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The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
James Dick Press Kit
James Dick Press Kit Information and Booking – Jan Lehman – 512.478.1131 TABLE OF CONTENTS Cover….................................................…......................................................... 1 Table of Contents....................................…........................................................ 2 Biography................................................…........................................................ 3 Grey-Scale Photo...................................…........................................................ 4 References and Reviews........................…........................................................ 5 Concerto and Solo Repertoires …............…........................................................ 6 Chamber Music and Recordings............…........................................................ 7 Information and Booking – Jan Lehman – 512.478.1131 BIOGRAPHY Recognized as one of the truly important pianists of his generation, internationally renowned concert pianist and Steinway artist James Dick brings keyboard sonorities of captivation, opulence and brilliance to performances that radiate intellectual insight and emotional authenticity. Raised in Hutchinson Kansas, his talent moved him from the farm to the University of Texas Music Building and out to the world's great concert halls. He received a scholarship to the University of Texas in Austin, studying with Dalies Frantz. Later, he was a Fulbright Scholar and studied with Sir Clifford Curzon in England. Dick's early triumphs as a major -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
Accademia Di Santa Cecilia, Rome 35 Accademia Filarmonica Romana 77
Index Accademia di Santa Cecilia, Rome 35 Australia Ensemble 170 Accademia Filarmonica Romana 77, Australian Ballet 138 90 Adeney, Richard 111 Babbitt, Milton 114, 133, 143, 152, 172 Adler, Oscar 65 Ensembles for Synthesizer 152 Adlington, Robert 141, 151 Philomel 114, 116, 133 Adorno, Theodor W. 79, 81 Bach, Johann Sebastian 148, 160-61 Aeolian Hall, London 73 Ich bin vergnügt mit meinem Glücke, Agrippa, Cornelius 169 BWV 84 160-61 Aldeburgh Festival 87, 110, 114, 131 Meine Seele erhebet den Herrn, BWV Alexandra, John 94 10 147 Alsop, Will 144, 146 Balfe, Michael W. 55, 58, 64, 186 Amis, John 3 ‘I dreamt I dwelt in marble halls’ 55, Anderson, Hedli 68-9, 72, 74, 93, 96-7, 58, 186-89 105-06, 111, 177 The Bohemian Girl 64, 186 Andriessen, Louis 175 Ballet Rambert 123 Anglesey Festival 131 Ballet Russes 27 Anglo-Austrian Music Society 115 Banks, Don 146, 152 Anstey, Edgar 53-4, 59, 61, 63 Equation (Part 1) 152 ApIvor, Denis 99-100, 103 Baptist, Maria 177 Landscapes, Op. 15 100, 103 Pierrot lunaire [with jazz interludes] Aprahamian, Felix 3 177 Aronowitz, Cecil 111, 133 Bath Festival 110 Ars Nova of Cluj 178, 180 Bartók, Béla 95, 97, 134 Arts Council of Great Britain 65, 100, Contrasts, BB116 95, 97 102, 108-09, 132, 140, 172, 179 Barlow, Howard 39 Arts Theatre Club, London 49 Barton, Lionel 61 Ashby, John 94, 101 Bate, Philip 96 Associació de Música de Camara 36 Batstone, Philip 118-19 Associated Realist Film Producers John Street 118 (AFRP) 53-4, 59 Bauer-Schenk, Günther 176 Auden, W. -
Czech Philharmonic Czech Philharmonic
CZECH PHILHARMONIC 2021 | 2020 | SEASON Czech Philharmonic 125th 125th SEASON 2020 | 2021 SEASON GUIDE Czech Philharmonic 01 CZECH PHILHARMONIC CZECH PHILHARMONIC SEASON GUIDE 125th SEASON 2020 | 2021 Semyon Bychkov Chief Conductor and Music Director We are delighted to bring you joy in another, this time anniversary season. Czech Philharmonic Ministry of Culture of the Czech Republic – Establisher Česká spořitelna, a.s. – General Partner 02 CZECH PHILHARMONIC CZECH PHILHARMONIC TABLE OF CONTENTS 5 Introduction 133 Czech Chamber Music Society 7 Czech Philharmonic 134 Introduction 12 Semyon Bychkov Concerts 17 Jakub Hrůša 137 I Cycle 20 Tomáš Netopil 147 II Cycle 23 Orchestra 157 HP Early Evening Concerts 25 Orchestral Academy of the Czech Philharmonic 167 DK Morning Concert Concerts 181 R Recitals 27 A Subscription Series 188 Tickets