CCMA Coleman Competition (1947-2015)
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2021.5.17 Chamber Fest 2 R3
Monday, May 17, 2021 | 7:30 PM Gordon K. and Harriet Greenfield Hall Spring Chamber Music Festival Lillian Fuchs Chamber Music Competition Winners’ Concert II PROGRAM ANTONÍN DVOŘÁK Piano Quintet No. 2, Op. 81 (1841–1904) II. Allegro ma non tanto Eliane Menzel, Vlad Hontilă, violin Ramón Carrero Martínez, viola Clara Yeonsue Cho, cello Sıla Şentürk, piano Coached by Peter Winograd FELIX MENDELSSOHN Piano Trio in C Minor, Op. 49 <Piano Trio No. 2 in C Minor, Op. 66?> (1809–1847) I. Allegro energico e con fuoco Maïthéna Girault, violin Noah Koh, cello Jiyoon Han, piano Coached by Mark Steinberg and Nicholas Mann JOHANNES BRAHMS Clarinet Sonata No. 1 in F Minor, Op. 120, no. 1 (1833–1897) I. Allegro appassionato IV. Vivace Ki-Deok Park, clarinet Ahmed Alom Vega, piano Coached by Sylvia Rosenberg VALERIE COLEMAN Wish: Sonatine for Flute and Piano (b. 1970) Bethany McLean, flute Ching Chia Lin, piano ASTOR PIAZOLLA Le Grand Tango (1921–1992) Pedro Bonet, cello Tatuka Kutsnashvili, piano Coached by William Wol!am Students in this performance are supported by the Robert Mann Endowed Scholarship for Violin and Chamber Studies, the Samuel and Mitzi Newhouse Scholarship, the Flavio Varani Scholarship in Piano, the Viola B. Marcus Memorial Scholarship, the Rachmael Weinstock Endowed Scholarship in Violin. We are grateful to the generous donors who made these scholarships possible. For information on establishing a named scholarship at Manhattan School of Music, please contact Susan Madden, Vice President for Advancement, at 917-493-4115 or [email protected]. ABOUT LILLIAN FUCHS Hailed by Harold C. Schonberg in the New York Times in 1962 as “one of the best string players in America,” Lillian Fuchs (1902–1995) joined the chamber music and viola faculties at Manhattan School of Music in 1962, where she remained for almost 30 years. -
For Release: Tk, 2013
FOR IMMEDIATE RELEASE February 20, 2014 Contact: Katherine E. Johnson (212) 875-5718; [email protected] The Mary and James G. Wallach Artist-in-Residence YEFIM BRONFMAN To Be Featured in CHAMBER MUSIC CONCERT with New York Philharmonic Musicians A Co-Presentation with 92nd Street Y Schubert’s Sonatina in A minor Bartók’s Contrasts for Violin, Clarinet, and Piano Brahms’s Piano Quintet March 30, 2014, at 92nd Street Y Yefim Bronfman, the New York Philharmonic’s 2013–14 Mary and James G. Wallach Artist-in- Residence, will be spotlighted in a chamber music concert co-presented with 92nd Street Y. Mr. Bronfman will be joined by Philharmonic Concertmaster Glenn Dicterow; Principal Clarinet Stephen Williamson; Associate Principal, Second Violin Group, Lisa Kim; Associate Principal Viola Rebecca Young; and cellist Maria Kitsopoulos for the program, featuring Schubert’s Sonatina in A minor; Bartók’s Contrasts for Violin, Clarinet, and Piano; and Brahms’s Piano Quintet, Sunday, March 30, 2014, at 3:00 p.m. at 92nd Street Y. During his residency, Mr. Bronfman has performed on CONTACT!, the Philharmonic’s new- music series, on a program also co-presented with 92nd Street Y and featuring Philharmonic musicians; Tchaikovsky’s Piano Concerto No. 1 on the 2013–14 season subscription-opening program, led by Music Director Alan Gilbert; and a reprise of his Grammy-nominated performance of Magnus Lindberg’s Piano Concerto No. 2 with Alan Gilbert and the Orchestra in New York and on the ASIA / WINTER 2014 tour. He will return as the featured soloist in The Beethoven Piano Concertos: A Philharmonic Festival, led by Alan Gilbert, June 11–28, 2014. -
