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Ankara
Ankara (Traditional English: Angora) is the capital of Turkey and the country's second largest city after Istanbul. The city has a mean elevation of , and as of 2008 the city had a population of 4,500,000. Ankara also serves as the capital of Ankara Province.
http://wn.com/Ankara -
Berlin
Berlin (; ) is the capital city of Germany and one of sixteen states of Germany. With a population of 3.4 million people, Berlin is Germany's largest city. It is the second most populous city proper and the eighth most populous urban area in the European Union. Located in northeastern Germany, it is the center of the Berlin-Brandenburg Metropolitan Area, comprising 5 million people from over 190 nations. Geographically embedded in the European Plains, Berlin is influenced by a temperate seasonal climate. Around one third of the city's territory is composed of forests, parks, gardens, rivers and lakes.
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Berlin Sports Palace
http://wn.com/Berlin_Sports_Palace -
Cairo
Cairo (; , literally "The Vanquisher" or "The Conqueror") is the capital of Egypt, the largest city in Africa and the Arab World, and one of the most densely populated cities in the world. Nicknamed "The City of a Thousand Minarets" for its preponderance of Islamic architecture, Cairo has long been a center of the region's political and cultural life. Even before Cairo was established in the 10th century, the land composing the present-day city was the site of national capitals whose remnants remain visible in parts of Old Cairo. Cairo is also associated with Ancient Egypt due to its proximity to the Great Sphinx and the pyramids in adjacent Giza.
http://wn.com/Cairo -
Germany
Germany (), officially the Federal Republic of Germany (, ), is a country in Western Europe. It is bordered to the north by the North Sea, Denmark, and the Baltic Sea; to the east by Poland and the Czech Republic; to the south by Austria and Switzerland; and to the west by France, Luxembourg, Belgium, and the Netherlands. The territory of Germany covers 357.021 km2 and is influenced by a temperate seasonal climate. With 81.8 million inhabitants, it is the most populous member state of the European Union, and home to the third-largest number of international migrants worldwide.
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Harvard
http://wn.com/Harvard -
Hoch Conservatory
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Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score. Opera is part of the Western classical music tradition. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.
http://wn.com/Opera -
Turkey
Turkey (), known officially as the Republic of Turkey (), is a Eurasian country that stretches across the Anatolian peninsula in western Asia and Thrace in the Balkan region of southeastern Europe. Turkey is one of the six independent Turkic states. Turkey is bordered by eight countries: Bulgaria to the northwest; Greece to the west; Georgia to the northeast; Armenia, Azerbaijan (the exclave of Nakhchivan) and Iran to the east; and Iraq and Syria to the southeast. The Mediterranean Sea and Cyprus are to the south; the Aegean Sea to the west; and the Black Sea is to the north. The Sea of Marmara, the Bosphorus and the Dardanelles (which together form the Turkish Straits) demarcate the boundary between Eastern Thrace and Anatolia; they also separate Europe and Asia.
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Yale University
Yale University is a private Ivy League university located in New Haven, Connecticut. Founded in 1701 in the Colony of Connecticut, the university is the third-oldest institution of higher education in the United States.
http://wn.com/Yale_University
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Alvin Etler
Alvin Derald Etler (February 19, 1913 - June 13, 1973) was an American composer and oboist.
http://wn.com/Alvin_Etler -
Andrew Hill
Andrew Hill (June 30, 1931 – April 20, 2007) was an American jazz pianist and composer.
http://wn.com/Andrew_Hill -
Anton Webern
http://wn.com/Anton_Webern -
Arnold Cooke
Arnold Atkinson Cooke (4 November 1906 - 13 August 2005) was a British composer.
http://wn.com/Arnold_Cooke -
Arnold Mendelssohn
Arnold Ludwig Mendelssohn (26 December 1855 – 18 February 1933) was a German composer and music teacher.
http://wn.com/Arnold_Mendelssohn -
Arnold Schoenberg
http://wn.com/Arnold_Schoenberg -
Bernhard Heiden
Bernhard Heiden (b. Frankfurt-am-Main, August 24, 1910; d. Bloomington, IN, April 30, 2000) was a German and American composer and music teacher, who studied under and was heavily influenced by Paul Hindemith. Bernhard Heiden, the son of Ernst Levi and Martha (Heiden-Heimer) was originally named Bernhard Levi, but he later changed his name.
http://wn.com/Bernhard_Heiden -
Bernhard Sekles
Bernhard Sekles (20 March 1872, Frankfurt am Main – 8 December 1934, Frankfurt am Main) was a German composer, conductor, pianist and pedagogue.
http://wn.com/Bernhard_Sekles -
Bertolt Brecht
http://wn.com/Bertolt_Brecht -
Carl Maria von Weber
http://wn.com/Carl_Maria_von_Weber -
Charles L. Bestor
Charles Lemon Bestor (b. New York City, December 21, 1924) is an American composer of contemporary classical music, professor, and administrator.
http://wn.com/Charles_L_Bestor -
David Oistrakh
http://wn.com/David_Oistrakh -
Easley Blackwood Jr.
http://wn.com/Easley_Blackwood_Jr -
Ernest Ansermet
Ernest Alexandre Ansermet (11 November 1883, Vevey, Vaud – 20 February 1969) was a Swiss conductor.
http://wn.com/Ernest_Ansermet -
Francis Thorne
http://wn.com/Francis_Thorne -
Franz Reizenstein
Franz Reizenstein (7 June 191115 October 1968) was a German-born British composer and concert pianist. He left Germany for sanctuary in Britain in 1934 and went on to have his career there, including teaching at the Royal Northern College of Music and Boston University, as well as performing.
