Jules Émile Frédéric Massenet () (May 12, 1842August 13, 1912) was a French composer best known for his operas. His compositions were very popular in the late 19th and early 20th centuries, and he ranks as one of the greatest melodists of his era. Soon after his death, Massenet's style went out of fashion, and many of his operas fell into almost total oblivion. Apart from ''Manon'' and ''Werther'', his works were rarely performed. However, since the mid-1970s, many operas of his such as ''Thaïs'' and ''Esclarmonde'' have undergone periodic revivals.
Although at first some of his teachers had not predicted for him any career in music, this changed in 1862 when he won the Grand Prix de Rome with his cantata ''David Rizzio'' and spent three years in Rome. There he met Franz Liszt, at whose request he gave piano lessons to Louise-Constance "Ninon" de Gressy, the daughter of a wealthy lady named Mme Sainte-Marie. Ninon became Massenet's wife in 1866.
His first opera, ''La grand' tante'', was a one-act production at the Opéra-Comique in 1867. Nevertheless it was his dramatic oratorio ''Marie-Magdeleine'' (first performed in 1873) that won him praise from the likes of Tchaikovsky, d'Indy (who afterwards turned against him), and Gounod. His real mentor, though, was the composer Ambroise Thomas, a man with important contacts in theatrical milieux. Another important early patron was his publisher, Georges Hartmann, whose connections with journalistic circles aided him in becoming better known during the difficult initial years of his composing activity. Even Massenet's marriage to Ninon helped him a great deal in securing commissions and garnering fame in important social circles.
Massenet took a break from his composing to serve as a soldier in the Franco-Prussian War, but returned to his art following the end of the conflict in 1871. From 1878 he worked as professor of composition at the Paris Conservatory where his pupils included André Bloch, Gustave Charpentier, Ernest Chausson, Reynaldo Hahn, Georges Enesco, and Charles Koechlin. His greatest successes were ''Manon'' in 1884, ''Werther'' in 1892, and ''Thaïs'' in 1894. Notable later operas were ''Le jongleur de Notre-Dame'', produced in 1902, and ''Don Quichotte'', produced in Monte Carlo 1910, with the legendary Russian bass Feodor Chaliapin in the title-role.
In 1876 he received the Légion d'honneur, and was appointed a Grand Officer in 1899. In 1878 he was elected a member of the Académie des Beaux-Arts, to the exclusion of Camille Saint-Saëns. He was only 36, the youngest member ever elected to the Académie.
In addition to his operas, Massenet composed concert suites, ballet music, oratorios and cantatas and about two hundred songs. Some of his non-vocal output has achieved widespread popularity, and is commonly performed: for example the ''Méditation'' from ''Thaïs'', which is a violin solo with orchestra, as well as the Aragonaise, from his opera ''Le Cid'' and the ''Élégie'' for cello and orchestra (from his incidental music to ''Les Érinnyes''). The latter two pieces are commonly played by piano students, and the ''Élégie'' became world-famous in many arrangements.
There have been periodic performances and recordings of Massenet's orchestral music, especially the seven suites. Naxos has issued the complete suites, as well as ballet music from ''Herodiade,'' as performed by the New Zealand Symphony Orchestra, conducted by Jean-Yves Ossonce.
Massenet died in Paris at the age of 70, after suffering from a long illness (cancer).
Being a very prolific, hard-working composer (over 25 extant operas, with his daily schedule starting frequently from as early as 4 am), he created his pieces not "at the piano" (as so many other composers do), but entirely from his imagination. That ability greatly helped him to achieve his high standards as an orchestrator. Even in his loudest passages, the instrumental texture is always lucid. It is curious that he was also known to avoid all public dress rehearsals and performances of his works; often he would have to be informed by others of his own operatic successes.
The only known recording by Massenet is a scene from ''Sapho'' where he accompanies the soprano Georgette Leblanc on the piano; never published, it is in the Historical Sound Recordings collection of Yale University.
