The Malta Council For Culture And The Arts elisabeth; OR TO BE A MANN a new Camilleri and SerracinoInglott Opera Violin Virtuoso featuring violinist Aleksandar Krapovski and pianist Eleonora http://www.maltaculture.com/page.asp?n=culturaleventsdetails&i=4394&l=
Arlington Philharmonic Orchestra Soloists The Philharmonic Society of Arlington is proud to present violinist Cristina Buciu, As a student of elisabeth Phinney at the Boston Conservatory, http://cfa160.harvard.edu/~rmc/arlphil/soloists.html
WFIU:Arts & Culture The program also shows how Swissborn psychiatrist elisabeth Kübler-Ross WFIU s Artist of the Month for June is conductor and violinist Paul Biss. http://www.indiana.edu/~wfiu/artjune_2004.htm
Extractions: June 2004 Articles 2004 Kids' Art Winners Keyboard Conversations with Jeffrey Siegel Confronting Terrorism: Democracy's Response to the Terrorist Threat ... Society of Professional Journalists Honor WFIU News 2004 Kids' Art Winners This year's edition of the annual WFIU Kids' Art contest drew unprecedented numbers of entries from all over south-central Indiana. Children in grades one through six were invited to enter artwork on the theme "Space Exploration," with visuals of alien creatures, distant planets and out-of-this-world travels often depicted. This year's winner is Gary Blevins of Martinsville. Gary is in fifth grade at Brooklyn Elementary School. His illustration of an astronaut on the surface of Mars was uniquely drawn, with interesting use of color and shadows. The judges also selected two runners-up. Maemie Blankenship of Central Elementary School and Alex Golay of Centerton Elementary School also received awards. Maemie's distinctive use of various artistic tools impressed the judges, and Alex's bold colors set his work apart from the rest. The winners received generous gift certificates from Pygmalion's Art Supply in Bloomington, and met with WFIU staff members. The winning entries, along with numerous honorable mentions, will be on display throughout the summer as part of WFIU's Traveling Art Show. Stay tuned to find out when it will travel to your area!
Composers Datebook, 10/18/2004 - 10/24/2004 in London at Queen elisabeth Hall, by the London Sinfonietta, 1 in Bb, Op.18, in Hanover, by violinist Joseph Joachim and his ensemble; http://composersdatebook.publicradio.org/listings/datebook_20041018.shtml
Musicorda Festival Series - July 01 Concert Program Notes home of the wealthy widow elisabeth Rösing in Hamm, outside Hamburg. Brahmss friend Joseph Joachim, a violinist and composer who had already http://www.musicorda.org/festivalseries_0701_notes.html
Extractions: Home Artistic Director Young Artist Program OO ... Contact Musicorda Rachel Barton Pine, Artistic Director Program Notes Musicorda Festival Series - July 1 Concert canzone canzoni were instrumental works, for as few as five and as many as twenty-two players. Most of these appeared in two collections entitled Sacred Symphonies confidante animato 1812, Romeo and Juliet ), beloved ballets ( Sleeping Beauty, Swan Lake, The Nutcracker intentionally Souvenir de Florence, op. 70. Its putative inspiration was an excursion of another sort, to Florence in January of 1890, where he labored on a new operatic commission, Pikovaya dama (The Queen of Spades) . Tchaikovsky had long been fond of the Italian countryside; out of a trip a decade earlier had come the Capriccio Italien , op. 45. In his bella Firenze Despite its title, it appears that Tchaikovsky composed almost all of Souvenir de Florence Adagio cantabile e con moto The Queen of Spades, prestissimo A reflective tune and simpler textures (homorhythmic declarations and briefly imitative episodes) impart a folk-like flavor to the Allegretto moderato
Extractions: Paradise of Maestros Elector Carl Theodor's Hofkapelle in Mannheim Attending so-called musical "academies" was the best way of experiencing the Hofkapelle. These "academies" were concerts performed in the ceremonial room of the electoral palace, better known as Rittersaal (the Knight's Hall), during the winter months. The academies took place in Schwetzingen, the Elector's summer residence from May to October. Visitors would be seated around small card tables according to a seating plan and amuse themselves with card games over a cup of hot chocolate, tea or coffee. The orchestra podium was placed across the glass facade in Rittersaal. Despite a lack of original concert pamphlets from these musical events, one knows on the basis of contemporary accounts, that court concerts lasted between three to four hours and that the order in which the symphonies, solo concertos and operatic arias followed one another was subject to change. Recurring themes in contemporary descriptions of the orchestra are the unusually large size of the orchestra (22 violins in 1777!), its renditions of the compositions as well as the exemplary orchestra discipline. The strings were at the core of the orchestra as was the case all over Europe and by employing Johann Stamitz, the Elector had one of the finest violin virtuosos of all of Europe at his court. Stamitz established and cultivated the violin section in a process that began in 1747, when the court returned to Mannheim from Düsseldorf. Under Stamitz' direction, Mannheim's court orchestra developed to become one of the largest ensembles of the 18th century. The musicians specialized in their instruments from an early age - something that is now the norm - and they were counted among the best in Europe.