http://wn.com/Franz_Reizenstein -
Hans Otte
http://wn.com/Hans_Otte -
Harald Genzmer
Harald Genzmer (February 9, 1909 – December 16, 2007) was a German composer of contemporary classical music.
http://wn.com/Harald_Genzmer -
Harold Shapero
:For the mathematics professor, see Harold S. Shapiro. For the economics professor, see Harold T. Shapiro.
http://wn.com/Harold_Shapero -
Heinrich Konietzny
http://wn.com/Heinrich_Konietzny -
Igor Stravinsky
http://wn.com/Igor_Stravinsky -
Irwin Bazelon
Irwin Bazelon (b. Evanston, Illinois, June 4, 1922; died August 2, 1995) was an American composer of contemporary classical music.
http://wn.com/Irwin_Bazelon -
John Avison
John Avison, CM (April 25, 1915 – November 30, 1983) was a Canadian conductor and pianist. From 1938 to 1980, he was the founding conductor of the CBC Vancouver Chamber Orchestra (now called the CBC Radio Orchestra). He was a longtime member of the Vancouver Symphony Orchestra (VSO) and was married to VSO violinist Angelina Avison. In 1978 he was made a Member of the Order of Canada, Canada's highest civilian honour, and in 1980 he was awarded the Canadian Music Council Medal.
http://wn.com/John_Avison -
John Donald Robb
John Donald Robb (b. Minneapolis, Minnesota, 1892; d. Albuquerque, New Mexico, January 6, 1989) was an American composer, ethnomusicologist, arts administrator, and attorney from New Mexico. He was a professor at the University of New Mexico in Albuquerque, New Mexico, and served as Dean of the university's College of Fine Arts from 1942 to 1957. In addition, he was responsible for establishing the University of New Mexico Symphony.
http://wn.com/John_Donald_Robb -
Joseph Goebbels
Paul Joseph Goebbels (often in English, ; 29 October 1897 – 1 May 1945) was a German politician and Reich Minister of Propaganda in Nazi Germany from 1933 to 1945. As one of German dictator Adolf Hitler's closest associates and most devout followers, he was known for his zealous oratory and anti-Semitism. He was the chief architect of the Kristallnacht attack on the German Jews, which historians consider to be the beginning of the Final Solution, leading towards the genocide of the Holocaust.
http://wn.com/Joseph_Goebbels -
Joseph Tal
http://wn.com/Joseph_Tal -
Lukas Foss
http://wn.com/Lukas_Foss -
Matthias Grünewald
http://wn.com/Matthias_Grünewald -
Mel Powell
Mel Powell (February 12, 1923 - April 24, 1998) was a jazz pianist and composer of classical music.
http://wn.com/Mel_Powell -
Mitch Leigh
Mitch Leigh (born January 30, 1928) is an American musical theatre composer and theatrical producer best known for the musical Man Of La Mancha.
http://wn.com/Mitch_Leigh -
Norman Dello Joio
Norman Dello Joio (January 24, 1913 – July 24, 2008) was an American composer.
http://wn.com/Norman_Dello_Joio -
Olga Gorelli
Olga Gorelli, (June 14, 1920 Bologna, Italy, died 2006) was well known for her musical talents as a composer and piano teacher.
http://wn.com/Olga_Gorelli -
Oskar Sala
Oskar Sala (18 July 1910 - 26 February 2002) was a 20th century German physicist, composer and a pioneer of electronic music born in Greiz. He played an instrument called the Trautonium, a predecessor to the synthesizer.
http://wn.com/Oskar_Sala -
Paul Hindemith
Paul Hindemith (16 November 1895 – 28 December 1963) was a German composer, violist, violinist, teacher, music theorist and conductor.
http://wn.com/Paul_Hindemith -
Ron Drummond
Ronald Norman Drummond (born 17 October 1959, in Seattle) is an American writer, editor, and independent scholar, living in Troy, New York as of 2010.
http://wn.com/Ron_Drummond -
Ruth Schonthal
http://wn.com/Ruth_Schonthal -
Siglind Bruhn
Siglind Bruhn (born October 11, 1951 in Hamburg) is a German musicologist and concert pianist.
http://wn.com/Siglind_Bruhn -
Ulysses Kay
http://wn.com/Ulysses_Kay -
Violet Archer
Violet Archer, CM (April 24, 1913 – February 21, 2000) was a Canadian composer, teacher, pianist, organist, and percussionist. Born Violet Balestreri in Montreal, Quebec, her family changed their name to Archer. She died in Ottawa.
http://wn.com/Violet_Archer -
Walter Leigh
Walter Leigh (22 June 190512 June 1942) was an English composer. Leigh is most famous for his Concertino for harpsichord and string orchestra, written in 1934. Other famous works include the overture Agincourt and The Frogs of Aristophanes for chorus and orchestra. He wrote music for documentary films and there is an unfinished sketch for a symphony.
http://wn.com/Walter_Leigh -
Wernher von Braun
Wernher Magnus Maximilian Freiherr von Braun (March 23, 1912 – June 16, 1977) was a German-American rocket scientist, engineer, space architect, and one of the leading figures in the development of rocket technology in Germany and the United States during and after World War II. A one-time member of the Nazi party and a commissioned SS officer, von Braun would later be regarded as the preeminent rocket engineer of the 20th century in his role with the United States civilian space agency NASA.
