Walter Johannes Damrosch Vídeos
compositor, director de orquesta, profesor de música
- ópera
- Estados Unidos
Última actualización
2024-05-03
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Lazare Saminsky Nemtsov Rimsky Korsakov Lyadov Schoenberg Stravinsky Serge Koussevitsky Pierre Monteux Willem Mengelberg Walter Damrosch Busch 1882 1910 1935 1940 1959 2000
Lazare Saminsky +••.••(...)) Three Shadows, Op. 41 Composed in 1935 Performed by Jascha Nemtsov (http•••)/ “Saminsky, a former fellow-student at St. Petersburg conservatory under Rimsky-Korsakov and Lyadov, officially banned from Moscow for participating in student protests, had a plentiful life. Blessed with inexhaustible energy, an enthusiastic temperament and exceptional versatility, he was a scholar, well-versed in mathematics, philosophy and languages, several of which he spoke fluently. He was a founding member of the Society for Jewish Music. He also took part in expeditions to collect folk songs and liturgical singing of the Caucasian Jews. An avid traveler, he stayed in Jerusalem before emigrating to the United States. There, shortly after his arrival, he founded the League of Composers. He was responsible for the American premiere performances of Schoenberg's Pierrot Lunaire and Stravinsky's Les Noces. Very committed to the music of younger American and Russian composers, he established the "New York Polyhymnia", an international concert association which goal was to "foster international exchange of unknown musical cultures and of unknown works, old and new." His own works, performed in the 20's under such conductor as Serge Koussevitsky, Pierre Monteux, Willem Mengelberg, Walter Damrosch, and Allan Busch, languished later on living an increasingly shadowy existence. Most of them are conspicuously programmatic in character. This is not always the result of a definite literary model, but is often the consequence of the unusually plastic and gestural quality of the music, whose freely rhapsodic language suggests the presence of a musical protagonist. After the Second World War, when a new generation of composers successfully raised their claims to avant-garde status, his music was dismissed as "not-up-to-date". Only now, at the turn of the century, it has become increasingly obvious that the creative impulses of early Modernism +••.••(...)) were often more original and fertile than any number of fashionable manifestations appearing during the subsequent era. Saminsky stayed in the US until his death in 1959. Saminsky composed his Three Shadows, the first for piano and the second for orchestra. The three Poems (so-called in the subtitle) are dedicated to the memory of the great American poet Edwin Arlington Robinson, and are an immediate response to the news of his death in August 1935. The prevailing mood is correspondingly somber, brightening only in the second movement. The second poem bears the title "A Poet", and a maxim from Robinson: "A singing voice then gathered and ascended, Filled the vast dome above till it glowed, With singing light." This light-filled music is framed by two movements which are darker in atmosphere. The first "Omen", is is set to a poem by Pitts Sanborn: "Seek not to turn al vintages to blood; Leave me one city, War, on a crown stream, The crumbling cornices, the dust, my dreams." The last "Poem" is a setting of Carl Sandburg's "Grass" and subtitled "A Dirge": "Pile up the bodies high at Austerlitz and Waterloo, Shovel them under and let me work - I am the grass; I cover all. And pile them high at Gettysburg. I am grass; let me work.“ Jascha Nemtsov. Liner notes for ACROSS BOUNDARIES: DISCOVERING RUSSIA 1910-1940, VOL. 3: WAITING ROOM, Jascha Nemtsov, EDA Records EDA 016-2, 2000, compact disc.
Lazare Saminsky Nemtsov Rimsky Korsakov Lyadov Schoenberg Stravinsky Serge Koussevitsky Pierre Monteux Willem Mengelberg Walter Damrosch Busch Kafka 1882 1910 1919 1940 1959 1999
Lazare Saminsky +••.••(...)) Ritual Dance on the Sabbath, Op. 26, No. 1 Composed in 1919 Performed by Jascha Nemtsov (http•••)/ “Saminsky, a former fellow-student at St. Petersburg conservatory under Rimsky-Korsakov and Lyadov, officially banned from Moscow for participating in student protests, had a plentiful life. Blessed with inexhaustible energy, an enthusiastic temperament and exceptional versatility, he was a scholar, well-versed in mathematics, philosophy and languages, several of which he spoke fluently. He was a founding member of the Society for Jewish Music. He also took part in expeditions to collect folk songs and liturgical singing of the Caucasian Jews. An avid traveler, he stayed in Jerusalem before emigrating to the United States. There, shortly after his arrival, he founded the League of Composers. He was responsible for the American premiere performances of Schoenberg's Pierrot Lunaire and Stravinsky's Les Noces. Very committed to the music of younger American and Russian composers, he established the "New York Polyhymnia", an international concert association which goal was to "foster international exchange of unknown musical cultures and of unknown works, old and new." His own works, performed in the 20's under such conductor as Serge Koussevitsky, Pierre Monteux, Willem Mengelberg, Walter Damrosch, and Allan Busch, languished later on living an increasingly shadowy existence. Most of them are conspicuously programmatic in character. This is not always the result of a definite literary model, but is often the consequence of the unusually plastic and gestural quality of the music, whose freely rhapsodic language suggests the presence of a musical protagonist. After the Second World War, when a new generation of composers successfully raised their claims to avant-garde status, his music was dismissed as "not-up-to-date". Only now, at the turn of the century, it has become increasingly obvious that the creative impulses of early Modernism +••.••(...)) were often more original and fertile than any number of fashionable manifestations appearing during the subsequent era. Saminsky stayed in the US until his death in 1959. Although not expressly mentioned in the title, "Danse rituelle du Sabbath" (or "Ritual Dance on the Sabbath") in unquestionably about a Hassidic Sabbath celebration for it is not customary to celebrate the Holy Sabbath by dancing. However, in Hasidism, prayer is an expression of joy and thus singing and dancing play an important role in worship. The Hasidim are especially well-known for their musicality. "Melodies are created... A miracle-working rabbi suddenly put his head down on his arms resting on the table and stayed like that for three hours while everyone else remained silent. When he woke up, he wept and then sang us a completely new and merry march." (Franz Kafka, Diaries) It is a "merry march" such as this in the "Aavo rabo" modus with the characteristic augmented second which the Hasidim are so fond of that one can hear as the theme in Saminsky's piece. This theme is varied several times whereby it alternates between pounding with heavy chords and shooting up like the tongues of flames.” Jascha Nemtsov. Liner notes for ACROSS BOUNDARIES: DISCOVERING RUSSIA 1910-1940, VOL. 2: THE NEW JEWISH SCHOOL, Jascha Nemtsov, EDA Records EDA 14-2, 1999, compact disc.
