Elizabeth Lennox Vidéos
artiste lyrique américaine
Commémorations 2024 (Naissance: Elizabeth Lennox)
- contralto
- États-Unis
- artiste lyrique
Dernière mise à jour
2024-05-03
Actualiser
Ivor Gurney Adolf Busch Busch Carl Flesch Hamilton Harty John Barbirolli Manley Boyd Neel Frank Bridge Benjamin Britten John Ireland Beethoven Ralph Vaughan Williams Lark Bach Henry Purcell Dvořák Arthur Benjamin Benjamin Dale Lennox Berkeley Kenneth Leighton Edmund Rubbra York Bowen Howard Ferguson Arthur Bliss Béla Bartók Handel Rachmaninoff Smetana Arnold Bax Yehudi Menuhin London Symphony Orchestra Aeolian Quartet Salzburg Festival Proms 1686 1697 1718 1908 1909 1911 1927 1930 1935 1936 1937 1938 1940 1942 1947 1952 1963 1966 1978 1979 1987
The Apple Orchard by Ivor Gurney, Frederick Grinke - Violin Ivor Newton - Piano Recorded in 1942. The Apple Orchard is one of two short pieces written for violin and piano by Ivor Gurney that were published posthumously in 1940. Frederick Grinke CBE (8 August 1911 – 16 March 1987) was a Canadian-born violinist who had an international career as soloist, chamber musician, and teacher. He was known especially for his performances of 20th-century English music. He started to learn the violin at the age of 9, and studied with John Waterhouse and others in Winnipeg. He made his first broadcast at the age of about 12, and formed a trio at age 15. In 1927, he won a Dominion of Canada scholarship award to the Royal Academy of Music in London, where he studied with Rowsby Woof. He continued his studies (at age 21) for a summer with Adolf Busch in Switzerland, and afterwards in Belgium and London with Carl Flesch. Hamilton Harty considered appointing him leader of the London Symphony Orchestra at the age of 21, but the offer was not made on account of his youth. From around 1930 to 1936, Grinke was second violin of the Kutcher String Quartet (in which John Barbirolli was for a time the 'cellist). In 1935, with pianist, Dorothy Manley, he gave the premiere of the Canadian composer Hector Gratton's Quatrieme danse canadienne. It was with Manley and Florence Hooton, both fellow students at the Academy, that Grinke formed his trio, Kendall Taylor later replacing Manley. In 1937 he became concertmaster of the Boyd Neel Orchestra, a post he would hold until 1947. His first performance with them was at the Salzburg Festival in 1937, giving the premiere of the Variations on a Theme of Frank Bridge by Benjamin Britten. Thereafter he performed with them in Europe, USA, Australia and New Zealand, the London Proms, and at the Edinburgh Festival. He resigned as concertmaster to pursue his solo career. During the later 1940s, Grinke made numerous recordings, mainly for Decca, many of which were originally released in the last years of 78rpm records. His recordings of John Ireland's chamber music include the Phantasie Trio of 1908, the 1938 Trio no 3 in E major, and The Holy Boy (with Florence Hooton (cello) and Kendall Taylor (piano)), and the Violin Sonata no 1 of 1909 with the composer at the piano. The trio also recorded the Phantasy trio of Frank Bridge and the Beethoven trio in E flat. Ralph Vaughan Williams dedicated his Sonata in A minor, written in 1952, to Grinke, who recorded the composer's Concerto Accademico in D minor, and The Lark Ascending, with the Boyd Neel Orchestra. Grinke and David Martin (also a Canadian violinist) performed J.S. Bach's Concerto for two violins at Vaughan Williams's funeral. Among other recordings from the 1940s were no's 3 and 9 from the 1697 set of 10 Sonatas by Henry Purcell, with Jean Pougnet and Boris Ord, and Purcell's sonata in G minor with Arnold Goldsbrough. He is heard with Kendall Taylor in the Dvořák G major Sonatina op 100, and with Watson Forbes (violist of the Stratton Quartet and Aeolian Quartet) in Mozart duos. He also premiered and recorded works by Arthur Benjamin, Benjamin Dale, Lennox Berkeley, Kenneth Leighton, Edmund Rubbra, York Bowen, Howard Ferguson, Arthur Bliss, Béla Bartók, Beethoven, Handel, Rachmaninoff and Smetana, often accompanied by Ivor Newton. He recorded all six Brandenburg Concertos with the Boyd Neel Orchestra, and made a broadcast of the Arnold Bax violin concerto from Australia. From 1963 to 1966 he taught at the Yehudi Menuhin School at Stoke D'Abernon, Surrey. He frequently sat on juries for international competitions. He retired from the Royal Academy of Music in 1978, where his students included John Georgiadis, and was appointed a CBE in 1979, but continued teaching until his death, which occurred in 1987. The National Portrait Gallery lists 8 portraits of Grinke in its collections.[ Grinke played an instrument by J. B. Rogerius of 1686, with aluminium-covered D and A, and silver-covered G and steel E strings, but also often played a Stradivarius dated 1718, lent by the Royal Academy of Music. He was married in 1942 to Dorothy Sirr Sheldon and had one son. He is buried in the churchyard of St Mary, Thornham Parva, Suffolk.