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FOR IMMEDIATE RELEASE UPDATED May 28, 2015 February 17, 2015 Contact: Katherine E. Johnson (212) 875-5718; [email protected] NEW YORK PHILHARMONIC TO RETURN TO BRAVO! VAIL FOR 13th-ANNUAL SUMMER RESIDENCY, JULY 24–31, 2015 Music Director Alan Gilbert To Lead Three Programs Bramwell Tovey and Joshua Weilerstein Also To Conduct Soloists To Include Violinist Midori, Cellist Alisa Weilerstein, Pianists Jon Kimura Parker and Anne-Marie McDermott, Acting Concertmaster Sheryl Staples, Principal Viola Cynthia Phelps, Soprano Julia Bullock, and Tenor Ben Bliss New York Philharmonic Musicians To Perform Chamber Concert The New York Philharmonic will return to Bravo! Vail in Colorado for the Orchestra’s 13th- annual summer residency there, featuring six concerts July 24–31, 2015, as well as a chamber music concert performed by Philharmonic musicians. Music Director Alan Gilbert will conduct three programs, July 29–31, including an all-American program and works by Mendelssohn, Mahler, Mozart, and Shostakovich. The other Philharmonic concerts, conducted by Bramwell Tovey (July 24 and 26) and former New York Philharmonic Assistant Conductor Joshua Weilerstein (July 25), will feature works by Grieg, Elgar, Tchaikovsky, Rachmaninoff, and Richard Strauss, among others. The soloists appearing during the Orchestra’s residency are pianists Jon Kimura Parker and Anne-Marie McDermott, cellist Alisa Weilerstein, violinist Midori, soprano Julia Bullock and tenor Ben Bliss, and Acting Concertmaster Sheryl Staples and Principal Viola Cynthia Phelps. The New York Philharmonic has performed at Bravo! Vail each summer since 2003. Alan Gilbert will lead the concert on Wednesday, July 29, featuring Mendelssohn’s Violin Concerto, with Midori as soloist, and Mahler’s Symphony No. -
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559199 bk Helps US 12/01/2004 11:54 am Page 8 Robert HELPS AMERICAN CLASSICS (1928-2001) ROBERT HELPS Shall We Dance Piano Quartet • Postlude • Nocturne Spectrum Concerts Berlin 8.559199 8 559199 bk Helps US 12/01/2004 11:54 am Page 2 Robert Helps (1928-2001) ROBERT HELPS (1928-2001) Shall We Dance • Piano Quartet • Postlude • Nocturne • The Darkened Valley (John Ireland) 1 Shall We Dance for Piano (1994) 11:09 Robert Helps was Professor of Music at the University of Minneapolis, and elsewhere. His later concerts included Piano Quartet for Piano, Violin, Viola and Cello (1997) 25:55 South Florida, Tampa, and the San Francisco memorial solo recitals of the music of renowned Conservatory of Music. He was a recipient of awards in American composer Roger Sessions at both Harvard and 2 I. Prelude 10:24 composition from the National Endowment for the Arts, Princeton Universities, an all-Ravel recital at Harvard, 3 II. Intermezzo 2:24 the Guggenheim, Ford, and many other foundations, and and a solo recital in Town Hall, NY. His final of a 1976 Academy Award from the Academy of Arts compositions include Eventually the Carousel Begins, for 4 III. Scherzo 3:02 and Letters. His orchestral piece Adagio for Orchestra, two pianos, A Mixture of Time for guitar and piano, which 5 IV. Postlude 8:12 which later became the middle movement of his had its première in San Francisco in June 1990 by Adam 6 V. Coda – The Players Gossip 1:53 Symphony No. 1, won a Fromm Foundation award and Holzman and the composer, The Altered Landscape was premièred by Leopold Stokowski and the Symphony (1992) for organ solo and Shall We Dance (1994) for 7 Postlude for Horn, Violin and Piano (1964) 9:11 of the Air (formerly the NBC Symphony) at the piano solo, Piano Trio No. -
Journal of the American Viola Society Volume 31 No. 1, Spring 2015
