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Samuel Barber's Essay for Orchestra, Op
Clever to put the three American works for violin and orchestra on the same disc, and with an Israeli soloist who reaches for their exilic roots. Vadim Gluzman is an expressive player with a clean tone, presenting the arguments in Bernstein’s Serenade as if they were Russian dialectics. In Bloch’s Baal Shem he avoids the pitfalls of mawkishness and in Barber’s concerto the clichés of prairie life. His cerebral tone inspires fine playing from the Sao Paolo orchestra under John Neschling.
Viola players are always complaining they get overlooked. Not by young Beethoven, it seems. There’s a 1799 sonatina in C for viola and cello lying around in manuscript at the state library in Berlin, and a 1796/7 duo for the same instruments in E flat. Both are full of the joys of spring, rippling with dance rhythms and an invitation to waltz the night away. There is a suspicion Beethoven played the viola part himself in at least one of the works, writes Professor Barry Cooper in a lucid sleeve note to this interesting release.
Samuel Barber — First Essay for Orchestra, Op
Fourteen years later, three songs were released in a Gould jubilee album. Three more were considered unpublishable. They are issued here for the first time. Worth hearing? Indispensably so. The strain on Schwarzkopf’s glittering instrument is audible at both top and bottom, but the faint patina harshness endows her voice with endearing warmth. Gould’s opening passages – especially in the torch-song Morgen – are straight out of dreamland, a set of fantasies on a near-imaginary Strauss that smash the glass windows of literalist protectionism. In the closing lines Schwarzkopf can barely be recognised as herself, extended as never before by a creative competitot.
in 1905. Romain's father Joseph Verney was also a musician, playing in the French Republican Guards and the Panama-Pacific Exposition in 1915. Romain Verney taught at the Institute for Musical Studies (Julliard) from about 1906-1909. In 1910, he was Principal viola of the New York Symphony. He was Principal viola at the Chicago Opera during World War 1. He returned to the New York Symphony as Principal Viola in 1919. Verney joined the Philadelphia Orchestra the same season as , and stayed during the same term. While in Philadelphia, he also was a member of the of the Rich Quartet: first, second, viola and cello. Romain Verney was Principal viola in Philadelphia for five seasons from 1920-1925. In 1925, Verney moved to California. He was Principal viola of the San Francisco Symphony succeeding Lajos Fenster under Alfred Hertz 1925-1931, and Co-Principal viola with Jascha Veissi in the 1931-1932 season. Then, during 1932-1934, Verney moved back in the San Francisco viola section, and again after the suspension of the San Francisco Symphony in 1934-1935 season, continued until 1936. In the 1936-1937 season Pierre Monteux advanced his old stand parter to the Associate Principal viola chair of the San Francisco Symphony. Nathan Firestone was at that time Principal viola. Romain Verney remained Associate Principal viola in San Francisco through the 1955-1956 season. He was stand partner with Principal viola Ferenc Molnar 1943-1956. Verney then remained in the viola section for one more season, retiring at the end of 1956-1957 after more than fifty seasons of orchestral service. Roman Verney lived in San Mateo, a San Francisco suburb where he also taught viola at Mills College and also at the Peninsula Conservatory of Music San Mateo, California in 1950s. In the late 1920s and into the 1930s, Verney was also a member of the California String Quartet: first, second, viola, and Verney's old friend cello, and the Abas String Quartet, also with Penha. In 1938, he was a member of a similar group, the San Francisco String Quartet, founded by SFS Concertmaster Naoum Blinder: first, second, viola, and cello (and with the membership changing in later seasons 155). Romain Verney died in San Mateo, California on June 28, 1967, aged 89 after a full career including a half century of leading orchestral work and teaching of several generations of musicians.
SAMUEL BARBER - FIRST ESSAY FOR ORCHESTRA OP. 12 …
1990-present Jeffrey Khaner Jeffrey Khaner was born on December 22, 1958 in Montréal, Canada. Early in his career, Khaner was Principal flute of the Atlantic Symphony in Halifax, Nova Scotia. Khaner studied flute with Jeanne Baxtresser at the Juilliard School, where he graduated in 1980. Following graduation, in the 1981-1982 season, Khaner was co-Principal flute (with Bernard Goldberg ) of the Pittsburgh Symphony under André Previn. Jeffrey Khaner was then appointed Principal flute of the Cleveland Orchestra in the 1982-1983 season at the end of Lorin Maazel's tenure. Khaner served in Cleveland for eight seasons, and also taught flute at the Cleveland Institute of Music. For the 1990-1991 season, Riccardo Muti selected Jeffrey Khaner to become Principal flute of the Philadelphia Orchestra. During his tenure with the Cleveland Orchestra and the Philadelphia Orchestra, Jeffrey Khaner has made many excellent recordings, including of chamber works, such as the CD of flute sonatas by Robert and Clara Schumann, and by Brahms on Avie Records, shown above. He has also recorded Ned Rorem's Flute Concerto with the great José Serebrier and the Bournemouth Symphony on Naxos.