Extractions: Marcy Rosen, cello The Mendelssohn String Quartet has established a reputation as one of the most imaginative, vital and exciting quartets of its generation. The Quartet tours annually throughout North America with regular trips to foreign destinations. The Mendelssohn Quartet was for nine years the Blodgett Artists in Residence at Harvard University, and has performed at such distinguished venues as Carnegie Hall in New York City, Washington DC's Kennedy Center and Library of Congress, the Concertgebouw in Amsterdam, Wigmore Hall in London, and the Tonhalle in Zurich. The resident quartet of the Eastern Shore Chamber Music Festival and formerly resident quartet of the Santa Fe Chamber Music Festival, the Mendelssohn Quartet has performed at the Caramoor Festival, the Festival Pablo Casals in Prades, France, and makes frequent appearances at New York's Mostly Mozart Festival as well as the Ravinia, Aspen, and Saratoga Music Festivals. They were the first American ensemble invited to appear at the International Dialogues Festival in Kiev, Ukraine. The Quartet is often heard across the United States on Minnesota Public Radio's Saint Paul Sunday In the 2004-05 season the Mendelssohn String Quartet performs at Dartmouth College with actress Rosemary Harris in a concert of Beethoven, Shakespeare, and Huxley. The ensemble will offer two Beethoven quartets and Miss Harris will read from
New York Chronicle By Jay Nordlinger In the next concert, Robertson teamed with the young German violinist ChristianTetzlaff Singing elisabeth was the elisabeth of our time, Deborah Voigt. http://www.newcriterion.com/archive/23/feb05/jay(jan05).htm
Extractions: by Jay Nordlinger A Oklahoma or South Pacific : It was Cinderella , a humble girl. Cinderella Amahl and the Night Visitors is first to come to mind.) Where were you on the evening of March 31, 1957? If you were sentient and American, you were probably in front of your TV , watching Cinderella Cinderella may not be a Rodgers and Hammerstein masterpiece, but it has its modest charms. To use a Puccini analogy, it is La Rondine , not Madama Butterfly or Turandot In any event, City Opera did not put on an operatic performance; it put on a Broadway performance. As far as I could tell, there was only one opera singer in this show, and he sang the Royal Herald. He was good, too. Also good was the young woman who did Cinderella, Sarah Uriarte Berry; she sang correctly and purely. And her stepsisters, those nasty gals? Portia was played by Ana Gasteyer, who rose to national prominence as a cast member for Saturday Night Live Throughout this show, there was a lot of wink-wink at the audience. You know: Amuse or scandalize the adults, and the kiddies will never be the wiser, just as in Rocky and Bullwinkle or, in a later era
The Culture Of Classical Music Today By Samuel Lipman In the case of glasss several works, only Einstein on the Beach (1976), Much the same can be said of the Japanese violinist Midori, a successful http://www.newcriterion.com/archive/10/sept91/musicnow.htm
Extractions: by Samuel Lipman L PBS broadcasts from the Metropolitan Opera are seen by millions of viewers in the United States, and now by millions abroad on their own government-run TV channels. Furthermore, the Met now has ambitious plans for gala pay-per-view television broadcasts, from which it is hoped that the company will draw large revenues. Even in the trend-conscious academy, the study of great music, not just as notes and sounds but as ideas and influences, has become the rage in all the most prestigious schools. And then there is the pervasion of classical music as an integral part of the ambiance of our daily lives. What used to be derogated as elevator music has become classical elevator music; no visit to a pricey restaurant is complete without a sonic background of the Four Seasons of Vivaldi or any of several particularly familiar piano concertos of Mozart. Bach turns up frequently in television commercials, and has even been known to provide an accompaniment to scoreboard displays on televised baseball games. What is true in restaurants, TV commercials, and baseball games is equally true in department and specialty stores, and all manner of business offices. In recounting all the good news, it would hardly be fair to omit the fact that over the past two decades even large American corporations have flocked to supporting orchestras and opera companies, and have in many cases taken great pride in associating their good corporate names with musical culture. In an even larger way, senior business executives have been, and are today, willing to sit on musical boards and contribute their economic expertise to the running of these cultural enterprises. In general, contributions to music, not just from business but from foundations and private sources, have been going up, and even the present recession has not noticeably reduced these gifts.