;Cited sources
Scores and Vocal Scores on Indiana University Bloomington Libraries:
Category:1842 births Category:1912 deaths Category:People from Saint-Étienne Category:Romantic composers Category:Opera composers Category:French composers Category:Ballet composers Category:Prix de Rome for composition Category:Honorary Members of the Royal Philharmonic Society Category:Grand Officiers of the Légion d'honneur
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Widely considered one of the finest violinists of the 20th century, Milstein was known for his interpretations of Bach's solo violin works and for works from the Romantic period. He was also known for his long career: he performed at a high level into his mid 80s, retiring only after suffering a broken hand.
When Milstein was 11, Leopold Auer invited him to become one of his students at the St. Petersburg Conservatory. Milstein reminisced:
Every little boy who had the dream of playing better than the other boy wanted to go to Auer. He was a very gifted man and a good teacher. I used to go to the Conservatory twice a week for classes. I played every lesson with forty or fifty people sitting and listening. Two pianos were in the classroom and a pianist accompanied us. When Auer was sick, he would ask me to come to his home.
Milstein may in fact have been the last of the great Russian violinists to have had personal contact with Auer. Auer did not name Milstein in his memoirs but mentions "two boys from Odessa ... both of whom disappeared after I left St. Petersburg in June 1917." Neither is Milstein's name in the registry of the St Petersburg Conservatory.
Milstein also studied with Eugène Ysaÿe in Belgium. He told film-maker Christopher Nupen, director of ''Nathan Milstein – A Portrait'', that he learned almost nothing from Ysaÿe but enjoyed his company enormously. In a 1977 interview printed in ''High Fidelity'', he said, "I went to Ysaÿe in 1926 but he never paid any attention to me. I think it might have been better this way. I had to think for myself."
Milstein met Vladimir Horowitz and his pianist sister Regina in 1921 when he played a recital in Kiev. They invited him for tea at their parents' home. Milstein later said, "I came for tea and stayed three years." Milstein and Horowitz performed together, as "children of the revolution," throughout the Soviet Union and struck up a life-long friendship. In 1925, they went on a concert tour of Western Europe together.
He made his American debut in 1929 with Leopold Stokowski and the Philadelphia Orchestra. He eventually settled in New York and became an American citizen. He toured repeatedly throughout Europe, maintaining residences in London and Paris.
A transcriber and composer, Milstein arranged many works for violin and wrote his own cadenzas for many concertos. He was obsessed with articulating each note perfectly and would often spend long periods of time working out fingerings which would make passages sound more articulated. One of his best known compositions is ''Paganiniana'', a set of variations on various themes from the works of Niccolò Paganini.
In 1948, his recording of Mendelssohn's Violin Concerto in E minor, with Bruno Walter conducting the New York Philharmonic, had the distinction of being the first catalogue item in Columbia's newly introduced long-playing twelve-inch 33 rpm vinyl records, Columbia ML 4001.
He was awarded the Légion d'honneur by France in 1968, and received a Grammy Award for his recording of Bach's ''sonatas and partitas'' in 1975. He was also awarded Kennedy Center honors by US President Ronald Reagan.
A recital he gave in Stockholm in July 1986 proved to be his final performance. This recital was recorded in its in entirety and shows the remarkable condition of his technique at age 82. A fall shortly afterwards in which he severely broke his left hand ended his career.
After playing many different violins in his earlier days, Milstein finally acquired the 1716 "Goldman" Stradivari in 1945 which he used for the rest of his life. He re-named this Stradivari the "Maria Teresa" in honour of his daughter Maria (presently wife of Marchese GiovanAngelo Theodoli-Braschi, Duke of Nemi and Grandee of Spain, descendant from Pope Pius VI) and his wife Therese. He also performed on the 1710 ex-"Dancla" Stradivarius for a short period.
During the late 1980s, Milstein published his memoirs, ''From Russia to the West'', in which he discussed his life of constant performance and socializing. Milstein discusses the personalities of important composers such as Alexander Glazunov, Sergei Prokofiev, Sergei Rachmaninoff and Igor Stravinsky and conductors such as Arturo Toscanini and Leopold Stokowski, all of whom he knew personally. He also discusses his best friends, pianist Vladimir Horowitz, cellist Gregor Piatigorsky and ballet director George Balanchine, as well as other violinists such as Fritz Kreisler and David Oistrakh. Milstein also expressed his generally conservative, strongly anti-communist and anti-Soviet political beliefs. Milstein said that President Kennedy was a weak leader, admired President Reagan, and stated that he refused to return to the Soviet Union, even for a tour sponsored by the United States.
