Classical Music CDs G - Library - University Of Canterbury GOULD as pianist, First pavan and galliard (711) / Byrd Fantasy in C (335) ;Allemande (Italian cortot, alfred (18771962, France), 01/22 no. 1 http://library.canterbury.ac.nz/art/musi/cd/cdmusg.shtml
Extractions: UC Home Courses Departments Library ... Search GABRIELI, Giovanni (c. 1553/6-1612, Italy) The antiphonal music of Gabrieli for brass ensemble and organ GABRIELI Motets GABRIELI Music for San Rocco, 1608 includes In ecclesiis a 14; Sonata No. 19 a 15; Domine Deus meus a 6; Timor at tremor a 6; Jubilate Deo a 10; Sonata No. 18 a 14; Sonata No. 20 a 22; Magnificat a 33 GALLO, Domenico (1680-1762, Italy) Sonata no. 12 in E major (violin and piano) attrib. Pergolesi GALUPPI, Baldassare (1706-1785, Italy) Sonata no. 5 in C 01/61 no. 1 GARDEN, Steve, see: DIFFERENT TRACKS GAVIN, Nigel, see: DIFFERENT TRACKS GAVRILOV, Andrei (b.1950, Moscow) GAZZANIGA, Giuseppe (1743-1818, Italy) Don Giovanni, Opera excerpts GEMINIANI, Francesco (1680-1762, Italy) 12 Concerti grossi GEMINIANI Sonata in A major, op. 4 no. 10
Yong Siew Toh Conservatory Of Music between the composer Alberto Colla and the pianist Sergio Marchegiani. he studied with Giuseppe Binasco, Arthur Michelangeli and alfred cortot, http://scmapp.nus.edu.sg/events/details.asp?e_id=143
Wolfgang Lempfrid: Alfred Cortot (DLF) Translate this page Der pianist alfred cortot. Dieser Beitrag ist entstanden als Sendemanuskript Es ist fraglich, ob ein pianist wie alfred cortot heutzutage überhaupt eine http://www.koelnklavier.de/texte/interpreten/cortot.html
Extractions: [Dauer: 3'30] Dem Dirigentenberuf hatte er jedoch nie gänzlich abgeschworen: Von 1904 an leitete er die Konzerte der "Sociéte nationale" in Paris, wenig später übernahm er die "Concerts populaires" in Lille und das "Orchestre symphonique de Paris". Von 1929 stammt eine Schallplattenaufnahme mit dem Doppelkonzert für Violine, Violoncello und Orchester von Johannes Brahms. Alfred Cortot dirigiert hier das "Orquesta Pablo Casals"; die Solisten sind Jacques Thibaud (Violine) und Pablo Casals (Violoncello), mit denen Cortot lange Zeit auch die Kunst des Klaviertrios pflegte. Hier nun ein Ausschnitt aus dem ersten Satz. Musik 003: Brahms: op. 102 (Ausschnitt) So sehr Alfred Cortot es liebte, am Dirigentenpult zu stehen, so wenig ist dieser Bereich auf Tondokumenten greifbar. Vor allem seine Auffassung der Wagner-Opern wäre sicherlich aufschlußreich gewesen. Als Pianist hat Cortot sich dann mit einem ganz anderen, geradezu gegensätzlichen Repertoire einen Namen gemacht - mit dem Oeuvre von Frédéric Chopin. Man hat ihn gelegentlich den "letzten Romantiker am Klavier" genannt. Und in der Tat: Für Cortot scheint es keine Musik ohne die Assoziation von Bildern zu geben - wobei ihm ausschließlich an der eigenen Imagination gelegen ist. Cortot müht sich gar nicht erst um den historisch wahren Sinn einer Komposition. Der geschriebene Notentext ist ihm eine willkommene Gelegenheit, sich selbst auszudrücken. Was zählt, ist die subjektive Vision des Interpreten - oder, wie er es einmal formuliert hat: "der heiße Atem des Sprechenden".