Budapest Spring Festival 2002 WITH MARIA CRISTINA KIEHR, elisabeth VON MAGNUS, HERBERT LIPPERT, TatjanaGrindenko, violinist, founded the first early music ensemble in Eastern http://www.festivalcity.hu/btf2002/english_zenekari.html
Extractions: The ensemble was founded in 1983 by Iv¡n Fischer and Zolt¡n Kocsis. It gained permanent status from the Municipality of Budapest in 1992. It built up its international reputation with its concerts in Hungary and tours abroad and its recordings have won many prestigious prizes (including a Gramophone Award, often called the âmusic Oscarâ). It often hosts world stars and its projects (semi-staged opera productions, Bart³k cycle, Mahler symphonies, works by DvoÅ¡k, Liszt, Bruckner, etc.) are regularly invited to the most famous festivals and concert halls. Besides the orchestral concerts, it also organises chamber music concerts, devotes special cycles to contemporary music (New Music evenings) and to presenting talented young performers (Champagne Concerts in the Institute of Italian Culture), and has introduced programmes with commentary for children (Cocoa Concerts) and pensioners (One Forint final rehearsals). The orchestraâs music director is Iv¡n FISCHER. Born in Budapest (1951), he studied the cello and composition, and earned a diploma in conducting under Hans Swarowsky at the Vienna College of Music. His international career began when he won the London conducting competition (1976). Both as an opera and a concert conductor, his repertoire ranges from early music to contemporary works. He is a much-travelled artist; founder and music director of the Budapest Festival Orchestra, his recordings have won top prizes (most recently, three different CDs made with the Budapest Festival Orchestra won a Gramophone Award, the Diapason prize and one was voted best recording by music critics of Fonoforum). From the autumn of 2000 he became music director of the Lyon Opera and conducted a Mozart series in the Bastille Opera, Paris.
Elizabeth Brown Museum of glass, 1801 East Dock Street Tacoma. Friday, October 15, 2004, PLU Early and Baroque Concert, solo lute with Svend Ronning, violinist; http://www.plu.edu/~brownec/main.html
Extractions: Elizabeth Brown Pacific Lutheran University, Senior Lecturer Elizabeth Brown is head of the Guitar and Lute program at Pacific Lutheran University and is active throughout the Pacific Northwest as a solo and ensemble performer. Known for her musically passionate performances, she has given solo recitals and performed concertos throughout the West Coast from Vancouver to Southern California, and has been a featured soloist for the Seattle Bach Choir, Fresno Pacific University's Musica Pacifica Baroque, the Northwest Chamber Chorus and St. Mark's Cathedral Associates. Also active as a chamber musician, Ms. Brown is a member of Baroque Northwest, and has appeared with ArtsWest, Seattle ProMusica and the City Cantábile Choir. Ms. Brown is a founding member of the early music group Le Nuove Musiche, which has released the recording Dolce Desio: The Birth of the Baroque in Italy, France and England . She has been featured on Channel 9's "KCTS Connects" program, and is a frequent guest on Classic King FM in Seattle. Ms. Brown graduated cum laude from the University of Washington with Bachelor of Arts and Music degrees in Guitar and Lute Performance under the direction of Steven Novacek. She has also had additional studies with lutenists Paul O'Dette, Pat O'Brien, Ray Nurse and Ronn McFarlane, as well as guitarists David Russell, Paul Galbraith and Eliot Fisk. Ms. Brown's first solo recording, La Folía de España: Dances for Guitar , features works for baroque, 19th century and modern guitars, and was released in March 2005 on the Rosewood Recordings label.