http://wn.com/Wernher_von_Braun -
Wilhelm Furtwängler
http://wn.com/Wilhelm_Furtwängler -
William P. Perry
William P. Perry is an American composer and television producer. Born in Elmira, New York in 1930, he attended Harvard University and studied with Paul Hindemith, Walter Piston and Randall Thompson. His music has been performed by the Chicago Symphony, the Saint Louis Symphony, the Detroit Symphony and the symphonic orchestras of Minnesota, Montreal and Hartford as well as the Vienna Symphony, the Rome Philharmonic, the Slovak Philharmonic, the National Symphony of Ireland and other orchestras in Europe.
http://wn.com/William_P_Perry -
Willson Osborne
Willson Osborne (1906 – 1979) was an American composer.
http://wn.com/Willson_Osborne
RELEASE
ALBUMS
- String Quartet No. 5 in B-flat major, Sz 102: I. Allegro
- String Quartet No. 5 in B-flat major, Sz 102: II. Adagio molto
- String Quartet No. 5 in B-flat major, Sz 102: III. Scherzo
- String Quartet No. 5 in B-flat major, Sz 102: IV. Andante
- String Quartet No. 5 in B-flat major, Sz 102: V. Finale: allegro vivace
- String Quartet No. 4, Op. 22: I. Fugato. sehr langsame viertel
- String Quartet No. 4, Op. 22: II. Schnelle achtel. sehr energisch
- String Quartet No. 4, Op. 22: III. Ruhige viertel. stets flieβend
- String Quartet No. 4, Op. 22: IV. Mässig schnelle viertel
- String Quartet No. 4, Op. 22: V. Rondo. gemächlich und mit grazie
- Piano Sonata No. 1 »Der Main«: I. Ruhig bewegte Viertel
- Piano Sonata No. 1 »Der Main«: II. Im Zeitmaß eines sehr langsamen Marsches
- Piano Sonata No. 1 »Der Main«: III. Lebhaft
- Piano Sonata No. 1 »Der Main«: IV. Ruhig bewegte Viertel, wie im ersten Teil
- Piano Sonata No. 1 »Der Main«: V. Lebhaft
- Piano Sonata No. 2: I. Mäßig schnell
- Piano Sonata No. 2: II. Lebhaft
- Piano Sonata No. 2: III. Sehr langsam - Ruhig -
- Piano Sonata No. 2: Rondo: Bewegt - Langsam
- Piano Sonata No. 3: I. Ruhig bewegt
- Piano Sonata No. 3: II. Sehr lebhaft
- Piano Sonata No. 3: III. Mäßig schnell
- Piano Sonata No. 3: IV. Fuge: Lebhaft
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Cardillac (Cologne Radio Symphony Orchestra & Chorus feat. conductor: Joseph Keilberth)
Released 2005
Released 2005
- Cardillac, Op. 39: Act I. Prelude / "Mörder! Mörder!" (Chorus)
- Cardillac, Op. 39: Act I. "Über euch allen" (Provost-Marshal, Chorus)
- Cardillac, Op. 39: Act I. "Wer ging vorbei" (Lady, Courier)
- Cardillac, Op. 39: Act I. "Waagschalen dieser Welt!" (Courier)
- Cardillac, Op. 39: Act I. "Die Zeit vergeht, Rose zerfiel" (Lady)
- Cardillac, Op. 39: Act I. Pantomime
- Cardillac, Op. 39: Act II. "Mag Sonne leuchten!" (Cardillac, Gold Merchant)
- Cardillac, Op. 39: Act II. "Mein Geliebter kommt" (Daughter)
- Cardillac, Op. 39: Act II. "Der Wagen wartet" (Officer, Daughter)
- Cardillac, Op. 39: Act II. "Dies ist das Rechte!" (Cardillac, Daughter)
- String Quartet No. 1 in F minor Op. 10 (1919): I. Sehr lebhaft, straff im Rhythmus
- String Quartet No. 1 in F minor Op. 10 (1919): II. Thema mit Variationen: Gemächlich
- String Quartet No. 1 in F minor Op. 10 (1919): III. Finale: Sehr lebhaft
- String Quartet No. 2 in C Op. 16 (1921): 1. Lebhaft und sehr energisch
- String Quartet No. 2 in C Op. 16 (1921): II. Sehr langsam
- String Quartet No. 2 in C Op. 16 (1921): III. Finale: Äußerst lebhaft
- String Quartet No. 6 in E flat major (1945): I. Schnell
- String Quartet No. 6 in E flat major (1945): II. Ruhig, Scherzando
- String Quartet No. 6 in E flat major (1945): III. Langsam - schnell - langsam
- String Quartet No. 6 in E flat major (1945): IV. Kanon: mäßig schnell - heiter
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Organ Concerto / Organ Sonata (ORF-Symphonieorchester feat. conductor: Milan Horvat)
Released 2003
Released 2003
- Concerto for Organ and Orchestra: I. Crescendo, Moderato assai
- Concerto for Organ and Orchestra: II. Allegro assai
- Concerto for Organ and Orchestra: III. Canzonetta in triads, and two Ritornelli: Allegro moderato
- Concerto for Organ and Orchestra: IV. Phantasy on 'Veni creator spiritus': Allegro moderato
- Sonata I, for organ: I. Mäßig schnell, lebhaft
- Sonata I, for organ: II. Sehr langsam, Phantasie - frei, Ruhig bewegt
- Sonata II, for organ: I. Lebhaft
- Sonata II, for organ: II. Ruhig bewegt
- Sonata II, for organ: III. Fuge: Mäßig bewegt, heiter
- Sonata III, for organ: I. Mäßig bewegt: 'Ach Gott, wem soll ich's klagen'
- Sonata III, for organ: II. Sehr langsam: 'Wach auf, mein Hort'
- Sonata III, for organ: III. Ruhig bewegt: 'So wünsch ich ihr'