Information 45 B Subscription Series 193 Student Programme 61 C Subscription Series 194 How to get to the Rudolfinum 73 M Special Non-Subscription Concerts 198 Dynamic Club of the Czech Philharmonic 86 Other Concerts in Prague 200 Partners of the Czech Philharmonic 90 Tours 203 Contacts 102 Broadcasts and Recordings 204 Calendar 107 Programmes for children with parents, youth, and adult listeners 109 Romano Drom 2020 2 3 CZECH PHILHARMONIC INTRODUCTION Dear Friends of the Czech Philharmonic, Following the four years that it has taken us to realise ‘The Tchaikovsky Project’, we will be On behalf of both the Orchestra and myself, performing and recording the symphonies of I would like to take this opportunity to wish Gustav Mahler, whose music will form one of you a very warm welcome to our 125th Anni- the main pillars of future seasons. -
Title Orchestration and Duration Commissions and First
Title Orchestration and Duration Commissions and First Publisher Performances Asht Prahar (1965) 3+3.33+2(incl.sx) 3/44+1.31/ First performance 17th January 1970, Wise Music Classical, timp/3perc/pf+cel/2hp/str/sop London Philharmonic Orchestra formerly Novello and 25 minutes conducted by Norman del Mar. SPNM Co. Ltd.i concert, Royal Festival Hall. Concerto for Harmonica, Solo harmonica; 4perc/pf+cel.2hp/man/ Written for and dedicated to Larry Wise Music Classical Percussion and Strings (1966) str Adler. Awaits first performance. 15 minutes Aalaykyam I (1970) 2+1.1+1.1+1.1/1110/3perc/pf/hp/str First performance 27th November 1971, Wise Music Classical 15 minutes London Sinfonietta conducted by Andrew Davis, Queen Elizabeth Hall. Aalaykyam II (1972) 1111/1110/perc/pf/hp/man/gtr/str First performance 5th February 1973, Wise Music Classical 22 minutes English Chamber Orchestra conducted by Andrew Davis, Queen Elizabeth Hall. Indra-Dhanush (1973) 3+2.33+1.3+1/4431/4perc/2hp/pf+cel/str Awaits a first performance. Wise Music Classical 16 minutes Dhyan I (1974) Solo violoncello; Commissioned by the BBC. Wise Music Classical 1111/1110/3perc/hp/pf/str First performance 27th January 1975. 16 minutes Soloist Thomas Igloi with the BBC Symphony Orchestra conducted by David Atherton, The Round House, London. 1 Tandava Nritya (Dance of 3+3.3+1.3+1.3/4331/timp/ Commissioned by the British Council Wise Music Classical Destruction 3perc/hp/str for the London Symphony Orchestra. and Re-creation)(1984) 15 minutes First performance 8th April 1993, Royal Scottish Orchestra conducted by David Davies. -
SRCD385 Book
Nicholas Maw Spring Music Voices of Memory BBC National Orchestra of Wales William Boughton Sonata for Solo Violin Harriet Mackenzie two ideas: the first is a songlike line that rises from low to very high, while the second Nicholas Maw (1935-2009) consists of a wistful sighing motive in double-stopped tremolo. A more flowing episode leads, via the sighing motive, into a solemn sequence reminiscent of a funeral march, with a steady, pulsing ostinato played both arco and pizzicato on open strings. There Spring Music for Orchestra (1982 rev.1984) 14.38 is a telescoped repeat of the faster music and the atmospheric coda is played as though 1 Allegro brillante 2.50 heard from afar. 2 - Moderato con moto, sempre grazioso 5.04 The last movement, ‘Flight’, is fast and vigorous, characterised by tremolando bowing 3 - a tempo 3.09 and shifting rhythmic accents. At the heart of the movement is a more relaxed, lyrical 4 - Comodo e sempre grazioso 3.35 passage with a richly sonorous chordal texture. After this the music rapidly gathers pace resulting in a varied reprise of the opening section before an impulsive dash to the finish. In Maw’s Sonata for Solo Violin, the constraints of writing for a single stringed Voices of Memory - Variations for Orchestra (1995) 27.01 instrument in a four-movement, large-scale work are deftly surmounted by the 5 Theme Grave e sostenuto 1.10 composer’s gift for melodic lines and rhythmic invention. Each movement has a vivid 6 Variation 1 Poco più mosso 0.54 sense of colour, formal logic and onward momentum so that the writing, however 7 Variation 2 Poco movimento 2.19 demanding it may be, never suggests an arid study or a shallow technical exercise. -
