Sermon - September 5, 2004 It had been owned by bronislaw huberman, a remarkable old school violinist ofthe first half of the last century. huberman was performing a concert at http://www.mind.net/firstpres/sermons/040905.html
Extractions: Click here to read texts What a fascinating and awful secret to have. What a relief it must have been to finally tell somebody. For fifty years Julian Altman was a stranger in a strange land. And so he comes home to his slave master, Philemon, clutching a piece of paper, the very letter we read this morning from Paul, the apostle. And now its something we have given the distinctive name, scripture. Now, punishment for running away could be extreme. They could be sold to the slave galleys, severely whipped, even executed which underscores the critical importance of the letter from Paul Paul calls the slave, Onesimus, "a faithful beloved brother." "Restore him," he urges Philemon. You need also to know that the letter is not a private letter. It is meant to be shared among the Christian community that meets in Philemon's house. There were, in fact, no churches as we know them until the 4th century.
Extractions: Performing Arts Collections and Institutions Institution names followed with are members of SIBMAS Hubbard Street Dance Company Huber, Anna Gertrud Huber, Hans (1852-1921), composer Huber, Joseph (1837-1886), violinist, composer Huber, Klaus (1924-), composer Huber, Ludwig Ferdinand (1764-1804), writer, translator Huber, Rudolf (1879-1960), composer, conductor Huber, Therese (1764-1829), writer, translator Huberman, Bronislaw (1882-1947), violinist Huch, Ricarda
UNT: College Of Music: Bios: Berthe huberman Odnoposoff was born in Paris, France to a musical family; she isrelated to violinist bronislaw huberman and married cellist Adolfo http://www.music.unt.edu/bio/odnoposoff.shtml
Extractions: Berthe Huberman Odnoposoff was born in Paris, France to a musical family; she is related to violinist Bronislaw Huberman and married cellist Adolfo Odnoposoff, whose brother Ricardo is a famous violinist. Ms. Odnoposoff lived in Havana, Cuba, where whe studied under the guidance of Russian pianist Jascha Fisherman as well as Erwin Herbst and Joaquin Nin, and took master classes with Rosita Renard. She holds a bachelor of arts and sciences degree, a diploma in piano, and a diploma in theory and harmony from the Ministry of Education, Havana, Cuba. In 1989, Ms. Odnoposoff organized the Hispanic Friends Pro-Musica whose goal is to support the College of Music and at the same time promote Hispanic music and artists. The group represents a variety of nationalities, including Mexico, Central and South American countries, Caribbean Islands, Spain, and Portugal. The leadership of Hispanic Friends Pro-Musica is committed to serving gifted and talented Hispanic students who have selected the UNT College of Music for their advanced musical studies. A scholarship has been established for Hispanic students pursuing doctoral studies here. The City of Houston made her an Honorary Citzen as a goodwill ambassador in 1980; the Department of Health and Human Services awarded her for "her world renown contribution to Hispanic music and its civilization" in 1983 and 1984; she was inducted into the National Guild of Piano Teachers Hall of Fame in 1987; and she was an Honor Teacher for the "Van Cliburn Concert Series" at UNT in 1988. Ms. Odnoposoff is a member of Phi Beta Delta, an honor society for international scholars. The Denton Music Teachers Association (DMTA) awarded her the DMTA Collegiate Teacher of the Year in 2000. She has been a member since 1976 and has participated in all activities (recitals, festivals, auditions) with full class capacity.
