Sophie-Carmen Eckhardt-Gramatté Vidéos
compositeur, pianiste, violoniste et professeur
Commémorations 2024 (Décès: Sophie-Carmen Eckhardt-Gramatté)
- violon, piano
- Empire russe, Union soviétique, Canada
- pianiste, compositeur ou compositrice, violoniste
Dernière mise à jour
2024-04-20
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Sophie Carmen Eckhardt Gramatté Ellin Simon Streatfeild Anton Rubinstein Rubinstein Jacques Thibaud Bronislaw Huberman Beethoven Kreutzer Manitoba Chamber Orchestra 1950 1953 1954 1976 1994
00:00 - I. Allegro risoluto (Entschieden, rhythmisch) 05:33 - II. Ausdrucksvoll, ohne zu schleppen, verträumt, improvisierend [attaca] 09:33 - III. Allegro risoluto (Entschieden, rhythmisch) / Bassoon: Vincent Ellin Conductor: Simon Streatfeild Orchestra: Manitoba Chamber Orchestra Year of Recording: 1994 / "Few persons in the musical world have such an exceptional international career as the composer Sophie-Carmen Eckhardt-Gramatte. An infant prodigy, she eventualiy became a virtuoso pianist and violinist, performing in that capacity in Europe and America. Born in Moscow, she spent her early childhood in England and France, receiving her earliest piano training from her mother (a pupil of Anton Rubinstein) and later at the Paris Conservatoire. She studied the violin with Jacques Thibaud and Bronislaw Huberman and composition at the Prussian Academy in Berlin. Her debut in Berlin was made at the age of eleven when she performed Ludwig van Beethoven's Kreutzer Sonata on the violin, and then his Appassionata Sonata on the piano. Sophie-Carmen Eckhardt-Gramatte came to Canada in 1953 when her husband Dr. Ferdinand Eckhardt was appointed director of the Winnipeg Art Gallery. A colourful, quixotic and energetic personality, she was an inspired teacher; her compositions, for the most part orchestral and instrumental, have been widely performed and recorded. The Bassoon Concerto was written during the composer's final years in Vienna and premidred at a 1950 summer student festival in Bad Aussee, Austria. It is dedicated to the American bassoonist Gloria Soloway, who first performed it with the Orchestra of the Vienna Academy. It had its North American premiere in 1954 in New York. The concerto was greeted with grudging approval by the New York critics, but the composer remarked that bassoonists 'were very happy about the piece and glad to have something in which the orchestra doesn't choke them.' The concerto marked the end of a major period of composition 'in which several styles and techniques are combined in works of considerable originality.' In the main, the concerto is considered as a reaction against romantic excesses and is technically very demanding for the soloist. Even so, there is plenty of romantic expression, particularly in the slow section, which has an almost Delian rhapsodic intensity about it. The composer's own notes on the concerto describe the work as a single movement which nevertheless falls into three distinct sections. In the first movement the 'downish' qualities of the bassoon are heard to advantage, especially in the repeated notes of the central theme' A slow middle section, which is both lyrical and sombre, is introduced by unaccompanied bassoon. The final section is a kind of grand recapitulation of the first section with a striking cadenza in which the soloist expresses and develops the instrument's varied characteristics." (Jeffrey Anderson) / Note: Special thanks to Ana-Maria Lipoczi of the Canadian music centre for providing a score to make this video possible! / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Johann Sebastian Bach Leon Fleisher Atar Arad Kaufman Winkler Weilerstein Alban Berg Vogler Carnegie Hall Invalides Gewandhaus Evansville Philharmonic Orchestra 2020
DONATE NOW (http•••) DOWNLOAD THE PROGRAM: (http•••) The Courage Fund will provide frontline staff, palliative care patients and the most vulnerable members of our community with the food, clothing, and digital tablets they need to keep going, keep connected and keep safe. Please help us keep the music - and the courage going by subscribing to our YouTube channel and sharing the donation link to the Courage Fund: (http•••) JESSICA TONG PROGRAM - Sunday May 31st, 2020, 7pm: BELA BARTOK Sonata for Solo Violin, Sz. 117, BB 124 Tempo di ciaccona - Fuga. Risoluto, non troppo vivo - Melodia, Adagio - Presto JOHANN SEBASTIAN BACH Partita no. 2 for Solo Violin, BWV 1004 - Allemande - Corrente - Sarabanda - Ciaccona - - - Jessica Tong is lauded for her "lyrical intensity" (Baltimore Sun) and her "performances to remember" (Woodstock Times), and has garnered international acclaim as a soloist, recitalist, and chamber musician. A recipient of a Canada Council Grant for Musicians and a DAAD scholar, she has been a top prizewinner at the Eckhardt-Gramatte, Toronto Symphony, Canadian Music, and Yellow Springs International Competitions, as well as the recipient of the David Ouchterlony Award for Outstanding Artist. A devoted chamber musician, Ms. Tong has served as first violinist of the Vinca and Larchmere Quartets, collaborating with artists such as Leon Fleisher, Pamela Frank, Atar Arad and members of the Cleveland, Concord, Brentano and Borromeo Quartets. She has appeared internationally in venues including Carnegie Hall, Merkin Hall at the Kaufman Center, the Kennedy Center, Roy Thompson Hall, les Invalides and the Gewandhaus. Previously the concertmaster of the Evansville Philharmonic Orchestra and Artist-in-Residence at the University of Evansville in Indiana, she is currently the Chamber Music Director of the Composers Conference at Brandeis University, Artistic Director of Music Beyond the Chamber, and the newly appointed Assistant Professor of Violin at the State University of New York in Fredonia. A pupil of Pamela Frank, Ms. Tong has also studied with Kathleen Winkler, Donald Weilerstein and Zhang yun Zhang. She has been mentored as a chamber musician by members of the Alban Berg, Vogler, Cleveland and Brentano Quartets. (http•••) - - - (http•••) Website: (http•••) Audio recording - John Gray Video recording - Evan Mitchell
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