Competition History The jury also awarded diplomas to pianist Idil Biret and the NAXOS company for Nimbus Records F. Chopin Grand Piano; alfred cortot - piano; Pleyel http://www.chopin.pl/grandprix/hist_en.html
Concert Artist, The Cortot Edition alfred cortot, piano. Orchestre de lÉcole Normale de Musique, Paris alfred cortot, piano. CE4TC-7003. The Mazurkas 1-52. alfred cortot, piano http://www.concertartistrecordings.com/cortot-edition.htm
Extractions: Concert Artist/Fidelio Recordings Royston, Hertfordshire, SG8 7EG, England The Cortot Edition The complete recordings by the great French pianist digitally remastered and sonically restored. The series includes many items not otherwise available. The following releases have been announced to date. The audiocassette version is gradually to be replaced by compact disc. Bach , Johann Sebastian (1685-1750 The Complete Brandenburg Concertos, Alfred Cortot, piano Orchestre de lÉcole Normale de Musique, Paris Two CD Set in Preparation) Chopin , Frédéric François (1810-1849) Mazurkas Vol.1 Alfred Cortot, piano CE4-TC-7001 Mazurkas Vol.2 Alfred Cortot, piano CE4-TC-7002 Mazurkas Vol.3 A minor, Notre Temps A minor, Emille Gaillard Alfred Cortot, piano CE4-TC-7003 The Mazurkas 1-52 Alfred Cortot, piano CACD-9180-2 Two Set in Preparation) The Four Ballades, The Four Impromptus, Polonaise in A flat, Op. 53 Alfred Cortot, piano CE4-TC-7005 Chopin The Etudes (1) 12 Études Op.10 (1933) 12 Études Op.25 (1933) Trois Études Nouvelles (1949) Alfred Cortot, piano
Extractions: CORTOT, Alfred-Denis Music French pianist and conductor, founder of Ecole Normal de Musique in Paris. A.L., signed "Alf Cortot," in French, extending belated congratulations to the recipient. 1 page, 8vo (2 punchholes in left margin). Paris, Oct. 24, 1910. "Excussez moi d'etre sinon le dernier, peut-etre l'avant dernier, a . . . dire toutes mes felictations! Mais j'ai l'excuse du voyageur et puis vous auriez dire etre decore depuis si longtemps que ca a un peu l'air dune blague . . ." Triple-matted in black and white with a black wood frame, accompanied by a black and white photo of the pianist in performance. Outer dimensions 19" x 15".
Stradivarius - Ricerca Con Interprete HOROWITZ VLADIMIR (piano) Translate this page cortot alfred (piano) CZIFFRA GYORGY (piano) FISCHER ANNIE (piano) cortotalfred (piano) GIESEKING WALTER (piano) GILELS EMIL (piano) http://www.stradivarius.it/expsearch.php?Interpreti=HOROWITZ VLADIMIR (piano)
Extractions: Some say Cortot (or even Rachmaninov) are dated. Somethings do change, but in art and in music, there are even more that will remain unchanged. Taste in music doesn't really change that much. And Cortot and Rachmaninov are right at the peak of modern pianism. They were ahead of their time in both music and pianism, and are still very much ahead ours in the sense that they still stand as our (Horowitz included) goal one way or other. I suggest what have really changed instead are the way younger pianists are trained and brought up nowadays, leaving few of them, if at all, in a position to carry on with the torch. And as Alfred Brendel said, the rich polyphonic pianistic tradition is really sadly lost. Coming back to this album, the real obstacle rather is the archive sound of their legacy, however rich they may be. But once this door is unlocked, viewers will be rewarded with a whole world of really wonderful music, of demonic and angelic pianism which would virtually leave Ashkenazy (or even Richter) way behind...
