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Lionel Tertis Pugnani Alexander Mackenzie Oskar Nedbal Gerald Walenn Arnold Bax Frank Bridge Gustav Holst Benjamin Dale York Bowen Ralph Vaughan Williams William Walton Paul Hindemith Shore Montagnana Albert Sammons Edward Elgar Bohemian Quartet Griller Quartet Proms 1717 1876 1900 1906 1920 1928 1930 1937 1949 1950 1975
Lionel Tertis plays his own arrangement of Pugnani's 'Prelude and Allegro,' recorded on 8 December 1930 with piano by Ethel Hobday. From Wikipedia: Lionel Tertis, CBE (29 December 1876 – 22 February 1975) was an English violist. He was one of the first viola players to achieve international fame and a noted teacher. Tertis was born in West Hartlepool, the son of Polish-Jewish immigrants. He first studied violin in Leipzig, Germany and at the Royal Academy of Music (RAM) in London. There he was encouraged by the principal, Alexander Mackenzie, to take up the viola instead. Under the additional influence of Oskar Nedbal, he did so and rapidly became one of the best known violists of his time, touring Europe and the US as a soloist. As Professor of Viola at the RAM (from 1900), he encouraged his colleagues and students to compose for the instrument, thereby greatly expanding its repertoire. In 1906, Tertis was temporarily in the famous Bohemian Quartet to replace the violist/composer Oskar Nedbal and later he took the viola position in the Gerald Walenn Quartet. Composers such as Arnold Bax, Frank Bridge, Gustav Holst, Benjamin Dale, York Bowen, Ralph Vaughan Williams, and William Walton wrote pieces for him. The Walton piece was his Viola Concerto; however, Tertis did not give the world premiere as he found it difficult to comprehend at the time; that honour went to Paul Hindemith. His pupil Bernard Shore took on the second performance at the Proms in August 1930. Tertis first performed the work a month later at the International Society for Contemporary Music festival in Liège. Over the next three years he gave five more performances of the concerto. He owned a 1717 Montagnana from 1920 to 1937 which he found during one of his concert tours to Paris in 1920, and took a chance in acquiring. According to his memoirs, it was 'shown to me in an unplayable condition, without bridge, strings or fingerboard.... No case was available – it was such a large instrument 17 1/8 inches – so my wife came to the rescue by wrapping it in her waterproof coat, and that is how it was taken across the English Channel.' Tertis preferred a large viola to get an especially rich tone from his instrument. Knowing that some would find a 17-1/8-inch instrument too large he created his own Tertis model, which provides many of the tonal advantages of the larger instrument in a manageable 16-3/4-inch size. Tertis sold the 1717 Montegnana to his pupil Bernard Shore in 1937, who in turn passed it on to his pupil Roger Chase. Along with William Murdoch (piano), Albert Sammons, and Lauri Kennedy, Tertis formed the Chamber Music Players. He also encouraged and coached Sidney Griller as he worked to found the Griller Quartet in 1928, and influenced the Griller's enthusiasm for the first Viennese School. In 1937, while at the height of his powers, he announced his retirement from the concert platform to concentrate on teaching. He appeared as soloist only one more time, at a special concert in 1949 to an invited audience at the RAM to help raise money for his fund to encourage the composition of music for the viola. He was appointed a Commander of the Order of the British Empire (CBE) in the 1950 New Year's Honours. Tertis composed several original works and also arranged many pieces not originally for the viola, such as Edward Elgar's Cello Concerto. He was the author of a number of publications about string playing, the viola in particular, and his own life. They include Cinderella No More and My Viola and I. Lionel Tertis died on 22 February 1975 in Wimbledon, London. He was 98 years old. I transferred this side from Australian Columbia DOX 267.
Bohemian Quartet Hubbard Kolesnikov Harrington 2006
The Bohemian Quartet perform Maciusi Hora at the Blackstone River Theatre September 30 2006 Filmed by Paul Hubbard and Robert Malin Stan Renard - violin Paul Kolesnikov - guitar Christine Harrington - cello John DeBossu - bass
Arnold Bax Tippett Soar Tippett Quartet Bohemian Quartet 1844 1883 1914 1915 1917 1920 1953 2009
Arnold Bax +••.••(...)) - Piano Quintet in G minor, GP 167 +••.••(...)) I. Passionate and Rebellious (Tempo moderato. Con passione) [0:00] II. Slow and Serious (Lento serioso) [18:44] III. Moderate Tempo (Tempo moderato) - Allegro vivace - Lento con gran'espressione [28:48] The Tippett Quartet Ashley Wass, piano (2009) Arnold Bax's Piano Quintet in G minor is a work in three movements typically lasting around 43 minutes. "The Piano Quintet, one of the first works of Bax’s maturity, was composed during 1914–15, and dedicated to Bax’s friend, the critic Edwin Evans. Its première was given privately on 19 December 1917 by Harriet Cohen and the English String Quartet. The first public performance was on 12 May 1920 with Fanny Davies and the Bohemian Quartet. With its conception on a grand, expansive scale, its cyclic use of thematic material in the first and third movements, and the adoption of an epilogue at the end of the work, the Quintet may be deemed a precursor of the symphonies that were to follow. In addition the influence of Celtic music is fully absorbed by Bax for the first time here, and the work’s myriad musical material is subjected to a constant process of evolution as he exploits all manner of harmonic and instrumental colours to superb effect. The overall character of the first movement is passionate and tempestuous, created around three principal ideas: a yearning theme introduced by the cello over rippling piano figuration; a crisp rhythmical theme played by the piano with the hint of a dance, and by contrast to the prevailing mood, a tranquil Celtic melody, also presented by the piano marked ‘singing softly’. Both the piano writing and the surging chromatic climaxes are redolent of sea images, suggestive of the tone poems The Garden of Fand and Tintagel that followed hard on the heels of the Quintet. In a movement of luxuriant invention, a highlight is an eerie passage with muted strings indicated to be played ‘like a chant’. Just one bar of emphatic string pizzicato chords ushers in the main idea of the slow movement, a ‘cool and clear’ song without words of lyrical melancholic beauty, again clearly of Celtic roots. It is contrasted by ‘cold and unemotional’ chorale-like passages for the strings, accompanied by an obsessive rhythm on the piano which hints at an affinity with the second idea of the opening movement, as well as a nonchalant fragment of a folksong-like melody on the viola. During the climactic section in the middle of the movement, the piano figuration evokes images of waves as above the strings soar with the song. The finale is impressive in the manner in which Bax uses the same three main ideas of the first movement to create a wholly different mood. It commences with an introductory section where, over a wash of piano texture marked ‘vague’, the opening two themes of the first movement return, the cello theme now on violin and viola, and the persistent rhythmic idea again on piano. After a gradual crescendo as the music gets faster, the latter is transformed into an ebullient heady dance. Later the third theme from the first movement is heard ‘singing plaintively’ on the cello over an extended piano pedal-point and the obsessive rhythm. The tempo of the Introduction returns to usher in the Epilogue in which the first theme is transformed yet again, and others are reviewed as this work of powerful musical imagination and emotional force reaches its conclusion." (source: Naxos)
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