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Max Bruch Staple Kurt Masur Leopold Damrosch Damrosch Simrock Rhein Pech Symphony Society New York Gewandhausorchester Leipzig 1838 1870 1882 1884 1886 1920
Max Bruch (6 January 1838 – 2 October 1920) was a German Romantic composer, teacher, and conductor who wrote over 200 works, including three violin concertos, the first of which has become a staple of the violin repertoire. Symphony No. 3 in E major, Op. 51 (1882, rev. 1886) Dedication: Symphony Society of New York I. Andante sostenuto. Allegro molto vivace. Adagio (0:00) II. Adagio. Adagio ma non troppo (10:51) III. Scherzo. Vivace (19:29) IV. Finale. Allegro ma non troppo (25:47) Gewandhausorchester Leipzig conducted by Kurt Masur After the failure of the 2nd Symphony from 1870, Bruch wrote in 1882 his 3rd Symphony. When Bruch was working in the summer of 1882 in Liverpool Leopold Damrosch commissioned a new Symphony to be premiered during the New York Symphony Society's America tour. For this Bruch reworked sketches going back as far as 1870 when he worked in Sondershausen. He made revisions of the Symphony between 1884 and 1886 and in this form it was published by Breitkopf & Härtel. After the failure of the 2nd Symphony Fritz Simrock rejected the publication of the 3rd, after which Bruch wrote: „Es ist aber seit 1870 viel Wasser durch den Rhein geflossen; ich habe verschiedene Häute abgeworfen und weil ich damals mit der zweiten Sinfonie einiges Pech gehabt habe, so ist damit nicht gesagt, daß ich jetzt wieder Pech haben muss.“ In the beginning Bruch wanted to name the 3rd "Am Rhein" as it has a thematic relationship with his Opera "The Loreley".
Sergei Rachmaninoff Abbey Simon Walter Damrosch Gustav Mahler Vladimir Horowitz Dyer Ravel Chopin Brahms Schumann Chiu Dowling Yung Martha Argerich David Hertzberg Concertgebouw Orchestra Royal Concertgebouw Orchestra London Symphony Orchestra 1909 1910 1922 1976
Digitized from the LP shown above, released on the Vox Turnabout label in the late 1970s. Allegro ma non tanto (0:06) Intermezzo: Adagio (15:31) Finale: Alla breve (26:10) The Piano Concerto No. 3 in D minor, Op. 30, composed in 1909 by Sergei Rachmaninoff has the reputation of being one of the most technically challenging piano concertos in the standard classical repertoire. The concerto was first performed on November 28, 1909 by Rachmaninoff himself with the now-defunct New York Symphony Society with Walter Damrosch conducting, at the New Theater (later rechristened the Century Theater). It received a second performance under Gustav Mahler several weeks later, an "experience Rachmaninoff treasured." The manuscript was first published in 1910 by Gutheil. Rachmaninoff called the Third the favorite of his own piano concertos, stating that "I much prefer the Third, because my Second is so uncomfortable to play." Nevertheless, it was not until the 1930s and largely thanks to the advocacy of Vladimir Horowitz that the Third concerto became popular. Эбби Саймон (англ. Abbey Simon, 8 января 1922 года, Нью-Йорк) — американский пианист классического жанра. Abbey Simon (born January 8, 1922, New York) is an American classical pianist. Simon has been hailed as a supervirtuoso and is recognized as one of the grand masters of the piano. Boston Globe critic Richard Dyer wrote, "Simon's recital offered more than a glimpse into the fabled golden age of piano playing... His virtuosity is marked not only by speed, power, lightness and accuracy but also by intricate interplay of voices and lambent colors." His recordings include the complete piano works of Rachmaninoff, Ravel, Chopin, and most of the works of Brahms and Schumann on the Vox Records label. He has toured in Europe, the Middle East, and the Pacific. He has appeared with the New York Philharmonic, Boston Symphony, Chicago Symphony, Royal Concertgebouw Orchestra, London Symphony Orchestra, and the Trenton Symphony Orchestra. Simon has given masterclasses at the Royal Academy of Music in London, Royal Conservatory of The Hague, and the Geneva Conservatory. He has served on the faculties of Indiana University, Manhattan School of Music, and the Juilliard School of Music in New York City. His students include pianists Frederic Chiu, Karen Shaw, John Kamitsuka, Erika Nickrenz, Richard Dowling, Roger Wright, Andrew Cooperstock, David Korevaar, Terence Yung and Martha Argerich. Kонцерт был написан в летнем доме Рахманинова в Ивановке. Композитор завершил концерт 23 сентября 1909 года. Одновременно с этой работой создавались Первая соната для фортепиано и симфоническая поэма «Остров мёртвых». Из-за нехватки времени Рахманинов не мог репетировать концерт в России. Вместо этого он практиковался на клавиатуре, которую он взял с собой на корабль в США. Концерт был впервые исполнен 28 ноября 1909 г. Рахманиновым с Нью-Йоркским симфоническим оркестром под управлением Вальтера Дамроша в ходе турне Рахманинова по Соединенным Штатам Америки. Премьера концерта в России состоялась в апреле 1910 года. "David Hertzberg"