Andante Boutique - Frederic Chopin - Solo Piano, Volume Ii Translate this page alfred cortot (piano). Frédéric Chopin 9 Nocturne N° 8 in D flat major, Op.27 N° 2 Lento sostenuto 548 London, 20 February 1947 http://www.andante.com/boutique/Shop/index.cfm?action=displayProduct&iProductID=
Bilson Review, Volume 2 Issue 2 Spring 2000 the lesson by alfred cortot on Der Dichter Spricht from Schumann s Kinderscenen.cortot speaks in French, with subtitles at the bottom of the screen, http://www.echo.ucla.edu/volume2-issue2/reviews/art-of-the-piano.html
Extractions: So a composite video such as this one is for me a veritable treasure trove, a true legacy of a large proportion of the great piano playing of the 20 th th . The video available for purchase is narrated by John Tusa, but the same program as seen on PBS several months ago was narrated by John Rubinstein, son of Arthur. I was told by the producers that since the film involved many studios from many countries, the video exists with various narrations in different languages. The small booklet enclosed with the video has a text that follows to a large extent the line of the film; it has been translated into English from an article in French. There are also commentaries by a number of pianists, conductors and managers, including Piotr Anderszewski, Daniel Barenboim, and Colin Davis. Some of these are enormously sympathetic, such as Anderszewski, or very insightful, such as Daniel Barenboim, who describes each artist in a particularly characteristic way. Cortot, for example, he describes as follows: "I think Cortot looked for the opium in music. He looked for anything that was extraordinary; he always looked for something, not sickly, but something abnormal, totally removed from reality, and far from anything that could be construed as smelling of normality."
Alfred Brendel - A Musical Paradox Considering the phenomenal number of articles written about alfred Despite hisstature as a pianist, Brendel has always seen beyond his piano keyboard. http://www.scena.org/lsm/sm6-6/brendel-en.html
Extractions: C onsidering the phenomenal number of articles written about Alfred Brendel, it might seem futile â or at least not particularly useful â to take yet another look at this incomparable pianist. He is an artist whose peers hold him in the highest regard. He is a perfectionist when it comes to technique, and a musical interpreter of profound sensitivity. In fact, he challenges the standards, expectations, and unspoken laws of the classical music jungle and emerges greater than ever, yet able to maintain a disconcerting frankness and modesty. Brendel has a remarkably fine-tuned âear,â not only when performing but with regard to life in general, and he leads parallel lives that are mutually enriching. He is a chamber player (he recently joined with baritone Matthias Goerne, to the delight of fans of the vocal art); he performs with orchestra (in April he will perform all of Beethovenâs concertos with Seiji Osawa and the Boston Symphony Orchestra) and as a soloist (recitals in Montreal and Ottawa are scheduled for March and April). Brendel is also an essayist ( Thoughts and Afterthoughts has been providing absorbing reading for musicians and music-lovers for over thirty years); a new-fledged poet (his collection
Extractions: Crotchet Alfred Cortot (1877-1962) - conductor, teacher and prolific writer as well as pianist - was undoubtedly one of the giants of 20th century music. These discs (dating from the 1930s) certainly capture the essence of his pianism - limpid phrasing, generally sure grasp of form and wonderfully articulated passage-work. All the more surprising to learn, therefore, that he was not greatly concerned about his liberal supply of wrong notes (especially in the left hand) in tutti passages. Unfortunately, though there is much to savour in these performances, they are essentially for the student of the evolution of piano-playing rather than the general listener; for despite the undoubted remastering skills of Mark Obert-Thorn the sound-quality of the orchestral accompaniments is simply unacceptable to the modern ear. Textures are consistently constricted and often graceless. I have yet to hear a contemporary orchestra make full sense of Ravel's lugubrious introduction to his Concerto for the Left Hand: here it is reduced to a grotesque muddle; while the concluding brass chords are intensely grating. In the Schumann concerto the nasal tone of principal oboe is no less disagreeable.