New Horizons Vadim Borisovsky and His Viola Arrangements, Part II The Viola Concertos of J. G. Graun and M. H. Graul Unconfused The Absolute Zero Viola Quartet Volume 31 Number 1 Number 31 Volume Turn-Out in Standing Journal of the American Viola Society Viola American the of Journal Journal of the American Viola Society A publication of the American Viola Society Spring 2015: Volume 31, Number 1 p. 3 From the Editor p. 5 From the President News & Notes p. 9 Primrose Memorial Concert 2015 Myrna Layton reports on Atar Arad’s appearance at Brigham Young University as guest artist for the 33rd concert in memory of William Primrose. p. 13 42nd International Viola Congress in Review: Performing for the Future of Music Martha Evans and Lydia Handy share with us their experiences in Portugal, with a congress that focused on new horizons in viola music. Feature Articles p. 19 Vadim Borisovsky and His Viola Arrangements: Recent Discoveries in Russian Archives and Libraries, Part II After a fascinating look at Borisovsky’s life in the previous issue, Elena Artamonova delves into the violist’s arrangements and editions, with a particular focus on the Glinka’s viola sonata p. 31 The Viola Concertos of J.G. Graun and M.H. Graul Unconfused The late Marshall ineF examined the viola concertos of J. G. Graul, court cellist for Frederick the Great, in arguing that there may have been misattribution to M. H. Graul. Departments p. 39 With Viola in Hand: A Passion Absolute–The Absolute Zero Viola Quartet The Absolute eroZ Quartet has captured the attention of violists in some 60 countries. -
Boston Symphony Orchestra Concert Programs, Summer, 1969
TANGLEWOQ ik O^r '^0k^s^\^^ , { >^ V BOSTON SYMPHONY ORCHESTRA 7 :ICH LEINSDORF Music Director v- '^vy^. 'vt 4j>*l li'?^ BERKSHIRE FESTimL Sometimes when a man has worked very hard and succeeded, he enjoys ordering things just because they're expensive. -''«4^. ^*fc.-' ri** ^itim YEARS OLD Johnnie Walker Black Label Scotch 12 YEAR OLD BLENDED SCOTCttJ^KY, 86.8 PROOF. IMPORTED BY SOMERSET IMMI^HtD., N.Y,, N.Y. vsPTm' CL'iPCLViay/^le i^ ^c^o<ym wia//idi ^yymxz'TtceA Btethoven Iwko^Swu SYMPHONY N0.4/LEONORE OVERTURE No. 2 IHI BOSTON SYMPHONY/ERICH LEINSDORF ^?^. PROKOFIEFF ^^I^M S^MPW Ifl. 7 ^^F^n Mn«( from ^^^^^^Hr ^^^^H ^^gpHH CORIOllN ROMEO AND ^k^^v -^^H \mi mnwi JULIET ^^k, <vT 4^R|| ^^^. ^^sifi ^RL'S^ BOSTON ^^T ^'%- flRK HiiHr n [[i^DORF, SYMPHONY ^^Lr- ..v^i^^^ ^^^^^^^^^B ^E^Hb # ERICH ^^B JH^^E^ LEINSDORF ^^PHj^^H|^ Conduclor 9SH|^V^^^^^K^^^^Bs . ^k }iiiMomi T^lH^B ^ Bfc/---^— LM/LSC-2969 LM/LSC-2994 LM/LSC-3006 Haydn BRHHins: svmPHonv no. 4 , ^ Symphony No. 93 ^m BOSTon svmPHonv orchestrii Symphony No. 96 ("Miracle") ERICH lEinSDORF ^t Boston Symphony Erich Leinsdorf, Conductor &L '^mlocmt(J§rc^f.i/m LSC-3030 LM/LSC-3010 Invite Erich Leinsdorf and the Boston Symphony Orchestra to your home ... transform a memory to a permanent possession! ncii RTA Distributors, Inc. (Exclusive Wholesale Distributor) • RTA Building • Albany, New York 12204 The gentle taste of Fundadoi^ PP^^^ ^ ^^^ ^^Y ^^ li^^ ^^ ^^^ ^^^^ISlA J'^^^^^T drinker. You raise the snifter to your lips. You have barely lived, yet life— :^"» you feel—has already passed you by. -
Pathetique Symphony New York Philharmonic/Bernstein Columbia
Title Artist Label Tchaikovsky: Pathetique Symphony New York Philharmonic/Bernstein Columbia MS 6689 Prokofiev: Two Sonatas for Violin and Piano Wilkomirska and Schein Connoiseur CS 2016 Acadie and Flood by Oliver and Allbritton Monroe Symphony/Worthington United Sound 6290 Everything You Always Wanted to Hear on the Moog Kazdin and Shepard Columbia M 30383 Avant Garde Piano various Candide CE 31015 Dance Music of the Renaissance and Baroque various MHS OR 352 Dance Music of the Renaissance and Baroque various MHS OR 353 Claude Debussy Melodies Gerard Souzay/Dalton Baldwin EMI C 065 12049 Honegger: Le Roi David (2 records) various Vanguard VSD 2117/18 Beginnings: A Praise Concert by Buryl Red & Ragan Courtney various Triangle TR 107 Ravel: Quartet in F Major/ Debussy: Quartet in G minor Budapest String Quartet Columbia MS 6015 Jazz Guitar Bach Andre Benichou Nonsuch H 71069 Mozart: Four Sonatas for Piano and Violin George Szell/Rafael Druian Columbia MS 7064 MOZART: Symphony #34 / SCHUBERT: Symphony #3 Berlin Philharmonic/Markevitch Dacca DL 9810 Mozart's Greatest Hits