A baroque bass singer pays tribute, Tudor style to the short-lived pop balladeer Nick Drake, who killed himself in 1974. Captivating and sincere, Frederiksen never strays near to pastiche or kitsch: this is an exhilarating re-imagination in a period adaptation of uncanny aptness. Not to be missed.
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First Essay for Orchestra, Op. 12, a song by Samuel Barber …
‘The Irish Piano’ is a scintillating and sometimes whimsical recital that takes John Field as its starting point and spreads out across the whole of the island’s music, from bar songs, through a Samuel Barber tribute to the breezy post-tonalities of the present generation. Michael McHale, in St Peter’s Church of Ireland, Drogheda, strikes just the right tone of contemplative wonderment and mischievous mythology.
Barber: First Essay for Orchestra Op. 12 - Presto Classical
Starting with a traditional air of his own transcription, McHale introduces John Field both through a pair of his own nocturnes and through two-little-known homages by the American Samuel Barber and the expatriate Irishman Arnold Bax, who went on to serve the English Crown as Master of the Queen’s Musick. In amidst the classical verities, there are short new pieces by the captivating Donnacha Dennehy, the challenging Ian Wilson and other young Irish composers who have lately been taking the world stage in disproportionate numbers. Ireland has mysteriously become a crucible of contemporary music. Fascinating from start to stop, this album has lovely stuff that you won’t hear anywhere else.
First Essay For Orchestra, Op 12 : …
1902-1908 Jan Koert Jan Koert was born in the Netherlands in 1853, and trained in Rotterdam as a violinist and violist. In the early 1880s, Jan Koert became Second Concertmaster of the orchestra in Ostend, Belgium seated at the first stand beside Eugène Ysaÿe (1858-1931), who was Concertmaster. Jan Koert also played in Paris with the Rubinstein Quintet, with the touring Anton Rubinstein (1829-1894), piano and Jan Koert first violin 158. In June, 1889, Jan Koert emigrated to the U.S. He may have briefly played in the Theodore Thomas touring orchestra at that time 158. In 1890, in New York City, he married the Polish soprano Selma Kronold. He was also a soloist with the Boston Symphony in 1890 and 1891. Koert was on the faculty of the National Conservatory of Music in New York in 1892. This was at the time that the conservatory was directed by Antonin Dvorak 1891-1895 during his stay in the US. Koert at that time was part of the Brodsky String Quartet with Adolph Brodsky (then Concertmaster of the New York Symphony) first violin, Jan Koert, second violin. Although the premier of Dvorak's opus 96 was performed by the Kneisel Quartet in Boston in 1894, the Brodsky Quarter performed the new quartet in New York City later that year. Jan Koert became Principal viola of the New York Symphony in the 1894-1895 season, and then became third chair violin, and finally Concertmaster from 1895-1898 15. In his book Music is my Faith 29, David Mannes who was second to Koert, and then later Concertmaster himself wrote: "…Jan Koert was very kind and helpful.
Samuel Barber : Essay for orchestra no. 1 op. 12
1936-1939 Isadore Gusikoff Isadore Gusikoff was born in New York City December 30, 1901, into the musically prolific Gusikoff family. He may have been brother of the other Philadelphia Orchestra Gussikoffs: Principal violin , cellist , and Principal trombone . Isadore was cellist in the Philadelphia Orchestra for nearly eighteen seasons 1921-1939. In the 1936-1937 season, Isadore Gusikoff was appointed Principal cello. However, Isadore in the later 1930s after the departure of Leopold Stokowski did not get along with Eugene Ormandy. Ormandy finally dismissed Gusikoff in February, 1939, prior to the conclusion of the 1938-1939 season. This account was given by Time Magazine: "...Ormandy had fired him...because Gusikoff 'made him nervous.' Cellist Gusikoff promptly sued for the rest of his season pay, proudly admitted that he had conducted a 'silence strike' while sitting in the orchestra, accused Conductor Ormandy of lacking 'poetry, imagination, subtlety and humor.'" 157 (note: This Time magazine report caused a flurry of rebutting letters, including from the orchestra musicians.) Isadore Gusikoff then joined the cello section of Toscanini's NBC Symphony, beginning in 1938. In the summer of 1940, Isadore Gusikoff also joined Leopold Stokowski's 1940 All-America Youth Orchestra tour of South America with , , , , Anton Torello, and others. Isadore Gusikoff died in Philadelphia in October, 1962.
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