Decca Discography
DECCA DISCOGRAPHY >>2 GREAT BRITAIN: ffrr, 1944-57 In a business where exclusive contracts were the norm, it was very difficult for a newcomer to become established and Decca’s initial roster of classical artists was unable to compete with established rivals. In March 1932 an agreement with Polydor provided access to a substantial catalogue of German artists and a year later the company virtually abandoned classical recording to concentrate on dance bands. The move to Thames Street Studios provided more scope for orchestral sessions and a bold policy of recording contemporary British music enhanced the label’s reputation. The newly formed Boyd Neel Orchestra was signed up in 1934, followed by the Griller String Quartet in 1935, Clifford Curzon in 1937, Peter Pears in 1944, Kathleen Ferrier in 1946 and Julius Katchen in 1947. War broke the link with Polydor, leaving Decca with a respectable catalogue of chamber music, but little symphonic repertoire. Armed with ffrr technology, the company began to remedy this in 1944, engaging Sidney Beer’s National Symphony Orchestra until 1947 and the misleadingly named New Symphony Orchestra (it had made its first recordings in 1909) from 1948. Neither developed into a house band to rival EMI’s Philharmonia and, with the Royal Philharmonic also exclusive to EMI, Decca had to resort to the LSO and the LPO, both in rather run-down condition in the post-war years. Meanwhile every opportunity was taken to impress visiting continental orchestras with ffrr sessions and it was evident that the company intended to transfer much of its symphonic work to Paris, Amsterdam, Geneva and Vienna as soon as practicable. -
Bartlett & Robertson
BARTLETT & ROBERTSON Selected recordings 1927–1947 THE MATTHAY PUPILS BARTLETT & ROBERTSON Selected NGS, Homocord, HMV, & English/American Columbia Recordings 1927–1947 COMPACT DISC 1 (74.02) 1. BARTLETT (arr.) Elizabethan Suite (14.16) American Columbia set X-256 (XCO 34062, 34144, 34064, 34063) recorded on 2 January 1945, except ‘His Conceit’ and ‘Earl of Salisbury’ recorded on 12 January 1945 BYRD Jhon Come Kisse Me Now – FA R N A BY His Conceit – BYRD The Earle of Salisbury’s Pavane FA R N A BY A Toye – PEERSON The Fall of the Leafe – FA R N A BY Gigg Tower Hill FA R N A BY Tune for Two Virginals – FA R N A BY A Dreame – BULL The King’s Hunting Jigge 2. BACH-MEDNIKOFF Little Fugue in G minor BWV578 (3.13) English Columbia DB 2371 (CA 20387-1); recorded on 12 May 1947 3. BACH-HORNE Jesu, joy of man’s desiring from Cantata BWV147 (3.20) English Columbia DB 2371 (CA 20388-2); recorded on 12 May 1947 4. BACH-HOWE Sheep may safely graze from Cantata BWV208 (4.30) American Columbia 69818D (XCO 25637); recorded on 3 January 1940 BACH Concerto in C major BWV1061 (17.04) HMV C-2648, 2649 (2B 5836-1, 5837-2, 5838-2, 5839-2); recorded on 20 December 1933 5. [Allegro] (7.16) 6. Adagio ovvero Largo (4.10) 7. Fuga (5.28) ORCHESTRA / JOHN BARBIROLLI 8. SCHUMANN-DEBUSSY Étude in the form of a canon Op 56 No 4 (3.38) American Columbia set X-213 (XCO 29803); recorded on 29 January 1941 9. -
Rezension Für: Clifford Curzon Wolfgang Amadeus Mozart
Rezension für: Clifford Curzon Wolfgang Amadeus Mozart: Piano Concertos No. 21 & No. 24 Wolfgang Amadeus Mozart CD aud 95.453 Klassik heute Dezember 1998 (Matthias Thiemel - 1998.12.01) Clifford Curzon (1907-1982) war Schüler u.a. von Arthur Schnabel und Wanda... Full review text restrained for copyright reasons. Applaus 4/2000 (Martina Kausch - 2000.04.01) Großes Staunen Live-Mitschnitte von Mahler- und Mozart-Konzerten unter Rafael Kubelik beweisen einmal mehr den Rang des BR-Symphonie-Orchesters Großes Staunen Full review text restrained for copyright reasons. El País 19.04.2003 (Javier Pérez Senz - 2003.04.19) Kubelik, en el corazón de Mahler Dos sinfonías de Gustav Mahler grabadas en vivo abren la edición que el sello Audite dedica al director checo Rafael Kubelik, uno de los grandes mahlerianos de la historia. [...] dirige el célebre adagietto con un encendido lirismo y una intensidad que hipnotiza al oyente –, situándose entre las mejores de la discografía. Full review text restrained for copyright reasons. page 1 / 17 