Israeli Philharmonic Orchestra Founded - January 7th 1939 Philharmonic Orchestra) was founded by Polish born violinist bronislaw huberman.huberman, foreseeing the Holocaust, persuaded 75 Jewish musicians from http://www.wzo.org.il/en/resources/view.asp?id=891
Juilliard | The Juilliard Journal Online The violinist bronislaw huberman was Joachim s last great pupil, and playedBrahms s concerto for him while still a lad. Brahms so approved he promised a http://www.juilliard.edu/update/journal/letters_0302.html
Extractions: "One should not eat cherries with great men," Brahms once wrote in a letter to Richard Wagner, and what he meant by the German proverb was, "I know I shouldn't tangle with powerful people ." But he did so anyway, because he had something on his mind. I see a bowl of cherries before my eyes as I write to take issue with Roger Norrington, after reading his claims that a Brahms symphony should be played without vibrato (Daniel Wachs's interview with Roger Norrington, "One Brahms Symphony, Hold the Vibrato," December/January issue). "That is how Brahms would have expected his symphony to sound," Maestro Norrington is quoted as saying. Cherry in hesitant hand, I venture to say that it is not as simple as that. For one thing, Brahms is the very last person in the musical world to insist that there was only one "correct" way to play his music. This is the man who said that his blood and a metronome didn't go well together, and who once offered to provide a friend, for a goodly sum of money, a weekly subscription for tempo markings, "because with normal people they cannot remain valid for more than a week." This is also the man who wrote piano and chamber music with a little Graf or even a beautiful Erard at hand, but as soon as he had the clout, insisted on performing those works in public only on American Steinways (yes!) and Bechsteins. As a composer, Brahms was a man who welcomed new possibilities, so long as they were genuinely felt.
Baltimore Symphony Orchestra > Press Room > In The News turnof-the-20th-century English violinist Alfred Gibson, it was stolen twicefrom its next owner, Polish violinist bronislaw huberman. http://www.baltimoresymphony.org/pressroom/inthenews/view.asp?id=40000226
Los Angeles Philharmonic Association - Piece Detail (Decades later, the violinist bronislaw huberman would trump that famous line bysaying that the Brahms concerto is not against the violin, but is instead a http://www.laphil.org/resources/piece_detail.cfm?id=96
Arbiter Liner Notes bronislaw huberman, violin. Learn from the past, enjoy the present, work for thefuture. bronislaw huberman. A vital culture once thrived in middle Europe. http://www.arbiterrecords.com/notes/105notes.html
Extractions: Learn from the past, enjoy the present, work for the future. -Bronislaw Huberman A vital culture once thrived in middle Europe. Its multi-lingual citizens had endured life under Russian Tsars, Austrian and German emperors, Turkish sultans, and their own equally horrid Nationalists. The writer Gregor von Rezzori came from Czernowitz, Austria, or Cernauti under Romania, then Cernovtsy in the Soviet Union and now part of an independent Ukraine. The languages used locally included German, Romanian, the tongue of the Huzuls, Armenian, Yiddish, Ladino, Hebrew, Ukrainian, Turkish, Polish, and Gypsy dialects. Rezzori told this writer about a Huberman recital in his native city: "The Concert Hall had rather large entrance doors on the sides which led out onto the street. For Huberman's concert there came a fantastically snobbish public in white gloves made up of officers and functionaries. They scarcely clapped with their white gloved hands. After the first part, the doors swung open and they swarmed out for cigarettes. The hall filled again for the second half and Huberman played to a storm of applause; the Jews loitering outside had come in!" Bronislaw Huberman was acclaimed during his fifty-year career as one of the most musical and original violinists. His popularity was at its strongest in Czernowitz, throughout Poland, Czechoslovakia, Romania, Hungary, Austria, Germany, and Russia. He repeatedly toured throughout the entire world. Under Fascism and Communism, the culture he embodied collapsed and now barely exists. The few recordings made by Huberman reveal an art unimaginable in our time. During his life, Huberman's sincere and personal style created polemics, which were discussed in a toned down manner in Carl Flesch's autobiography. (For a detailed account see his son's book: Carl F. Flesch. 'And do you also play the violin?', Toccata Press, 1990; and in German as 'Und Spielst du auch Geiger?', Atlantis Verlag, 1990).
