Natalie Draper Vídeos
compositora estadounidense
Aniversarios
- piano
- música clásica, música académica contemporánea
- Estados Unidos
- compositor
redes sociales
streaming
Última actualización
2024-05-13
Actualizar
Achron Theremin Isidor Achron Rosen Jascha Heifetz Moog Draper 1892 1927 1938 1943 1948 2020
Resurrected from the archives: Isidor Achron's NOCTURNE-FANTASIA (1943) for Theremin and Piano, dedicated to Lucie Bigelow-Rosen, the New York socialite and theremin player who supported Leon Theremin's lab work during his American sojourn, 1927-1938. Born to a Russian Jewish family in Warsaw, Isidor Achron +••.••(...)) was a pianist, composer and music teacher who found fame Jascha Heifetz's accompanist. A virtuoso in his own right, Achron left a small but beautiful collection of works including a Nocturne-Fantasia (op.9) and Improvisation (op. 12) for theremin and piano. I transcribed this piece from the archives at Caramoor, Lucie's country home in upstate New York. With her Estate's blessing, I've been working to typeset and digitize her scores for wider performance. This recording was made under coronavirus lockdown in April 2020. The theremin in the film is a Big Briar 91A, built by Bob Moog. Piano - Paul Jackson Theremin - Charlie Draper
Charles Draper Spencer Dyke Tomlinson Patterson Brahms Yvonne Printemps Eulenburg Padding Schubert Kreisler 1401 1754 1926
MOZART: Clarinet Quintet in A major - (K. 581) Charles Draper (clarinet) Spencer Dyke Quartet: Spencer Dyke and Edwin Quaife (violins), Ernest Tomlinson (viola), B. Patterson Parker (‘cello) Released on National Gramophonic Society Records XX, YY, ZZ, AAA. Size: 12” Sides: 7; Speed: 80 rpm Manufactured by: Vocalion Matrices: NGS. 20, 21X / 22X, 23 / 24X, 25X / 26X, 28 Recording date: c. May to August 1926 Issue date: September 1926 Time Side - Title Record 0.05 No. 1 - Allegro XX 2:51 No. 2 - Allegro (concluded) XX 6:50 No. 3 - Larghetto YY 10:09 No. 4 - Larghetto (concluded) and Menuetto YY 14:01 No. 5 - Menuetto (concluded) ZZ 17:54 No. 6 - Allegretto con Variazioni ZZ 21:58 No. 7 - Allegretto con Variazioni (concluded) AAA The Gramophone, September 1926. National Gramophonic Society Notes Mozart. Clarinet Quintet in A major (K-V. No. 581) IT is difficult to imagine a more complete contrast than that afforded by a comparison of Mozart's A major with Brahms' B minor clarinet quintets. The happy, irresponsible feeling of the former is the very antithesis of the deeply thoughtful and profound tone of the latter work. As well compare Yvonne Printemps and Eleonora Duse! Such comparisons, however interesting, are not my present purpose; so, to Mozart's work without further ado. First Movement.-Allegro. Score (Eulenburg, 3s.): first side, page 3 to bottom of page 8. Second side, page 9 to page 18, end. The first subject of the quintet is pleasure to eye and ear in its lay-out, and its gradual descent through the scale. The clarinet entering, as it did in the Brahms, with an arpeggio, gives a little flourish of happy sound before the repetition of the first subject. The second subject is a most graceful tune for the first violin, chromatically treated immediately afterwards by the clarinet which imparts to it a tinge melancholy, soon, however, dispersed. Just before the double bar a reminiscence of the first subject appears in a coda-like manner. This section is now repeated. It must be confessed that the working out, which begins on side 2, is rather mechanical. After the semi-fugal passages near the start, the up-and-down arpeggi on clarinet and strings sound flat and barely escape the suspicion of padding. But interest returns with the recapitulation, in the course of which may be heard a delightful variant, for the clarinet, of the second subject. Notice also the beautiful rhythmic variety in the parts at the bottom of page 17. Second Movement.-Larghetto. Score: third side, page 19 to page 23, line 3, bar 1; fourth side, page 23, line 3, bar 2, to page 26, end. Third Movement.-Menuetto. Fourth side, page 27 to page 28,line 2. Fifth side, page 28, line 3 to end. Against a background of muted strings, as in Brahms again, the clarinet sings such tranquil phrases as Mozart, and Schubert, alone hold the secret of. A long duologue between clarinet and first violin, based on the second subject, forms the section of contrast. Jets of notes are tossed from one instrument to another, until the clarinet leads us back into the elysian fields of the first tune. This proceeds on its way just as before with the exception of some triplet passages near the close and a coda. There are two trios to the minuet, the first of which fulfils the true function of the trio-one of contrast-by giving us a rest from the voice of the clarinet. The latter takes his revenge by predominating in the second trio. The minuet is heard three times, an ordeal which its charm easily survives. Fourth Movement.-Allegretto con Variazioni. Sixth side. Score: page 34 to page 42, line 1, end. Seventh side, page 42, line 2, to end. The last movement, as in the case of the Brahms' work, is cast in the form of an air with variations. The perky little air is first elaborated by the clarinet (Variation 1), and then by the first violin with a triplet accompaniment (Variation 2). The third variation, in the minor key, is ingeniously contrived. After the sad wail of the violins the viola has a persistent sobbing figure to play, which is again heard at the end of the variation. This is not the grief of an adult, but of a child, whose toy has been broken! In case we have gone astray a bit, Mozart takes us by the hand again in the fourth variation; a clear reference to the theme with much chattering from the clarinet. An adagio and allegro (side 7) really forming variations 6 and 7 (but not so marked in the score) conclude the movement. (The following repeats are not observed: second half of air; second half of variations 1, 2, and 4.) The fine art of Charles Draper, Kreisler of clarinettists, together with the splendid support of the Spencer Dyke Quartet, make this recording a veritable treasure. The adagio from the DUET IN G FOR VIOLIN AND VIOLA by Mozart occupies the last (eighth) side. The tonal contrasts of the instruments are well exploited. The music is too clear to call for any analytical comment. N. P.
Charles Draper Brahms 1869 1928 1952
Charles Draper +••.••(...)), British famous clarinetist. recorded 10 November 1928 transferred from Jpn Columbia 78s /J-7600/02(AX-4258/60, 4289/91) 再復刻
o
- cronología: Compositores (Norteamérica).
- Índices (por orden alfabético): D...