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de CD Compact n°174 (marzo 2004) (Francisco Javier Aguirre - 2004.03.01) Audite/Rafael Kubelik Audite/Rafael Kubelik Full review text restrained for copyright reasons. Ritmo Num. 754, junio 2003 (E.G.S. - 2003.06.01) - - - Full review text restrained for copyright reasons. ABC – Blanco y negro Cultural (Alberto González Lapuente - 2003.03.29) Puede sonar mágico lo que no es más que la natural prolongación de un... Full review text restrained for copyright reasons. Pianiste Juillet-Août 2001 ( - 2001.07.01) Les concertos pour Piano de Mozart – Les versions incontournable Les concertos pour Piano de Mozart – Les versions incontournable Full review text restrained for copyright reasons. -
TOCC0400DIGIBKLT.Pdf
AN AUTOBIOGRAPHICAL OUTLINE by Steve Elcock I was born in Chesterfeld, Derbyshire, in 1957 and studied at the local grammar school, where I obtained an A Level in music and learnt the violin up to grade 7. Tese are my only musical qualifcations: as a composer I am otherwise self-taught. I began writing around age ffeen and have continued to do so ever since. In 1981 I moved to France, where I work in language services for companies. For a period of about ten years, I conducted the local amateur symphony orchestra, which played some of my early compositions. In 2009 my short orchestral piece Hammering came to the attention of an old friend with whom I had all but lost touch. Mike George is a producer at the BBC and he was able to get the work performed in a BBC Philharmonic studio concert in Manchester (subsequently broadcast), conducted by James MacMillan. Although I was now 52, this was the frst professional performance of any of my pieces. At that concert I met the composer Robin Walker1 and began an e-mail correspondence with him. He was very enthusiastic about my music and one day suggested I might send some scores and mock-ups to Martin Anderson at Toccata Classics. In June 2013, not believing for an instant that it would do any good, I plucked up enough courage to do so, posting him the Tird and Fourth Symphonies and the symphonic poem Wreck. As I expected, there was no reaction throughout the summer months. And then in late August I received the following e-mail from Martin: Your scores have been sitting at my elbow for what I thought was a week or two, waiting for my deadlines to let up for long enough to clear the desk and read and listen. -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from the 19Th Century to the Present Composers
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman Composers R-Z ALEXANDER RAICHEV (1922-2003, BULGARIAN) Born in Lom. He studied composition with Assen Karastoyanov and Parashkev Hadjiev at the Sofia State Conservatory and then privately with Pancho Vladigerov. He went on for post-graduate studies at the Liszt Music Academy in Budapest where he studied composition with János Viski and Zoltán Kodály and conducting with János Ferencsik. He worked at the Music Section of Radio Sofia and later conducted the orchestra of the National Youth Theatre prior to joining the staff of the State Academy of Music as lecturer in harmony and later as professor of harmony and composition. He composed operas, operettas, ballets, orchestral, chamber and choral works. There is an unrecorded Symphony No. 6 (1994). Symphony No. 1 (Symphony-Cantata) for Mixed Choir and Orchestra "He Never Dies" (1952) Konstantin Iliev/Bulgarian A Capella Choir "Sv. Obretanov"/Sofia State Philharmonic Orchestra BALKANTON BCA 1307 (LP) (1960s) Vasil Stefanov/Bulgarian Radio Symphony Orchestra and Chorus BALKANTON 0184 (LP) (1950s) Symphony No. 2 "The New Prometheus" (1958) Vasil Stefanov/Bulgarian Radio Symphony Orchestra BALKANTON BCA 176 (LP) (1960s) Yevgeny Svetlanov/USSR State Symphony Orchestra (rec. 1965) ( + Vladigerov: Piano Concertos Nos. 3 and 4 and Marinov: Fantastic Scenes) MELODIYA D 016547-52 (3 LPs) (1965) Symphony No. 3 "Strivings" (1966) Dimiter Manolov/Sofia State Philharmonic Orchestra ( + Bulgaria-White, Green, Red Oratorio) BALKANTON BCA 2035 (LP) (1970s) Ivan Voulpe/Bourgas State Symphony Orchestra ( + Stravinsky: Firebird Suite) BALKANTON BCA 1131 (LP) (c.