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Die Harmonie der Welt (Rundfunkchor Berlin & Rundfunk-Sinfonieorchester Berlin feat. conductor: Marek Janowski)
Released 2003
Released 2003
- Die Harmonie der Welt: 1. Aufzug. Vorspiel
- Die Harmonie der Welt: 1. Aufzug Szene 1. Straße in Prag
- Die Harmonie der Welt: 1. Aufzug Szene 2. Würtemberg: Ein Friedhof bei Nacht
- Die Harmonie der Welt: 1. Aufzug Szene 3. Auf der Prager Burg
- Die Harmonie der Welt: 1. Aufzug Szene 4. Prag: Ein Zimmer in Keplers Haus
- 1922 Suite für Klavier, op. 26: I. Marsch
- 1922 Suite für Klavier, op. 26: II. Shimmy
- 1922 Suite für Klavier, op. 26: III. Nachtstück
- 1922 Suite für Klavier, op. 26: IV. Boston
- 1922 Suite für Klavier, op. 26: V. Ragtime
- In einer Nacht... Träume und Erlebnisse, op. 15: I. Müdigkeiten
- In einer Nacht... Träume und Erlebnisse, op. 15: II. Sehr langsam
- In einer Nacht... Träume und Erlebnisse, op. 15: III. Phantastisches Duett zweier Bäume vor dem Fenster
- In einer Nacht... Träume und Erlebnisse, op. 15: IV. Rufe in der horchenden Nacht
- In einer Nacht... Träume und Erlebnisse, op. 15: V. Ziemlich schnelle Achtel
- In einer Nacht... Träume und Erlebnisse, op. 15: VI. Sehr lebhaft, flimmernd
- In einer Nacht... Träume und Erlebnisse, op. 15: VII. Nervosität
- In einer Nacht... Träume und Erlebnisse, op. 15: VIII. Scherzo
- In einer Nacht... Träume und Erlebnisse, op. 15: IX. Programm-Musik: Kuckuck und Uhu
- In einer Nacht... Träume und Erlebnisse, op. 15: X. In der Art eines langsamen Menuetts
- In einer Nacht... Träume und Erlebnisse, op. 15: XI. Prestissimo
- In einer Nacht... Träume und Erlebnisse, op. 15: XII. Böser Traum. Rigoletto
- In einer Nacht... Träume und Erlebnisse, op. 15: XIII. Foxtrott
- In einer Nacht... Träume und Erlebnisse, op. 15: XIV. Finale: Doppelfuge mit Engführungen
- Lied: Langsam
- Sonate für Klavier Nr. 2: I. Mäßig schnell
- Sonate für Klavier Nr. 2: II. Lebhaft
- Sonate für Klavier Nr. 2: III. Sehr langsam
- Sonate für Klavier Nr. 2: III. Rondo: Bewegt – langsam
- Tanzstücke, op. 19: I. Mäßig schnell
- Tanzstücke, op. 19: II. Sehr lebhaft
- Tanzstücke, op. 19: III. Mäßig schnell
- Tanzstücke, op. 19: IV. Pantonime
- Tanzstücke, op. 19: V. Sehr lebhaft
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Clarinet Sonatas (feat. clarinet: Colin Bradbury, piano: Bernard Roberts)
Released 2000
Released 2000
- Sonata for Clarinet and Piano in F minor, Op. 120 No. 1: I. Allegro appassionato
- Sonata for Clarinet and Piano in F minor, Op. 120 No. 1: II. Andante un poco adagio
- Sonata for Clarinet and Piano in F minor, Op. 120 No. 1: III. Allegretto grazioso
- Sonata for Clarinet and Piano in F minor, Op. 120 No. 1: IV. Vivace
- Sonata for Clarinet and Piano: I. Mäßig Bewegt
- Sonata for Clarinet and Piano: II. Lebhaft
- Sonata for Clarinet and Piano: III. Sehr langsam
- Sonata for Clarinet and Piano: IV. Kleines rondo, gemächlich
- Sonata for Clarinet and Piano in E-flat major, Op. 120 No. 2: I. Allegro amabile
- Sonata for Clarinet and Piano in E-flat major, Op. 120 No. 2: II. Allegro appassionato - Sostenuto
- Sonata for Clarinet and Piano in E-flat major, Op. 120 No. 2: III. Andante con moto - Allegro (Variations)
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Symphonia Serena / Die Harmonie der Welt (Gewandhausorchester Leipzig feat. conductor: Herbert Blomstedt)
Released 2000
Released 2000
- Symphonia Serena: I. Moderately fast
- Symphonia Serena: II. Geschwindmarsch By Beethoven. Paraphrase: Rather fast
- Symphonia Serena: III. Colloquy: Quiet
- Symphonia Serena: IV. Finale: Gay
- Symphony "Die Harmonie der Welt": I. Musica Instrumentalis
- Symphony "Die Harmonie der Welt": II. Musica Humana
- Symphony "Die Harmonie der Welt": III. Musica Mundana
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Kammermusik 5 Op. 36,4 / Konzertmusik Op. 48 / Der Schwanendreher / Trauermusik (Queensland Symphony Orchestra feat. conductor: Werner Andreas Albert, viola: Brett Dean)
Released 1999
Released 1999
- Kammermusik No. 5 Op. 36/4: I. Schnelle Halbe
- Kammermusik No. 5 Op. 36/4: II. Langsam
- Kammermusik No. 5 Op. 36/4: III. Mässig schnell
- Kammermusik No. 5 Op. 36/4: IV. Variante eines Militärmarsches
- Konzertmusik Op. 48: I. Lebhaft
- Konzertmusik Op. 48: II. Ruhig gehend
- Konzertmusik Op. 48: III. Lebhaft
- Konzertmusik Op. 48: IV. Leicht bewegt
- Konzertmusik Op. 48: Sehr lebhaft
- Der Schwanendreher: I. Zwischen Berg und tiefem Tal
- Der Schwanendreher: II. Nun laube, Lindlein laube. Fugato. Der Gutzgauch auf dem Zaune sass
- Der Schwanendreher: III. Variationen: Seid ihr nicht der Schwanendreher?