Milstein was married twice, remaining married to his second wife, Therese, until his death. He died of a heart attack in London on December 21, 1992, just three weeks before his 89th birthday.
Category:Russian classical violinists Category:Ukrainian classical violinists Category:Ukrainian Jews Category:Ukrainian emigrants to the United States Category:American Jews Category:American classical violinists Category:Naturalized citizens of the United States Category:Jewish classical musicians Category:Jewish violinists Category:People from Odessa Category:1904 births Category:1992 deaths Category:Grammy Award winners Milstein, Nathan Category:Saint Petersburg Conservatory alumni Category:American musicians of Ukrainian descent Category:American musicians of Russian descent
de:Nathan Milstein es:Nathan Milstein eu:Nathan Milstein fr:Nathan Milstein it:Nathan Milstein he:נתן מילשטיין hu:Nathan Milstein nl:Nathan Milstein ja:ナタン・ミルシテイン no:Nathan Milstein oc:Nathan Milstein pt:Nathan Milstein ru:Мильштейн, Натан Миронович fi:Nathan MilsteinThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Born 28 December 1923 in Suwałki, Poland, as Joseph or Józef Chasyd, second youngest of four children, he lost his mother when he was ten and was brought up by his father Owseij who took charge of his career. After lessons with a local violin teacher he studied from 1934 at the Chopin School of Music in Warsaw under Mieczyslaw Michalowicz (1876-1965) and Irena Dubiska (1899-1989). In 1935 he entered the first Henryk Wieniawski International Violin Competition in Warsaw, but suffered a memory lapse; he received an honorary diploma.
His father arranged for him to play for fellow Pole Bronisław Huberman (1882-1947), who was much impressed and he arranged for Hassid to study under the Hungarian virtuoso Carl Flesch (1873-1944) at his summer course in 1937 at Spa, Belgium, where fellow students included Ivry Gitlis (b. 1922) and Ginette Neveu (1919-1949). He developed a tremendous passion for a young lady there, three years his senior, but the liaison was broken up by her family (possibly because they were not Jewish), which had a disturbing effect on him.
He gave a private recital with the pianist Ivor Newton on 9 March 1938 as “Yossef Hassid” at the home of Mr L.L. Gildesgame, 41 Clifton Hill, South Hampstead, where the guests included Sir Henry Wood. After giving a private recital at the home of Sir Philip Sassoon, Hassid made his public debut at a recital with Gerald Moore in the Wigmore Hall on 3 April 1940, billed as the “Polish Boy Violinist”, playing works by Corelli (''La folia'' variations), Debussy, Schubert (Sonata in G), Bach (adagio & fugue from one of the unaccompanied Sonatas), Paganini (''I palpiti'') and others. The next day ''The Times'' said Hassid “showed imagination and musical insight” and that “his performance created a strong impression.” Many years later Moore commented that Hassid was “the greatest instrumental genius I’ve ever partnered. I don’t know how to explain his incandescence. He had technical perfection, marvellous intonation, glorious tone – but there was something above that which was quite incredible, a metaphysical quality. Sadly he had an unhappy love affair which literally drove him mad. But then maybe the unrest inside him made him play so fantastically.” (Interview in ''The Gramophone'', April 1973.) Three weeks later on the evening of 25 April he made his orchestral debut at the Queen’s Hall in a Polish Relief Fund concert (broadcast on the BBC Home Service) playing the Tchaikovsky concerto with the LPO under Gregor(y) Fitelberg (during which he suffered a memory lapse). The concerto was preceded by two short items by Chabrier & Kondracki and followed by Beethoven’s Seventh Symphony. The next day ''The Times'' reported that Hassid “showed some signs of nervousness at the outset”, but “the beauty of his tone was striking and the brilliance of the finale” earned him generous applause.