various Columbia MS 7507 Mozart: The 2 Cassations Collegium Musicum, Zurich Turnabout TV-S 34373 Mozart: The Four Horn Concertos Philadelphia Orchestra/Ormandy Mason Jones Columbia MS 6785 Footlifters - A Century of American Marches Gunther Schuller Columbia M 33513 William Schuman Symphony No. 3 / Symphony for Strings New York Philharmonic/Bernstein Columbia MS 7442 Beethoven: Symphony No. 9 in D minor Westminster Choir/various artists Columbia ML 5200 Tchaikovsky: Symphony No. 6 (Pathetique) Philadelphia Orchestra/Ormandy Columbia ML 4544 Tchaikovsky: Symphony No. 5 Cleveland Orchestra/Rodzinski Columbia ML 4052 Haydn: Symphony No 104 / Mendelssohn: Symphony No 4 New York Philharmonic/Bernstein Columbia ML 5349 Porgy and Bess Symphonic Picture / Spirituals Minneapolis Symphony/Dorati Mercury MG 50016 Beethoven: Symphony No 4 and Symphony No. -
Everything Essential
Everythi ng Essen tial HOW A SMALL CONSERVATORY BECAME AN INCUBATOR FOR GREAT AMERICAN QUARTET PLAYERS BY MATTHEW BARKER 10 OVer tONeS Fall 2014 “There’s something about the quartet form. albert einstein once Felix Galimir “had the best said, ‘everything should be as simple as possible, but not simpler.’ that’s the essence of the string quartet,” says arnold Steinhardt, longtime first violinist of the Guarneri Quartet. ears I’ve been around and “It has everything that is essential for great music.” the best way to get students From Haydn, Mozart, Beethoven, and Schubert through the romantics, the Second Viennese School, Debussy, ravel, Bartók, the avant-garde, and up to the present, the leading so immersed in the act of composers of each generation reserved their most intimate expression and genius for that basic ensemble of two violins, a viola, and a cello. music making,” says Steven Over the past century america’s great music schools have placed an increasing emphasis tenenbom. “He was old on the highly specialized and rigorous discipline of quartet playing. among them, Curtis holds a special place despite its small size. In the last several decades alone, among the world and new world.” majority of important touring quartets in america at least one chair—and in some cases four—has been filled by a Curtis-trained musician. (Mr. Steinhardt, also a longtime member of the Curtis faculty, is one.) looking back, the current golden age of string quartets can be traced to a mission statement issued almost 90 years ago by early Curtis director Josef Hofmann: “to hand down through contemporary masters the great traditions of the past; to teach students to build on this heritage for the future.” Mary louise Curtis Bok created a haven for both teachers and students to immerse themselves in music at the highest levels without financial burden. -
Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time. -
Lillian Fuchs: Violist, Teacher and Composer
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 Lillian Fuchs: violist, teacher and composer; musical and pedagogical aspects of the 16 Fantasy études for viola Teodora Dimova Peeva Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Peeva, Teodora Dimova, "Lillian Fuchs: violist, teacher and composer; musical and pedagogical aspects of the 16 Fantasy études for viola" (2011). LSU Doctoral Dissertations. 3589. https://digitalcommons.lsu.edu/gradschool_dissertations/3589 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. LILLIAN FUCHS: VIOLIST, TEACHER, AND COMPOSER; MUSICAL AND PEDAGOGICAL ASPECTS OF THE 16 FANTASY ÉTUDES FOR VIOLA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Teodora Peeva B.M., University of California, 2003 M.M., Louisiana State University, 2006 May, 2011 TO THE MEMORY OF MY PARENTS ii ACKNOWLEDGMENTS To David and the entire Weill family, for your unflagging encouragement and support. To Ms. Lori Patterson, for selflessly sharing your wisdom with me and for allowing me the pleasure of knowing you. My deepest gratitude goes to the members of my doctoral committee, for your contribution of time and knowledge in assisting with the completion of this monograph and for your willingness to serve. -