- Trauermusik: I. Langsam
- Trauermusik: II. Ruhig und bewegt
- Trauermusik: III. Lebhaft
- Trauermusik: IV. Choral: Vor deinen Thron tret ich hiermit
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Music for One and Two Pianos (feat. piano: Bernard Roberts)
Released 1996
Released 1996
- Sonata No. 1 (1936): I. Ruhig bewegte Viertel
- Sonata No. 1 (1936): II. Im Zeitmaß eines sehr langsamen Marsches
- Sonata No. 1 (1936): III. Lebhaft
- Sonata No. 1 (1936): IV. Ruhig bewegte Viertel, wie im ersten Teil
- Sonata No. 1 (1936): V. Lebhaft - Energisch - Sehr lebhaft
- Sonata No. 2 (1936): I. Mäßig schnell
- Sonata No. 2 (1936): II. Lebhaft
- Sonata No. 2 (1936): III. Sehr langsam - Rondo: Bewegt
- Sonata No. 3 (1936): I. Ruhig bewegt
- Sonata No. 3 (1936): II. Sehr lebhaft
- Sonata No. 3 (1936): III. Mäßig schnell
- Sonata No. 3 (1936): IV. Fuge: Lebhaft
- Sonata for Piano Four Hands (1938): I. Mäßig bewegt (feat. piano: Bernard Roberts, David Strong)
- Sonata for Piano Four Hands (1938): II. Lebhaft (feat. piano: Bernard Roberts, David Strong)
- Sonata for Piano Four Hands (1938): III. Ruhig bewegt - Sehr lebhaft (feat. piano: Bernard Roberts, David Strong)
- Septet in E flat major, Op. 20: I. Adagio - Allegro con brio
- Septet in E flat major, Op. 20: II. Adagio cantabile
- Septet in E flat major, Op. 20: III. Tempo di Menuetto
- Septet in E flat major, Op. 20: IV. Tema con variazioni. Andante.
- Septet in E flat major, Op. 20: VI. Scherzo. Allegro molto e vivace
- Septet in E flat major, Op. 20: VII. Andante con moto alla Marcia - Presto
- Oktett: I. Breit - Mäßig schnell
- Oktett: II. Mäßig bewegt
- Oktett: III. Langsam
- Oktett: IV. Sehr lebhaft
- Oktett: V. Fuge und drei altmodische Tänze: Walzer, Polka, Galopp
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The Complete Works for Viola : The Four Solo Viola Sonatas, Volume 2 (viola: Paul Cortese)
Released 1996
Released 1996
- Viola Sonata, Op. 25 No. 1: I. Breit Viertel
- Viola Sonata, Op. 25 No. 1: II. Sehr fresch und straff
- Viola Sonata, Op. 25 No. 1: III. Sehr langsam
- Viola Sonata, Op. 25 No. 1: IV. Rasendes Zeitmass
- Viola Sonata, Op. 25 No. 1: V. Langsam, mit viel Ausdruck
- Viola Sonata, Op. 31 No. 4: I. Äusserst lebhaft
- Viola Sonata, Op. 31 No. 4: II. Lied - Ruhig, mit wenig Ausdruck
- Viola Sonata, Op. 31 No. 4: III. Theme mit Variationen - Schnelle Viertel
- Viola Sonata, Op. 11 No. 5: I. Lebhaft, aber nicht geeilt
- Viola Sonata, Op. 11 No. 5: II. Mässig schnell, mit viel wärme Vostragen
- Viola Sonata, Op. 11 No. 5: III. Scherzo
- Viola Sonata, Op. 11 No. 5: IV. In Form und Zeitmass einer Passacaglia. Das Thema sehr gehalten
- Viola Sonata (1937): I. Lebhafte Halbe
- Viola Sonata (1937): II. Langsame Viertel
- Viola Sonata (1937): III. Mässig schnelle Viertel
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Mathis der Maler - Symphonie / Symphonische Metamorphosen / Nobilissima Visione (Berliner Philharmoniker, feat. conductor: Claudio Abbado)
Released 1995
Released 1995
- Symphonie "Mathis der Maler": I. "Engelkonzert", Ruhig bewegt
- Symphonie "Mathis der Maler": II. "Grablegung", Sehr langsam
- Symphonie "Mathis der Maler": III. "Versuchung des heiligen Antonius", Sehr langsam, frei im Zeitmass - Sehr lebhaft
- Nobilissima Visione: I. "Einleitung und Rondo", Sehr langsam - Rondo. Mässig schnell
- Nobilissima Visione: II. "Marsch und Pastorale", Lebhaft - Langsam
- Nobilissima Visione: III. "Passacaglia", Feierlich bewegt
- Symphonische Metamorphosen nach Themen von Carl Maria von Weber: I. Allegro
- Symphonische Metamorphosen nach Themen von Carl Maria von Weber: II. "Turandot, Scherzo". Moderato - Lebhaft
- Symphonische Metamorphosen nach Themen von Carl Maria von Weber: III. Andantino
- Symphonische Metamorphosen nach Themen von Carl Maria von Weber: IV. Marsch
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Mathis der Mahler (Chor und Symphonie-Orchester des Bayerischen Rundfunks feat. conductor: Rafael Kubelik)
Released 1995
Released 1995
- Mathis der Mahler: Tableau VI, Scene 1. Introduction / "Du wirst mich verlieren"
- Mathis der Mahler: Tableau VI, Scene 1. "Der liebste Vater, er verstand mich"
- Mathis der Mahler: Tableau VI, Scene 1. "Alte Märchen woben uns fromme Bilder"
- Mathis der Mahler: Tableau VI, Scene 1. "Es sungen drei Engel/Wie bereit er ist" / Scene 2. "Das kann nicht der gleiche Mann sein"
- Mathis der Mahler: Tableau VI, Scene 2. "Du hast ihn verschleudet"
- Mathis der Mahler: Tableau VI, Scene 2. "Ja, fauler Reichtum"
- Mathis der Mahler: Tableau VI, Scene 2. "Gibst du noch so viel"
- Mathis der Mahler: Tableau VI, Scene 2. "Über die Lust hinaus wächst nur der Schmerz"
- Mathis der Mahler: Tableau VI, Scene 2. "Und dich hat der Tod vergessen"
- Mathis der Mahler: Tableau VI, Scene 2. "Wer rettet mich?"