Arbiter Liner Notes bronislaw huberman, violin with the National Orchestral Association under LeonBarzin; Ignaz Friedman and Boris Roubakine, piano. A judgment of huberman is http://www.arbiterrecords.com/notes/115notes.html
Extractions: "A judgment of Huberman is quickly rendered. He is simply a phenomenon, an apparition before whom criticism ceases. Mind you, Huberman was never that which is known as a 'child prodigy'. At the age of six years, he was already a miraculous man who, far from being reduced to normal stature, kept himself at an illustrious height." It is surprising to discover a group of concert performances by an artist who died more than fifty years ago, an opportunity unlikely to occur again. Musicians such as Bronislaw Huberman (1882-1947) did not respond well to the sterility, acoustics, and limitations of the recording studio. When Huberman made discs of Beethoven's Violin Concerto, he was obliged to break the continuity every four minutes and discuss whether to play the same excerpt again or go onward. The record company's choice of such a draconian and inhibiting conductor as George Szell did not help matters either. Although the disc's excellence is a tribute to his professionalism, was there more to Huberman's Beethoven? The recent discovery of a 1944 War Bond concert of Huberman with Leon Barzin and the National Orchestral Association reveals how a public performance allowed his artistry to fully emerge in a work of great significance. Huberman's collaboration with Ignaz Friedman in Beethoven's Kreutzer Sonata is well known, yet the 78 rpm sets released in England and America contained different takes. We include here the first and third movements from the American edition, as the only available recordings are from the British version. The second movement is identical in both albums, thus their alternate performances are published here a supplement to the complete recording, which has been published by other companies.
Extractions: [64:09] budget-price by Derek Lim When Bronislaw Huberman (1882-1947) was but 13, he performed Brahms' Violin Concerto, reducing the composer to tears, earning for himself a kiss on the forehead from the old man and an anecdote for which he is always remembered nowadays for. What may be less well-known is that Huberman also founded the Israel Philharmonic Orchestra , and was the main reason behind the virtual banishment of Richard Wagner from the concert stage of the Holy Land in response to the Holocaust (Hitler's favourite composer was Wagner himself, followed by Bruckner). However tantalizing the prospects of a Brahms Violin Concerto recording with Huberman may be, we are left instead with a small body of concerto recordings, including a Lalo Symphonie Espagnole , some short virtuoso pieces, and on this disc, the concertos by Beethoven and Tchaikovsky.
Part X A Few Additional Items huberman, bronislaw. SIGNATURE ON ALBUM LEAF. January 16, 1908. Boldly signed bronislawhuberman. 16 I. 08. With a copy of a photo. http://www.montagnanabooks.com/PartX-AdditionalItems.html
Extractions: On a postcard, Enesco has written "My dear Mr. MacManus, I am very sorry indeed not to be in Paris at the same time as you. I am here in SinaiaŠcomposing and enjoying nature with all its undescribable beauties." Signed Georges Enesco. He has addressed the postcard to Mr. MacManus. Also included is a concert program from 1925 with Enesco playing the violin and McManus playing piano. With a copy of a photo. Scarce. Special sale price. (Harper's Weekly) THE BEGINNING OF AN ARTIST'S CAREER. August 29, 1874. An interesting double page print that pictures a young violinist giving a concert to a small group of admirers. The article on the back of the print (part of the magazine) talks about the early careers of Camilla Urso and the Milanollo sisters. (22 x 15 3/8 inches, edges sl. worn and chipped, the title has a tear through it). $45.00 Menuhin, Yehudi. CONCERT PROGRAM. Chicago, October 19, 1952.
Extractions: "Both of these in-concert readingsthe Mozart from 1945, the Tchaikovsky from a year latertook place after a plane crash that severely damaged Bronislaw Huberman's left hand and forced him to relearn his instrument. (That he did so was miraculous.) Neither of these performances is in any way orthodox. The acerbic tone and occasionally eccentric phrasing in the Mozart will surely disturb purists...Still, one always senses a committed musician with a strong personality. Note, for example, the clipped ending of the finale's rondo theme, which suggests humor rarely conveyed by other fiddlers. Bruno Walter proved an ideal accompanist, aptly echoing Huberman's notions. Huberman's way with the Tchaikovsky should have greater appeal. For one thing, its virtuosic flamboyance is better suited to the violinist's style, and his occasional roughness complements the folksy idiom of the work better than it does Mozart's elegance...One listens in amazement to the abandon with which he digs into the music, his spiccato, in particular, being especially impressive...."
