possibilities of the cello in his Sinfonia Concertante, in comparison with his poor knowledge of the instrument in his Cello Concerto, where many passages are ineffective, difficult, or even unplayable. This document is intended to serve as a useful resource for cellists or anyone who are interested in the compositional background and process connected to Prokofiev’s Sinfonia Concertante. ii TABLE OF CONTENTS I. INTRODUCTION .....................................................................................................................1 Rostropovich’s Biography ...................................................................................................1
    [Show full text]
  • Sergey Prokofiev's Complete Solo Cello Repertory
    Sergey Prokofiev’s Complete Solo Cello Repertory: The Compositional History and Performance Guide 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 Violoncello Performance Studies Division of the College-Conservatory of Music 2019 by Li-Han Eliza Tseng B.M., National Taichung University of Education, 2012 M.M., University of North Texas, 2014 Abstract This document is a comprehensive study of the five complete solo cello repertory by Sergey Prokofiev, featuring cello with piano or orchestra— the Ballade, Cello Sonata, Cello Concerto, Adagio from Cinderella, and Sinfonia Concertante. The study combines compositional background, musical analysis, and performance practice. In the compositional background section, I relate Prokofiev’s life events, his diary, scholarly research, and the political influences to his cello compositions. In the musical analysis section, I categorize the themes and show the motives of each of Prokofiev’s solo cello works in charts, and I compare these to Prokofiev’s own cello compositions. The musical examples, excerpts, and tables illustrate each work’s form. The performance practice section includes an examination and discussion of technical issues as well as the highlights of each piece. In the document, I chronicle Prokofiev’s cello solo repertory. Chapter 1 tells the stories about Prokofiev’s cello compositions—solo and ensemble, how the music aligns with his life stages, and the influence of Mstislav Rostropovich, Prokofiev’s cello friend and partner. Chapters 2 and 3 provide recent scholarly discoveries of Prokofiev’s solo cello works, particularly the Ballade and the Adagio from Cinderella.
    [Show full text]
  • Music at the Gardner
    Music at the Gardner WINTER/SPRING 2019 GEORGE STEEL HELGA DAVIS FROM THE CURATOR OF MUSIC Dear Friends, This season I am delighted to welcome performer Helga Davis to the Gardner Museum as our second Visiting Curator of Performing Arts. Helga is bringing her boundless energy and brilliance — and her relationships with some of the most visionary artists of our time — to plan multi-disciplinary performances and surprise pop-ups throughout the Museum. If you sign up with your email (see below), we’ll share all the details as they are finalized. Please join us! — George Steel, Abrams Curator of Music To get monthly updates about concerts, performances, and more, visit: gardnermuseum.org/signup WHAT’S YOUR PLEASURE? MUSIC AT THE GARDNER / WINTER/SPRING 2019 WEEKEND CONCERT SERIES / pg 2 The Gardner Museum’s signature series BOTTICELLI EXHIBITION PROGRAMMING / pg 4 Special performances responding to the Winter/Spring exhibition PROKOFIEV’S COMPLETE PIANO SONATAS / pg 7 Gleb Ivanov takes on the astonishing 20th-century keyboard works THURSDAY EVENING CONCERTS / pg 18 An adventurous mix of contemporary art, music, and performance RISE / pg 19 Our popular series featuring pop, rock, and hip-hop artists AT-A-GLANCE / pg 20 CONCERT INFORMATION / inside back cover WEEKEND CONCERT SERIES SOOBEEN LEE NIKITA MNDOYANTS Sunday, January 20, 1:30 pm NIKITA MNDOYANTS, piano BOSTON DEBUT Franz Joseph Haydn, Sonata in E Major, Hob. xvi: 31 (1776) Ludwig van Beethoven, Sonata No. 32 in C Minor, Op. 111 (1822) Johannes Brahms, Sonata No. 3 in F Minor, Op. 5 (1853) Leonard Bernstein, “For Stephen Sondheim” (1965), “In Memoriam: William Kapell” (1981), and “For My Daughter, Nina” (1981) Both pianist and composer, Nikita Mndoyants rocketed to early stardom in 2016 at the very beginning of his international career with a remarkable first — winning both the Cleveland International Piano Competition and the Prokofiev International Composers Competition.
    [Show full text]
  • Sergei Prokofiev's Opera the Fiery Angel Arranged for Cello & Piano
    Sergei Prokofiev's opera The Fiery Angel arranged for cello & piano Maya Fridman Cello Conservatorium van Amsterdam 2016 Advisor: Martijn Hooning, Dmitri Ferschtman, Christina Guillaumier Research coördinator: Jed Wentz NON-PLAGIARISM STATEMENT I declare 1. that I understand that plagiarism refers to representing somebody else’s words or ide- as as one’s own; 2. that apart from properly referenced quotations, the enclosed text and transcripti- ons are fully my own work and contain no plagiarism; 3. that I have used no other sources or resources than those clearly referenced in my text; 4. that I have not submitted my text previously for any other degree or course. Name: Place: Date: Signature: Table of Content Introduction ............................................................................................................................... 4 1. Research questions ......................................................................................................... 4 2. The aims of my work ...................................................................................................... 6 3. Methods .......................................................................................................................... 6 4. The structure of the thesis ............................................................................................. 8 About the opera ........................................................................................................................ 9 1. Place of the piece in the work of
    [Show full text]