- Mathis der Mahler: Tableau VI, Scene 2. "Dein ärgster Feind sitzt in dir selbst"
- Mathis der Mahler: Tableau VI, Scene 2. "Gib auf den Widerstand"
- Mathis der Mahler: Tableau VI, Scene 3. "Mein Bruder, entreiße dich der höllentiefen Qual"
- Mathis der Mahler: Tableau VI, Scene 3. "Wenn du demütig dem Bruder dich bogst"
- Mathis der Mahler: Tableau VII, Scene 1. "Das ist der Kreuzweg"
- Mathis der Mahler: Tableau VII, Scene 1. "Ursula... Mein Kind"
- Mathis der Mahler: Tableau VII, Scene 1. "Bald. Ich bitte dich um eins"
- Mathis der Mahler: Tableau VII, Scene 1. Interlude "Grablegung"
- Mathis der Mahler: Tableau VII, Scene 2. "Du bringst es über dich, mein Freund"
- Mathis der Mahler: Tableau VII, Scene 2. "Mein Glück wollt ihr"
- Mathis der Mahler: Tableau VII, Scene 3. "Auf denn zum lezten Stück des Wegs"
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Mathis der Maler (Kölner Rundfunk-Sinfonie-Orchester feat. conductor: Gerd Albrecht)
Released 1994
Released 1994
- Bild 3 - Auftritt 1 - In dieser Arche wird unsre Habe die Sintflut überstehen
- Bild 3 - Auftritt 2 - Man könnte pöpstlich werden
- Bild 3 - Auftritt 3 - Was bin ich anderes in dieser Männerwelt
- Bild 3 - Auftritt 4 - Unsre Schande leuchtete in des Feuers Schein
- Bild 4 - Auftritt 1 - Du hast uns lange getreten
- Bild 4 - Auftritt 2 - Wer hieß Euch den Grafen ermorden
- Bild 4 - Auftritt 3 - Das sieht euch gleich
- Bild 4 - Auftritt 4 - Flohen nicht alle?
- Bild 4 - Auftritt 5 - Wagen wollen, was ein Wille nicht zu zwingen vermag
- Bild 5 - Auftritt 1 - Wollt ihr mich denn entmündigen?
- Bild 5 - Auftritt 2 - Du, Ursula!
- Bild 5 - Auftritt 3 - Ihr wollt das Ergebnis der Unterhaltung wissen
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The Sonatas for Viola and Piano / Meditation (feat. viola: Nobuko Imai, piano: Roland Pöntinen)
Released 1994
Released 1994
- Sonata for Viola and Piano, Op. 11 No. 4: I. Fantasie
- Sonata for Viola and Piano, Op. 11 No. 4: II. Thema und Variationen
- Sonata for Viola and Piano, Op. 11 No. 4: III. Finale (mit Variationen)
- Sonata for Viola and Piano, Op. 25 No. 4: I. Sehr lebhaft. Markiert und kraftwoll
- Sonata for Viola and Piano, Op. 25 No. 4: II. Sehr langsame Viertel
- Sonata for Viola and Piano, Op. 25 No. 4: III. Finale. Lebhafte Viertel
- Meditation. Sehr langsam
- Sonata for Viola and Piano, 1939: I. Breit. Mit Kraft
- Sonata for Viola and Piano, 1939: II. Sehr lebhaft
- Sonata for Viola and Piano, 1939: III. Phantasie. Sehr langsam, frei - Schnell - Sehr langsam, frei
- Sonata for Viola and Piano, 1939: IV. Finale (mit zwei Variationen). Leicht bewegt - Sehr lebhaft
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Mathis der Maler / Symphonic Metamorphosis (New Zealand Symphony Orchestra feat. conductor: Franz-Paul Decker)
Released 1994
Released 1994
- Mathis der Maler Symphony: I. Engelkonzert: Ruhig bewegt - Ziemlich lebhafte Halbe
- Mathis der Maler Symphony: II. Grablegung: Sehr langsam
- Mathis der Maler Symphony: III. Versuchung des heiligen Antonius: Sehr langsam, frei im Zeitmass - Sehr lebhaft
- Nobilissima Visione: Einleitung und Rondo
- Nobilissima Visione: Marsch und Pastorale
- Nobilissima Visione: Passacaglia
- Symphonic Metamorphosis on Themes of Carl Maria von Weber: I. Allegro
- Symphonic Metamorphosis on Themes of Carl Maria von Weber: II. Turandot: Scherzo
- Symphonic Metamorphosis on Themes of Carl Maria von Weber: III. Andantino
- Symphonic Metamorphosis on Themes of Carl Maria von Weber: IV. Marsch
- 1. Sonate für Klavier (1936): I. Ruhig bewegte Viertel
- 1. Sonate für Klavier (1936): II. Im Zeitmaß eines sehr langsamen Marsches
- 1. Sonate für Klavier (1936): III. Lebhaft
- 1. Sonate für Klavier (1936): IV. Ruhig bewegte Viertel, wie im ersten Teil
- 1. Sonate für Klavier (1936): V. Lebhaft -- Variationen: Sehr langsam und ausdrucksvoll (ursprünglicher 2. Satz aus der 1. Sonate für Klavier)
- 2. Sonate für Klavier (1936): I. Mäßig schnell
- 2. Sonate für Klavier (1936): II. Lebhaft
- 2. Sonate für Klavier (1936): III. Sehr langsam - Rondo: Bewegt