He also gave a few recital broadcasts on the BBC and played the Beethoven concerto during an afternoon concert in the Queen’s Hall with Sir Adrian Boult conducting the LPO on 5 January 1941. On the 8th ''The Times'' commented of Hassid “a technically accomplished performance, but he has not yet attained to the purity of style, especially in the matter of sustaining an even tone throughout a phrase that the music needs.” Hassid’s final concert was also at the Queen’s Hall, on the afternoon of 1 March 1941, where he played the Brahms concerto with the Sidney Beer Symphony Orchestra of about thirty players under Sidney Beer. ''The Times'' review (4 March) noted that the concerto was “the least satisfactory part of the concert, because neither the young violinist not the conductor seemed to have a determined view of Brahms to present to their hearers. The solo performance was scarcely more than that of a clever student who has worked hard to memorize the concerto but is still liable to be thrown off his stroke, even to the point of forgetting his notes occasionally. The rhythm throughout was indecisive and the last pages of the Finale became almost a race between soloist and orchestra.”
Based on notes with CD issues, Feinstein 1997, newspaper advertisements & reviews, etc.
Complete published recordings issued on CD:
Josef Hassid was one of several prodigies whose brilliant careers were short lived. Bruno Monsaingeon's The Art of Violin commemorates Hassid.
Category:Polish classical violinists Category:1923 births Category:1950 deaths Category:People with schizophrenia Category:Jewish classical musicians Category:Polish Jews
de:Josef Hassid es:Josef Hassid fr:Josef Hassid it:Josef Hassid ja:ヨーゼフ・ハシッド pl:Józef Chasyd ru:Хассид, ЙозефThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Sarah Chang |
---|---|
birth date | December 10, 1980 |
birth place | Philadelphia, Pennsylvania |
birth name | Young Joo Chang |
occupation | Violinist |
years active | 1984–present |
Sarah Chang () (born Young Joo Chang; December 10, 1980) is a Korean American violinist. Her debut came in 1989 with the New York Philharmonic and the Philadelphia Orchestra. Shortly thereafter, Chang was recognized as a child prodigy. She enrolled at Juilliard School to study music, graduating in 1999 and continuing university studies. During the 1990s and 2000s, Chang had major roles including being a soloist with the New York Philharmonic. She has also performed in countries such as England, France, Germany, Netherlands, China, South Korea, and Japan.
She has collaborated with most major orchestras, including the New York Philharmonic and Berlin Philharmonic. For the 2004 Olympics, she was chosen to participate in the Olympic Torch relay in New York. Yale University dedicated a chair in Sprague Hall for Chang's name in 2005.
In 1986, when Chang was 5 years old, she eventually auditioned for and was accepted to the Juilliard School by performing the Bruch Violin Concerto No. 1 in G minor. Chang spent her weekends attending music classes at Juilliard and shopping in New York City with her parents. In 1989, she began working with Dorothy DeLay at her studio, where her father had received his musical lessons. A former student and assistant to DeLay, Hyo Kang, also provided training to Chang.
In addition to her native English, she is fluent in both Korean and German.
Following her 1999 high school graduation in New Jersey, she returned to Juilliard for university and studied with DeLay.
Due to her musical accomplishments, Chang is among a very small number of professional figures recognized as a child prodigy.
In 1991, when Chang was 10 years old, she recorded her first album, ''Debut''; it was released by EMI Classics on August 18, 1992 and quickly reached the Billboard chart of classical best-sellers. Chang quickly rose to fame and became known on an international scale, performing up to 150 concerts a year. At the age of 17, she asked for a three-month break; this opportunity did not come until she turned 20 years old. In 2006, ''Newsweek'' ranked her as one of the Top Eight Achieving Females in the United States. In the interview accompanying the feature, she commented: "I think having a career at such an early age kept me focused. We schedule at least two to three years in advance in the classical industry. I felt so grounded and so grateful to already know what it was that I wanted to do with my life."
Chang took part in watchmaker Movado's global advertising campaign "The Art of Time" with Pete Sampras and composer Wynton Marsalis. For the 2004 Olympics, she was selected to carry the Olympic Torch in New York. In 2005, Yale University dedicated a chair in Sprague Hall in Chang's name. Following this, Chang toured for a year with the Berlin Philharmonic and the Royal Concertgebouw Orchestra in a Sextet programme of summer festivals leading to a concert at the Berlin Philharmonie.
