Having given the history of the "New World" in Part I, it seems wise to preface Part II with some words about how the symphony is constructed. The movements are:
I. Adagio; Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco
Unusually, every movement starts with an introduction. The first movement's is the most famous: starts with a striking slow introduction that establishes the current of nostalgia for, or homesickness for, the composer's native Bohemia. Another reminder of this comes with the famotus flute solo -- or does it? Some have remarked on its similarity to "Swing Low, Sweet Chariot," but this is not so much a quote as a paraphrase, so to speak; small bits of "Chariot" are elided into something new that mingles many flavors: African-America spiritual, yes, but also Native American music and Bohemian folk music, which share a pentatonic flavor.
Note that the...
I. Adagio; Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco
Unusually, every movement starts with an introduction. The first movement's is the most famous: starts with a striking slow introduction that establishes the current of nostalgia for, or homesickness for, the composer's native Bohemia. Another reminder of this comes with the famotus flute solo -- or does it? Some have remarked on its similarity to "Swing Low, Sweet Chariot," but this is not so much a quote as a paraphrase, so to speak; small bits of "Chariot" are elided into something new that mingles many flavors: African-America spiritual, yes, but also Native American music and Bohemian folk music, which share a pentatonic flavor.
Note that the...
- 12/7/2014
- by SteveHoltje
- www.culturecatch.com
Boston Symphony Orchestra/Charles Munch Hector Berlioz: Symphonie Fantastique (RCA Living Stereo)
Charles Munch was born in Strasbourg in 1891, the son of organist/choral conductor Ernst Münch. It was a musical family; Charles's brothers Fritz and Hans also became conductors. Charles studied violin with Lucien Capet and Carl Flesch and conducting with Wilhelm Furtwängler and Alfred Sendrey. World War I interrupted his musical progress; a sergeant of artillery in the German army, he was gassed at Peronne and wounded at Verdun. After the war ended, he became a French citizen.
Munch first pursued violin professionally; he didn't begin his conducting career until 1932, at age 41. He founded the Orchestra de la Société Philharmonique in 1935 in Paris, was named conductor of the Société des Concerts du Conservatoire de Paris in 1938, and stayed in France during the German occupation of World War II. His conduct during this difficult period included French Resistance activities...
Charles Munch was born in Strasbourg in 1891, the son of organist/choral conductor Ernst Münch. It was a musical family; Charles's brothers Fritz and Hans also became conductors. Charles studied violin with Lucien Capet and Carl Flesch and conducting with Wilhelm Furtwängler and Alfred Sendrey. World War I interrupted his musical progress; a sergeant of artillery in the German army, he was gassed at Peronne and wounded at Verdun. After the war ended, he became a French citizen.
Munch first pursued violin professionally; he didn't begin his conducting career until 1932, at age 41. He founded the Orchestra de la Société Philharmonique in 1935 in Paris, was named conductor of the Société des Concerts du Conservatoire de Paris in 1938, and stayed in France during the German occupation of World War II. His conduct during this difficult period included French Resistance activities...
- 11/14/2014
- by SteveHoltje
- www.culturecatch.com
A classicist using Romantic harmonies, Johannes Brahms (1833-97) was hailed at age 20 by Robert Schumann in a famous article entitled "New Paths." Yet by the time Brahms wrote his mature works, his music was thought of as a conservative compared to the daring harmonies and revolutionary dramatic theories of Richard Wagner. But in the next century, Arnold Schoenberg's 1947 essay titled "Brahms the Progressive" praised Brahms's bold modulations (as daring as Wagner's most tonally ambiguous chords), asymmetrical forms, and mastery of imaginative variation and development of thematic material.
The son of a bassist in the Hamburg Philharmonic Society, Brahms was an excellent pianist who was supporting himself by his mid-teens. His first two published works were his Piano Sonatas Nos. 1 and 2, and throughout his career he penned much fine music for that instrument, not only solo (including the later Piano Sonata No. 3) and duo but also his landmark Piano Concertos Nos.
The son of a bassist in the Hamburg Philharmonic Society, Brahms was an excellent pianist who was supporting himself by his mid-teens. His first two published works were his Piano Sonatas Nos. 1 and 2, and throughout his career he penned much fine music for that instrument, not only solo (including the later Piano Sonata No. 3) and duo but also his landmark Piano Concertos Nos.
- 5/8/2014
- by SteveHoltje
- www.culturecatch.com
The quintessentially American story of classical piano hero Van Cliburn -- the Texan who at the height of the Cold War won the first Tchaikovsky International Competition in Moscow, when he was 23 years old, received a ticker tape parade in New York City on his return (as shown at left), made the first million-selling classical album, and (mostly) retired at age 44, having shrewdly invested his earnings in real estate -- is told in carefully balanced detail in Anthony Tommasini's lengthy obituary for The New York Times.
That obit includes the fact that some said that Cliburn didn't live up to his potential as a pianist, outside of his favorite repertoire, he did not always play with equal inspiration. While greater versatility would have been commendable, the same charge could be aimed at many pianists. In his comfort zone, though -- the music of Chopin, Liszt, Brahms, Rachmaninoff, and of course...
That obit includes the fact that some said that Cliburn didn't live up to his potential as a pianist, outside of his favorite repertoire, he did not always play with equal inspiration. While greater versatility would have been commendable, the same charge could be aimed at many pianists. In his comfort zone, though -- the music of Chopin, Liszt, Brahms, Rachmaninoff, and of course...
- 2/28/2013
- by SteveHoltje
- www.culturecatch.com
Virtuoso violinist heard on a string of classic Hollywood movie scores
The American violinist Israel Baker, who has died aged 92, was renowned among his fellow musicians but unknown to most of the millions who heard him play on the soundtracks of such movies as Alfred Hitchcock's 1960 shocker Psycho, where he led Bernard Herrmann's screaming violin effects accompanying the stabbing of Janet Leigh in the shower scene.
Baker belonged to a select group of musicians who could fit into any situation at a moment's notice and read any piece on sight. But while making a lavish living in the Hollywood film and recording studios, he also had a considerable concert career.
He was born in Chicago, the youngest of four children of Russian immigrants. At six he appeared on national radio, and from his late teens he played in orchestras. At 22 he was concertmaster of Leopold Stokowski's All-American...
The American violinist Israel Baker, who has died aged 92, was renowned among his fellow musicians but unknown to most of the millions who heard him play on the soundtracks of such movies as Alfred Hitchcock's 1960 shocker Psycho, where he led Bernard Herrmann's screaming violin effects accompanying the stabbing of Janet Leigh in the shower scene.
Baker belonged to a select group of musicians who could fit into any situation at a moment's notice and read any piece on sight. But while making a lavish living in the Hollywood film and recording studios, he also had a considerable concert career.
He was born in Chicago, the youngest of four children of Russian immigrants. At six he appeared on national radio, and from his late teens he played in orchestras. At 22 he was concertmaster of Leopold Stokowski's All-American...
- 1/11/2012
- by Tully Potter
- The Guardian - Film News
American baritone Thomas Hampson has been named the Leonard Bernstein Scholar-in-Residence at the New York Philharmonic for the 2009-10 season in conjunction with his role as The Mary and James G. Wallach Artist-in-Residence. Mr. Hampson will present two Insight Series events and the Annual Erich Leinsdorf Lecture in a series entitled "Listening to Thought," exploring the interplay of verbal and musical languages in vocal music.
- 7/20/2009
- BroadwayWorld.com
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