2002-2003 Perron in Recital
CONSERVATORY OF Music presents PERRON IN RECITAL featuring: Johanne Perron, cello with Tao Lin, piano Friday, March 7, 2003 7:30 p.m. Amarnick-Goldstein Concert Hall de Hoernle International Center Program Sonata for cello and piano No. 1, in F Major .............. Beethoven Adagio sostenuto - Allegro Rondo: Allegro vivace Suite for solo cello ..................................... Cassado · Prelude - Fantasia Sardana - Danza Intennezzo e danza finale Variations on a theme ofRossini . Martinu INTERMISSION Sonata in A Major . Franck Allegro hen moderato Allegro Recitativo - Fantasia, hen moderato Allegretto poco mosso Biogra~hies J h e P rr cello Ms. Perron is well established as an important artist and teacher, enjoying a career at an international level. She has appeared with orchestras and in recitals in Canada, Brazil, the United States, and Europe, and currently maintains a concert schedule as a soloist and chamber musician. She has been featured on nationwide radio and television, and has won top prizes in numerous competitions. Born in Quebec Province, Canada, Ms. Perron made her debut in Montreal with the Montreal Symphony Orchestra at the age of seventeen. She continued her studies at the Conservatory of Quebec with Pierre Morin, and in 1978 received first prize in cello and chamber music, which was the result of a unanimous decision of the jury. She pursued her studies with Aldo Parisot at Yale University on a scholarship from the Arts Council and the Ministry of Cultural Affairs of Canada, and in 1981 she received her master of music degree from Yale, together with the coveted "Frances G. Wickes Award." She won the Prix d'Europe in 1984 and was given first prize in the string division of the "Tremplin International des Concours de Musique du Canada." She has participated in master classes with distinguished artists Janos Starker in Banff, Canada; Pierre Fournier in Geneva, Switzerland; Fritz Magg, Nathaniel Rosen, and Paul Tortelier in Los Angeles, California; and she subsequently became a special student of Leonard Rose at The Juilliard School. -
Hollywood Quartet Flourished Briefly During the Early Years of the Long-Playing Record
Hollywood Quartet flourished briefly during the early years of the long-playing record. Its leader, Felix Slatkin (father of the conductor, Leonard Slatkin) was a pupil o f Zimbalist and Remer, and in 1937 became leader of the 20th Century Fox Orchestra. All the members of the Quartet were principals in various Hollywood film studio orchestras, and the ensemble did not attract attention outside the West Coast of America until the advent of LP. On its first appearance in 1952, the authors of The Record Guide, Edward Sackville-\'{/est and Desmond Shawe-Taylor, hailed the Schubert String Quintet (with Kurt Reher as second cello) as 11 one of the very best in the di scography of chamber music'', no small claim but one that does not seem to me overstated. I have periodically played this version over the years and with unfailing satisfaction for apart from their tec hnical finish and perfect ensemble, they seem to penetrate further below the surface than do most of their rival s. I have also long admired their account with Victor Aller of the Brahms F minor Quintet, which it so happens that l played to a visitor quite recently. It is a powerful and thoughtful performance, and holds its own against such distinguished rivals as Serkin with the Busch Quartet from the 1930s, and the 1969 Eschenbach/ Amadeus. The Dvorak originally appeared in harness with rhe Third Quarret of Dohn:inyi, and my first reaction was to regret that EMI had not left thi s coupling undisturbed - until, that is, I heard the Smetana.