Édouard Flament Sylvan Belmont Walter Damrosch Georges Barrère Saint Saens Dubois William Grant Still Charles Édouard Lefebvre Lefebvre 1880 1905 1908 1958 1982
The Sylvan Winds; Boris Baev (oboe); Nancy Belmont (bassoon) from Albany TROY1755 (http•••) The tradition of performing the repertoire on this recording came directly from French wind instrumentalists who were brought to New York in 1905 by Walter Damrosch to join the New York Symphony. The arrival of these performers, trained at the Paris Conservatory, was a turning point in the development of woodwind playing in this country. Flutist Georges Barrère was a key figure in this evolution. He became a tireless advocate of the music of his adopted country, insisting that all programs of his Wind Ensemble include at least one American work. He consistently promoted new repertoire and was responsible for the premières of more than 150 works. The Sylvan Winds are heirs to this rich heritage, one established by Barrère and his French colleagues, and are dedicated to preserving and continuing it. This recording will help listeners to appreciate our inherited classical music tradition. The Sylvan Winds, established in 1982, are an integral part of New York City's cultural offerings and have earned both critical and audience acclaim for their spirited performances and innovative programming. Works by Saint-Saens, Theodore Dubois, William Grant Still, Charles-Édouard Lefebvre, and more
Jacobsen Arthur Bergh Bergh George Gershwin Jascha Heifetz Toscha Seidel Elman Franz Kneisel Saint Saens Bruch Walter Damrosch Chausson Einstein Zeitlin New York Philharmonic 1716 1717 1732 1772 1779 1895 1908 1914 1915 1919 1921 1925 1926 1945 1946 1947 1949 1952 1972
Sascha Jacobsen was a Russian violinist and teacher born (in Helsinki, Finland) on December 10, 1895. Jacobsen’s birthdate is also given as November 29, 1895 and December 11, 1895. Little is known of his early life. It has been said that he grew up in St Petersburg. He has been often confused with another violinist (from Philadelphia) named Sascha Jacobson. A humorous song written by George Gershwin in 1921 includes his (first) name (along with those of Jascha, Toscha, and Mischa – Russian violinists Heifetz, Seidel, and Elman, respectively.) It is known that he enrolled at Juilliard in 1908 where his main teacher was Franz Kneisel. He graduated from Juilliard (Institute of Musical Art) in June of 1914 (some sources say 1915.) He was 18 years old. (A fellow-student of his was Elias Breeskin.) In February of 1915, Jacobsen played parts of Lalo’s Symphonie Espagnol at an Aeolian Hall concert. On November 27, 1915, he made his official recital debut at Aeolian Hall playing (among other things) Saint Saens’ third concerto. After the announced program was concluded, he had to play numerous encores and he received very favorable reviews the following day. He first soloed with the New York Philharmonic on March 9, 1919 (at age 23) playing Bruch’s first concerto with Walter Damrosch conducting. Jacobsen concertized as a soloist between 1915 and 1925. He began teaching at Juilliard in 1926. After being hired, he almost immediately formed the Musical Art Quartet which disbanded in 1945, after almost 20 years of concert activity. Recordings of this quartet are not hard to find. Jacobsen also did solo recordings, although mostly of short works for violin and piano. A well-known recording of his is the Chausson concerto for string quartet, violin, and piano with Jascha Heifetz as violin soloist. You can listen to that recording here. He moved to Los Angeles (California, USA) in 1946 and taught at the Los Angeles Conservatory but at other music schools as well. From September 1947 and May 1949, he was guest concertmaster of the Los Angeles Philharmonic. Some sources say he was concertmaster up to 1952 but I could not confirm that. It has been said that Albert Einstein was one of Jacobsen’s pupils. (Einstein also took lessons from Toscha Seidel.) Jacobsen’s most famous pupils are probably Julius Hegyi and Zvi Zeitlin. Among the violins he played are the Red Diamond Stradivarius (1732), the Cessole Stradivarius (1716), the Windsor Stradivarius (1717), a GB Guadagnini (1779), another GB Guadagnini (1772), and a Del Gesu Guarnerius constructed in 1732. Jacobsen died on March 19, 1972, at age 76.
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- cronología: Compositores (Norteamérica). Directores de orquesta (Norteamérica). Intérpretes (Norteamérica).
- Índices (por orden alfabético): J...