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Bartók: Konzert für Viola und Orchester / Hindemith: Der Schwanendreher (Viola: Tabea Zimmermann, Symphonie-Orchester des Bayrischen Rundfunks feat. conductor: David Shallon)
Released 1992
Released 1992
- Viola Concerto, Op. Posth. (Sz120): I. Moderato
- Viola Concerto, Op. Posth. (Sz120): II. Adagio religioso
- Viola Concerto, Op. Posth. (Sz120): III. Allegro vivace
- Der Schwanendreher: I. "Zwischen Berg und tiefem Tal"
- Der Schwanendreher: II. "Nun Laube, Lindlein, Laube". Fugato: "Der Gutzgauch auf dem Zaune saß"
- Der Schwanendreher: III. Variationen über "Seid ihr nicht der Schwanendreher?"
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Kammermusik (Royal Concertgebouw Orchestra, feat. conductor: Riccardo Chailly)
Released 1992
Released 1992
- Kammermusik No. 4, op. 36 no. 3: I. Signal: Breite, majestätische Halbe (feat. violin: Konstany Kulka)
- Kammermusik No. 4, op. 36 no. 3: II. Sehr lebhaft (feat. violin: Konstany Kulka)
- Kammermusik No. 4, op. 36 no. 3: III. Nachtstück: Mäßig schnelle Achtel (feat. violin: Konstany Kulka)
- Kammermusik No. 4, op. 36 no. 3: IV. Lebhafte Viertel - (feat. violin: Konstany Kulka)
- Kammermusik No. 4, op. 36 no. 3: V. So schnell wie möglich (feat. violin: Konstany Kulka)
- Kammermusik No. 5, op. 36 no. 4: I. Schnelle Halbe (feat. viola: Kim Kashkashian)
- Kammermusik No. 5, op. 36 no. 4: II. Langsam (feat. viola: Kim Kashkashian)
- Kammermusik No. 5, op. 36 no. 4: III. Mäßig schnell (feat. viola: Kim Kashkashian)
- Kammermusik No. 5, op. 36 no. 4: IV. Variante eines Militärmarsches (feat. viola: Kim Kashkashian)
- Kammermusik No. 6, op. 46 no. 1: Mäßig schnell, majestätisch - (feat. viola d'amore: Norbert Blume)
- Kammermusik No. 6, op. 46 no. 1: Langsam - (feat. viola d'amore: Norbert Blume)
- Kammermusik No. 6, op. 46 no. 1: Variationen - (feat. viola d'amore: Norbert Blume)
- Kammermusik No. 6, op. 46 no. 1: Lebhaft, wie früher (feat. viola d'amore: Norbert Blume)
- Kammermusik No. 7, op. 46 no. 2: I. Nicht zu schnell (feat. organ: Leo van Doeselaar)
- Kammermusik No. 7, op. 46 no. 2: II. Sehr langsam und ganz ruhig (feat. organ: Leo van Doeselaar)
- Kammermusik No. 7, op. 46 no. 2: III. [Achtel bis 184] (feat. organ: Leo van Doeselaar)
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Symphonie 'Mathis Der Maler' - Konzertmusik (feat. Israel Philarmonic Orchestra, cond. Leonard Bernstein)
Released 1991
Released 1991
- Symphonie "Mathis der Maler": I. Engelskonzert
- Symphonie "Mathis der Maler": II. Grablegung
- Symphonie "Mathis der Maler": III. Versuchung des Heiligen Antonius
- Konzertmusik für Streichorchester und Blechbläser op. 50 - Erster Teil: I. Mäßig schnell, mit Kraft
- Konzertmusik für Streichorchester und Blechbläser op. 50 - Erster Teil: II. Sehr breit, aber stets fließend
- Konzertmusik für Streichorchester und Blechbläser op. 50 - Zweiter Teil: III. Lebhaft
- Konzertmusik für Streichorchester und Blechbläser op. 50 - Zweiter Tei: IV. Langsam
- Konzertmusik für Streichorchester und Blechbläser op. 50 - Zweiter Tei: V. Im ersten Zeitmaß - Lebhaft
- Symphonische Metamorphosen nach Themen von Carl Maria von Weber: I.Allegro
- Symphonische Metamorphosen nach Themen von Carl Maria von Weber: II. 'Turandot-Scherzo': Moderato - Lebhaft
- Symphonische Metamorphosen nach Themen von Carl Maria von Weber: III. Andantino
- Symphonische Metamorphosen nach Themen von Carl Maria von Weber: IV. Marsch
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String Quartets No. 1, Op. 2 & No. 5, Op. 32 (feat. Sonare Quartett)
Released 1991
Released 1991
- String Quartet No. 1 in C major, Op. 2 (1915): I. Sehr lebhaft
- String Quartet No. 1 in C major, Op. 2 (1915): II. Adagio
- String Quartet No. 1 in C major, Op. 2 (1915): III. Sehr lebhaft
- String Quartet No. 1 in C major, Op. 2 (1915): IV. Ziemlich lebhaft
- String Quartet No. 5, Op. 32 (1923): I. Lebhafte Halbe
- String Quartet No. 5, Op. 32 (1923): II. Sehr langsam, aber immer fließend