BRONISLAW HUBERMAN IN PERFORMANCE, Music & Arts CD-1122 CD1122(1) bronislaw huberman IN PERFORMANCE JOHANNES BRAHMS Violin Concertoin D, Op. 77 (cadenza by Hugo Heerman); Philharmonic-Symphony Orchestra, http://www.musicandarts.com/CD1122hi.html
Extractions: CD-1122(1) Add to Shopping Cart Huberman (1881-1947) was a Polish-born virtuoso, already famous by the age of thirteen in the musical capitals of Europe. In 1896, he performed the Brahms Concerto in the composer¹s presence. According to Brahms¹s biographer Max Kalbeck the composer was astonished and deeply moved by the 14-year-old boy¹s fiery interpretation, "and when the Adagio was reached his eyes moistened. At the end of the Finale, he embraced the young boy whose musical genius had found the exact mode of interpretation of the concerto." Brahms reputedly planted a kiss on the boy¹s forehead, gave him an autographed picture, and told him, "You should not have played so beautifully; you are a genius, my son! " We are fortunate to have recently discovered a broadcast transcription of the Brahms Concerto with Huberman in clear and good sound for its time which gives a far better idea of his artistry than do most other live recordings of his. When our predecessor, Educational Media Associates, released an LP of the same performance (from an inferior sound source) Mortimer H. Frank wrote in Fanfare: "The Brahms [concerto] is the prize a passionate, intense, rhythmically flexible reading that often explodes into white heat... this is playing of thrilling commitment, personality, and fire... I would certainly rather hear Hubermans performance of the Brahms than the digital, hi-fi recordings many of todays virtuosos will soon being giving us."
Extractions: Click to listen to Sound Samples Detailed Work Information Concerto for Violin in D major, Op. 35 Composer Peter Ilyich Tchaikovsky (1840 - 1893) Conductor William Steinberg Performer Bronislaw Huberman (Violin) Genre Concerto Date Written Ensemble Berlin Staatskapelle Orchestra Period Romantic Country Russia Recording Studio Concerto for Violin in E minor, Op. 64: 2nd movement, Andante Composer Felix Mendelssohn (1809 - 1847) Performer Bronislaw Huberman (Violin) Siegfried Schultze (Piano) Genre Concerto Date Written Period Romantic Country Germany Recording Studio Symphonie espagnole, Op. 21 Composer Edouard Lalo (1823 - 1892) Conductor George Szell Performer Bronislaw Huberman (Violin) Genre Concerto / Symphony Date Written Ensemble Vienna Philharmonic Orchestra Period Romantic Country France Recording Studio Kol Nidrei for Cello and Orchestra, Op. 47
Bronislaw Huberman In Performance By Huberman,B / Ormandy,E CD Low prices on huberman,B / Ormandy,E bronislaw huberman In Performance musicalbum at CDUniverse Brahms, Tchaikovsky Violin Concertos / Heifetz, Reiner http://www.cduniverse.com/search/xx/music/pid/6352374/a/Bronislaw Huberman In Pe
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Violinists.com - The Classical Violin Site About bronislaw huberman Added Jan 5, 2003 Last Update Jan 5, Online resource for string players, teachers and students; Violin FAQ, http://www.violinists.com/index.php?PID=6
Violinists.com - The Classical Violin Site Violin Competition in Uralsk, West Kazakhstan 1623rd March 2005 Open to violinists About bronislaw huberman Added Jan 5, 2003 Last Update Jan 5, http://www.violinists.com/index.php?show=new&sr=30&pp=10&cp=4
Reissue CDs SEP03, Pt. 2 - AUDIOPHILE AUDITION bronislaw huberman, violin/Artur Rodzinski conducts New York Philharmonic (Brahms)/EugeneOrmandy conducts Philadelphia Orchestra (Tchaikovsky) http://www.audaud.com/audaud/SEP03/REISSUES/recds2SEP03.html
Extractions: Virtuoso Fantasy Carmen. Polonaise , and another keyboard star of the past - Josef Lhevinne - is heard in an all-stops-out arrangement of the The Blue Danube . Only the Ravel and St.-Saens selections suffer seriously in relation to the others; the mechanical approach is just not quite up to communicating the subtle impressionistic timbres the composers sought. Fans of historic keyboard artists will surely be waiting with baited breath for future volumes in this valuable series.