Bach Lucy Hickenlooper Wolfsohn Delaborde Charles Valentin Alkan Ernest Hutcheson Boise Anton Rubinstein Rubinstein Tchaikovsky Richard Strauss Felix Weingartner Artur Nikisch Gustav Mahler Grieg Leopold Stokowski Beethoven William Kapell Weissenberg Anievas Sorell Carnegie Hall Cincinnati Symphony Orchestra Philadelphia Orchestra 1880 1898 1905 1908 1909 1911 1912 1920 1926 1930 1948
Her name was Lucy Hickenlooper, and she was born in San Antonio, Texas, August 8, 1880. Later, not surprisingly, her manager Henry Wolfsohn thought that a name change was a necessary career move. She chose the professional name of Olga Samaroff from a remote Russian relative. At the age of 12, she was taken by her grandmother to Europe where she remained until she was 21. Her talents were so impressive that she was given a scholarship in the piano class at the Paris Conservatoire thus becoming the first American woman to be granted that honor. There she studied with among others, Elie Delaborde (the illegitimate son of Charles-Valentin Alkan). Samaroff writes that when she was first introduced to Delaborde, he gruffly ordered her to play. While she played he restlessly beat time with his foot ..muttering to himself a sort of running commentary on Americans and their lack of musical talent. It was the first injustice that I had encountered in life. When Delaborde noticed that her name (Hickenlooper) had a Germanic origin, he suddenly found that her playing had vastly improved. After completing her studies at the Paris Conservatoire, she made a highly successful debut in Paris. Samaroff then married a Russian engineer, Boris Loutzky, and went to Berlin (1898) where she studied with Ernest Hutcheson, Otis B Boise and Ernest Jedliczka (pupil of Anton Rubinstein and Tchaikovsky). During her Berlin years, she met Richard Strauss, Felix Weingartner, Artur Nikisch, and Gustav Mahler among others. Later she performed the Grieg Piano Concerto several times under Mahlers direction in the United States. Her brief marriage to Loutzky was annulled. Samaroffs American debut took place on January 8, 1905 at Carnegie Hall with the New York Symphony Orchestra. Her debut was a complete success. About 1908, she met an obscure English organist and choir master who was a recent arrival in New York His name was Leopold Stokowski. Evidently, Samaroffs families (Hickenlooper-Grunewald) were also prominent members of the City of Cincinnati as they were able to secure for the unknown Stokowski the position of conductor of the Cincinnati Symphony Orchestra. +••.••(...)). Thus began the career of a legendary conductor. Samaroff and Stokowski were married in 1911. Their marriage ended in divorce twelve years later. About 1920, Samaroff performed nearly all of Beethovens keyboard works in several cities. The concertos were, of course, conducted by her husband who by that time was conductor of the Philadelphia Orchestra. This project included all 32 of the piano sonatas. (There have been rumors for years that it was Stokowski who pushed Samaroff into giving these recitals. Whatever the truth is, they were enormously significant both musically and historically). Unfortunately, except for Samaroffs recording of the Beethoven-Rubinstein Ruins of Athens Turkish March there are no other compositions of Beethovens music in her discography. (She was asked by RCA Victor to record the Moonlight Sonata. There were four takes. She did not approve any of them). In 1926, Samaroff suffered an injury to her left arm. She subsequently devoted herself to teaching at Julliard and the Philadelphia Conservatory. She held both positions until her death after a brief illness. She died in her New York apartment on May 17, 1948. Among her many students were, William Kapell, Claudette Sorel, Rosalyn Turek,Eugene List, Sigi Weissenberg, Raymond Lewenthal, Augustin Anievas and Bruce Hungerford. Her pupil Claudette Sorell writes, Life with Madam was a continuous series of surprises, adventures and brainstorms. Nobody but Madam would call at 7 a.m. or 12.30 p.m. as she suddenly had decided a certain pupil should demonstrate the Romantic Period at her famous Laymans Music Courses at Town Hall, the following day. She would say, I do not care if you have to stay up all night long, but get it ready. And, invariably, the piece was prepared and the pupil was ready to collapse after the performance.This particular recording introduced me to Olga Samaroff. When I was in high school at Verdugo Hills in the late 1940s, this recording was a part of the schools library. We had a little group that met at lunch time in Ms. DArge music room and never a meeting ended without playing this performance. We thought that this was the non plus ultra of Bach recordings. Do we hear a little bit of "Stoky" in this transcription? Never the less, I love this recording, even though as a musician, I am very aware of "authentic Baroque performance practice."