Hermann Hesse Web Magazine The glass Bead Game and the Information Age. Group Reading of The glass Bead Game as well as cellist Julius Berger and violinist Angelika Lichtenstern. http://ic.ucsb.edu/~ggotts/hesse/about-e.html
Artifact: Full Record For BBC Four : A-Z Interviews sculptor; Lutyens, elisabeth, 19041984 Musician, composer; Maconchy, Menuhin, Yehudi, 1916-1999 Musician, violinist; Rohe, Ludwig Mies van der, http://www.artifact.ac.uk/displayoai.php?id=288
Powered By Possibility EZine - September 2004 18, 1995, Itzhak Perlman, the violinist, came onstage to give a concert at People are like stainedglass windows. They sparkle and shine when the sun http://www.balancepointinternational.com/ezine/archive/2004/pbp0904.htm
Extractions: September 2004 Hello, Let's begin with a heartfelt THANK YOU to the many readers who are forwarding this eZine to their friends and colleagues. Our readership number is constantly growing and I'm delighted to be able to share with so many people. Feel free to forward Powered by Possibility to anyone you feel would benefit especially if their work or non-profit efforts require being more effective in working with others. To my many Jewish friends and readers, Happy New Year! May Rosh Hashanah be a celebration of your life past and future. To my non-Jewish readers, this holiday begins the preparation for Yom Kippur nine days later. It's the Jewish day of atonement, a day of fasting and repentance to reconcile each person with the Creator for the mistakes made in the last year. That practice might be a good idea for all of us! Years ago my friend Stuart Matlins told me about a book his company, Jewish Lights, had published and that might apply to our work. Stuart's mission for his company includes publishing books that appeal to both the Jewish community and non-Jews like me. I really learned from the book, So That Your Values Live On Ethical Wills and How to Prepare Them, (edited by Jack Reimer and Nathaniel Stampfer) and went on to use it in our seminars when we work with participants on our life legacy. The Los Angeles Times review said of the book, "While the book is written from a Jewish viewpoint, its principles can easily be adapted by people of other faiths." If you'd like to explore the ideas further, press CTRL and then click on the following:
Kalvos & Damian's New Music Bazaar: Past Notices TL has been a champion of new music as composer, violinist, conductor, teacher, Florent RenardPayen, cello; Kirsten Sollek, mezzo; elisabeth Stimpert, http://kalvos.org/paststuf-2005.html
The Washington Diplomat violinist Dmitri Berlinsky and pianist Elena Baksht Operetta evening withbaritone Klemens Geyrhofer and soprano elisabeth Kulman http://www.washdiplomat.com/02-10/b2_02_10.html
City Of The Month Worth seeing the paintings by Coxie, the stainedglass windows Concours ReineElisabeth (in mai) A talented violinist, the wife of King Albert 1 took a http://www.music-opera.com/site_english/ville_bruxelles_e.htm
Extractions: The town subsequently developed trade and manufacturing, established a middle class and acquired its own administration. Around 1100, a protective rampart was built around the town. At the death of Duke John III, Count of Flanders, Louis de Male, taking advantage of the situation, took possession of Brussels. But, two months later, Everard t'Serclaes succeeded in driving the Flemish from the town and further ramparts were built to protect the city-dwellers. The arrival of Philip the Good, Duke of Burgundy in 1430, brought economic prosperity. Twenty years later, Brussels was considered the capital of the kingdom of Burgundy and became, under Charles V, the capital of the Low Countries. The death of his successor, Philip II of Spain who left no succession, brought with it numerous conflicts. In 1695, the troops of Louis XIV destroyed much of Brussels. The town finally came under Austrian domination until the French revolution.
Belmont In The News: Belmont Camerata Musicale Featured In Sunday Paper First of all, they re aware that artistic director and violinist elisabeth Smallwill fashion a challenging, imaginative program that steers clear of the http://forum.belmont.edu/inthenews/archives/2003/11/belmont_camerat.html
Extractions: Main Tennessean arts writer Alan Bostick profiles a performance by the Belmont Camerata Muscale in this piece that ran Sunday. When it comes to the Belmont Camerata Musicale, there are a few things fans of the group know they can count on. First of all, they're aware that artistic director and violinist Elisabeth Small will fashion a challenging, imaginative program that steers clear of the ordinary. Second, the players, typically Belmont faculty members and their guests, will offer a committed, practiced reading. And third, the setting, usually the elegant confines of Belmont Mansion, will only add to the experience. Small and the Camerata are back in action tomorrow night, and the only thing that's different this time is the venue. The one deviation from the winning formula is that tomorrow's concert will take place not in the mansion but in the adjacent Massey Auditorium, deemed more appropriate for this particular program. Why?
For A Change Magazine: Making The Soul Dance elisabeth Smith, a Norwegian living in Zimbabwe, offered a patchwork quilt violinist Jonathan Sparey likened the artist s role to that of a conduit http://www.forachange.co.uk/index.php?stoid=53
Classical Music Links Ostap Shutko violinist with his own artistic style - Classical music services, Søren Nils Eichberg - winner of the Queen elisabeth Competition for http://www.mvdaily.com/links/