Sheet Music Plus - Rational Principles Of Piano Technique By alfred cortot. Piano Method. Size 9x12 inches. 104 pages. to all pianistwho want to be able to perform the most difficult passages in piano http://wwws.sheetmusicplus.com/sheetmusic/detail/HL.50460280.html
International Piano Archives At Maryland, UM Libraries She participated in the Master Classes of renowned concert pianist alfred Cortotand pursued studies at the Ecole Normale de Musique in Paris. http://www.lib.umd.edu/PAL/IPAM/IPAMmcgraw.html
Extractions: Performing Arts Library International Piano Archives at Maryland The Collection Helen McGraw was born in the Washington D.C. suburbs on December 23, 1905. She grew up in the Maryland countryside as one of four children of parents of modest means, descendants of families of British origin who had resided in the United States from colonial times. She showed unmistakable musical gifts as a child, and gained local attention for her playing of the violin and piano. The family recognized her talents, but never realized her full possibilities, so it was some time before she was presented for admission to the Peabody Institute in Baltimore. The Peabody gave her a scholarship which she held until she graduated in 1930 with its highest honor, the Artists Diploma. Her teacher was Alexander Sklarevski, a refugee from Communist Russia, and at one time the head of a music conservatory in Czarist Russia. He had formerly worked and socialized with many of the great composers and performers and had become familiar with a wide repertoire. The year of her graduation in 1930, Helen McGraw won the prestigious Walter W. Naumburg Musical Foundation competition. The Foundation launched her professionally with a New York concert.
Extractions: The house lights dimmed at the BTI Center for the Performing Arts in Raleigh, North Carolina, one night last month, the stage lights came up on the grand piano, and in front of a rapt audience, Alfred Cortot played Chopin's Prelude in G (Op. 28, No. 3), as he had not for nearly 80 years. Cortot is dead, of course. He was not present in physical form, nor was anyone else sitting at the keyboard of the Yamaha Disklavier Pro as the keys rose and fell. But this was his performance come back to life: his gentle touch, his luminosity, even his mistakes, like the light brush of an extra note at the periphery of the final chord. So, at least, claimed Dr. John Walker, the president of Zenph Studios in Raleigh, which sponsored the event and created the software that allowed Cortot to return. Walker is developing technology that enables him to break down the sounds of an old recording, digitize them and reproduce them on a Disklavier, an up-to-the-minute player piano that can record and replay performances by means of a CD in a slot above the keyboard. Sophisticated fiber optics control the instrument's hammers.
Developer.net.au - Australian Software Developers - Old Piano NC Those in attendance will experience live recreations of French pianistAlfred cortot (18771962) playing a Chopin Prelude from 1926 and Canadian http://www.developer.net.au/news/news for thought/old piano recordings.asp
Profile Of Faculities Since 1968 he has been the pianist of the HaydnTrio of Vienna . When AlfredCortot visited Japan she had a fortunate encounter with the Maestro, http://www02.so-net.ne.jp/~kusatsu/eng/e1_facul.html
Extractions: ERNST HAEFLIGER vocal (T) Haefliger's worldwide reputation rests on his supreme interpretation of German lieder, opera and oratorio. He is known for his interpretations of Bach and his performances of the Evangelist in Bach's Passions have set a world standard. Born in Davos, Switzerland. He studied at the Zurich Conservatory, and trained with J. Patzak in Munich and with F. Carpi in Milan. For many years the first lyric tenor of Berlin Opera. He excels in Mozart. Recently, he has performed the part of narrator in Schoenberg's "Gurrelieder" with the Houston S.O. under C. Eschenbach and with the Pittsburgh S.O. under M. Janssons and will perform the same part in 2001 in New York Carnegie Hall under the baton of J. Levine. His book "Die Kunst des Singens" will soon appear in its third edition. Professor at Munich Musikhochschule from 1971 to 1981. Teaches in master classes in Zurich (Muraliengut), Japan (Kusatsu) and USA (Marlboro and Ravinia). Records are on Angel, Columbia, DGG, Vanguard, Philips and Claves. EDITH MATHIS vocal (S) was born in Luzern, Swiss, where she received her singing and musical education. After first theatre experience in her hometown and in Zurich, she was an ensemble member of Opernhause Koln, and at the same time she gave guest performances at the Hamburgische Staatsoper, the Glyndebourn Festival and the Salzburg Festival.