Chang has performed with the New York Philharmonic, the Philadelphia Orchestra, the Chicago Symphony, the Boston Symphony, the Cleveland Orchestra, the Montréal Symphony Orchestra, the Berlin Philharmonic, the Vienna Philharmonic, orchestras in London, England, and the Royal Concertgebouw Orchestra of Amsterdam, Holland. Additionally, she has performed with the Los Angeles Philharmonic, the NHK Symphony Orchestra of Tokyo, the Hong Kong Philharmonic Orchestra, the Bayerische Rundfunk Orchestra, the Washington National Symphony Orchestra, the Oslo Philharmonic, the Pittsburgh Symphony Orchestra, the Melbourne Symphony, Orchestre de la Suisse Romande, Orchestre Philharmonique de Luxembourg, the San Francisco Symphony Orchestra, the Orchestre National de France, the Honolulu Symphony, and the Netherlands Radio Philharmonic Orchestra amongst others.
Chang has also been been a soloist under the baton of conductors Mariss Jansons, Daniel Barenboim, Sir Colin Davis, Charles Dutoit, Bernard Haitink, James Levine, Lorin Maazel, Kurt Masur, Zubin Mehta, Riccardo Muti, André Previn, Sir Simon Rattle, Wolfgang Sawallisch, Leonard Slatkin, Michael Tilson Thomas, Placido Domingo, David Lockington, David Zinman, Gustavo Dudamel, Valery Gergiev, Esa-Pekka Salonen, Jaap van Zweden, John Williams and others.
Notable recital engagements have included her Carnegie Hall debut and performances at the Kennedy Center, Orchestra Hall, Symphony Hall, Barbican Centre, Philharmonie, and Concertgebouw.
As a chamber musician, Chang has collaborated with Pinchas Zukerman, Wolfgang Sawallisch, Vladimir Ashkenazy, Yefim Bronfman, Martha Argerich, Leif Ove Andsnes, Stephen Kovacevich, Yo-Yo Ma, Lynn Harrell, Lars Vogt, and the late Isaac Stern. She has made several chamber recordings with current and former members of the Berlin Philharmonic, including the Sextet and Piano Quintet of Dvorak and the ''Souvenir de Florence'' of Tchaikovsky.
In January 2011, Sarah Chang was interviewed by Evan Solomon of ''Power & Politics'' (CBC) where it was revealed that she had been appointed by President Obama to the Presidential Commission on Russian Relations, and also was taking on a new role as State Department Special Cultural Envoy. Chang has already been promoting and supporting childhood musical education for many years. She has also been a cultural ambassador for the U.S.; for instance, she was invited to play in North Korea's capital, Pyongyang, with a South Korean orchestra in 2002.
Category:American classical violinists Category:Child classical musicians Category:American musicians of Korean descent Category:Juilliard School alumni Category:People from Philadelphia, Pennsylvania Category:People from Voorhees Township, New Jersey Category:1980 births Category:Giftedness Category:Living people
ca:Sarah Chang da:Sarah Chang de:Sarah Chang es:Sarah Chang fa:سارا چنگ fr:Sarah Chang ko:장영주 it:Sarah Chang hu:Sarah Chang nl:Sarah Chang ja:サラ・チャン no:Sarah Chang oc:Sarah Chang pl:Sarah Chang pt:Sarah Chang ru:Чанг, Сара fi:Sarah Chang sl:Sarah Chang sv:Sarah Chang tr:Sarah Chang zh:張永宙This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
She entered the Paris Conservatoire where she studied initially under Jean Batalla and took supplementary lessons in piano and chamber music with Jacques Février. Later she studied with Jeanne-Marie Darré, who took over Batalla's advanced piano class. In 1960 she won first prize at the Conservatoire. After winning prizes in competitions in Salzburg and Naples, she began on an extensive concert career. She also participated in master classes given by Alfred Brendel, Jörg Demus and Paul Badura-Skoda. When Badura-Skoda was offered a position as artist in residence at the University of Wisconsin, he invited her to come as his assistant. She subsequently became artist in residence for a group of seven campuses of the University of Wisconsin, and married William R Peters, one of the deans of the university. She became a US citizen.
Reviewing a 1979 recital, Nancy Malitz, the music critic of the Cincinnati Enquirer described Ms Dosse as "an outstanding musician with a structural and rhythmic grasp of music that one finds in the finest conductors. Dosse is also a superb pianist with technical and tonal resources to spare."
Piano duo recordings
Chamber music
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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