Easton Lennox Berkeley Ravel Poulenc Nadia Boulanger Benjamin Britten 1991
Frederick Shade - flute Len Vorster - piano Michael Easton writes: Lennox Berkeley was a major British composer and teacher who had been a friend of Ravel and Poulenc, a student of Nadia Boulanger and a life long friend of Benjamin Britten. His music is currently enjoying a renaissance that will, one hopes, establish him in the firmament of great 20th century composers. This little piece was written as a sincere expression of sadness on hearing of Sir Lennox's death. It quotes, in an oblique way, many of the composers who were dear to both Lennox and the composer of this work, Michael Easton. This recording is from a recital given at Melba Hall, University of Melbourne, Australia on 19 February 1991
Orlando Gibbons Lennox Berkeley Andrew Staples
A look into the lost piece 'Variations on a Theme by Orlando Gibbons' from Lennox Berkeley and the history behind the composer and the piece itself. Performed by the Choir and Orchestra of the LCS with tenor soloist Andrew Staples. With thanks to the Lennox Berkeley Society.
Lennox Berkeley Woodrow Elgar Vaughan Williams Ravel Nadia Boulanger Poulenc Stravinsky Milhaud Britten Richard Rodney Bennett John Tavener Brian Ferneyhough Ivry Gitlis Wigmore Hall 1946 1947 1968 2021
James Woodrow - Violin Home recording 03/07/2021 Lennox Berkeley’s music does not show an obvious placement in the previous lineage of the British compositional style, stemming from composers such as Elgar and Vaughan Williams. Upon graduating from Oxford University, an encounter in Oxford with Ravel, who was impressed with Berkeley’s early compositional efforts, led Ravel to suggest he study in Paris with Nadia Boulanger. Berkeley’s time in Paris, not only studying with Boulanger, but mixing with composers such as Poulenc, Stravinsky, and Milhaud, gives his music a distinctive French flavour which sets him apart from his British contemporaries. After studies in Paris, a close friendship with Britten resulted in a joint collaborative orchestra work, Mont Juic. In the same year as composing the Introduction and Allegro, he took up the post of Professor of Composition at the Royal Academy of Music between 1946-1968; his students included Richard Rodney Bennett, John Tavener and Brian Ferneyhough. His compositional output includes works in all major genres, with his colourful compositional style making him an intriguing figure in twentieth century British music. Introduction and Allegro was dedicated to, and first performed by, Ivry Gitlis. Written in 1946, it had its premiere at the Wigmore Hall in 1947. The two musicians clearly worked closely on the piece, as Gitlis acted as editor, providing suggested bowings and fingerings in the published edition. The piece could be seen as providing a snapshot of Gitlis’ playing, as it was very likely written with his individual playing style in mind. The Introduction in particular has an improvisatory quality, which reflects Gitlis’ exploratory and fantasy-like approach to violin playing, which has made him one of the twentieth century’s most admired players. The Introduction starts with a bold and strident opening, with a rhythmic motif on just the one note. This statement appears four more times in the Introduction. Around this motif is a meandering and exploratory chromatic melody. The Introduction explores many different violin colours, using all four strings in different tessituras. The Allegro has a lively and restless character. Despite only one section of double stops, the writing is extremely harmonically colourful, showing Berkeley’s craft of tonality within the parameters of a solo violin work. The idiomatic violin techniques including harmonics, left hand pizzicato and ricochet bowing, as well as the general musical character, result in a playful conclusion to an initially serious introduction. If you enjoyed this recording please like and subscribe to my channel. I am more than happy to answer any questions about the repertoire I play, if I can, in the comments section below. My links Subscribe (http•••) Twitter (http•••) LinkedIn (http•••)
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