- String Quartet No. 5, Op. 32 (1923): III. Kleiner Marsch
- String Quartet No. 5, Op. 32 (1923): IV. Passacaglia
- Praeludium
- Fuga prima in C: Lento
- Interludium: Moderato con energico
- Fuga secunda in G: Allegro
- Interludium: Pastorale, moderato
- Fuga tertia in F: Andante
- Interludium: Scherzando
- Fuga quarta in A: Con energica
- Interludium: Vivace
- Fuga quinta in E: Vivace
- Interludium: Moderato
- Fuga sexta in Eb: Tranquillo
- Interludium: Marcia
- Fuga septima in Ab: Moderato
- Interludium: Molto largo
- Fuga octava in D: Con forza
- Interludium: Allegro molto
- Fuga nona in Bb: Moderato, scherzando
- Interludium: Molto tranquillo
- Fuga decima in Db: Allegro moderato, grazioso
- Interludium: Allegro pesante
- Fuga undecima in B (Canon): Lento
- Interludium: Valse
- Fuga duodecima in F#: Molto tranquillo
- Postludium: Solenne, largo
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): I. Müdigkeiten
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): II. Sehr langsam
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): III. Phantastisches Duett zweier Bäume vor dem Fenster
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): IV. Rufe in der horchenden Nacht
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): V. Ziemlich schnelle Achtel
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): VI. Sehr lebhaft, flimmernd
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): VII. Nervosität
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): VIII. Scherzo
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): IX. Programm-Musik: Kuckuck und Uhu - Frei nach Humperdinck
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): X. In der Art eines langsamen Menuetts
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): XI. Prestissimo
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): XII. Böser Traum. Rigoletto
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): XIII. Foxtrott
- In einer Nacht... Träume und Erlebnisse op. 15 (1917/1919): XIV. Finale: Doppelfuge mit Engführungen
- 1922. Suite für Klavier op. 26 (1922): I. Marsch
- 1922. Suite für Klavier op. 26 (1922): II. Shimmy
- 1922. Suite für Klavier op. 26 (1922): III. Nachtstück
- 1922. Suite für Klavier op. 26 (1922): IV. Boston
- 1922. Suite für Klavier op. 26 (1922): V. Ragtime
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Mathis der maler / Nobilissima Visione / Symphonic Metamorphosis (Atlanta Symphony Orchestra feat. conductor: Yoel Levi)
Released 1989
Released 1989
- Mathis der Maler: I. Engelkonzert
- Mathis der Maler: II. Grablegung
- Mathis der Maler: III. Versuchung des heiligen Antonius
- Nobilissima Visione: I. Einleitung und Rondo
- Nobilissima Visione: II. Marsch und Pastorale
- Nobilissima Visione: III. Passacaglia
- Symphonic Metamorphosis of Themes by Carl Maria von Weber: I. Allegro
- Symphonic Metamorphosis of Themes by Carl Maria von Weber: II. Turandot, Scherzo
- Symphonic Metamorphosis of Themes by Carl Maria von Weber: III. Andantino
- Symphonic Metamorphosis of Themes by Carl Maria von Weber: IV. Marsch
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Sonatas for Viola/Piano and Viola Alone (feat. viola: Kim Kashkashian, piano: Robert Levin)
Released 1988
Released 1988
- Sonate für Viola solo, Op. 31 Nr. 4: I. Äußerst lebhaft
- Sonate für Viola solo, Op. 31 Nr. 4: II. Lied - Ruhig, mit wenig Ausdruck Thema mit Variationen:
- Sonate für Viola solo, Op. 31 Nr. 4: III. Schnelle Viertel - Langsam - Ziemlich lebhaft
- Sonate für Viola solo, Op. 25 Nr. 1: I. Breit Sehr frisch und straff
- Sonate für Viola solo, Op. 25 Nr. 1: II. Sehr langsam
- Sonate für Viola solo, Op. 25 Nr. 1: III. Rasendes Zeitmaß. Wild. Tonschönheit ist Nebensache
- Sonate für Viola solo, Op. 25 Nr. 1: IV. Langsam, mit viel Ausdruck
- Sonate für Viola solo (1937): I. Lebhafte Halbe
- Sonate für Viola solo (1937): II. Langsame Viertel - Lebhaft (pizzicato)
- Sonate für Viola solo (1937): III. Mäßig schnelle Viertel
- Sonate für Viola solo, Op. 11 Nr. 5: I. Lebhaft, aber nicht geeilt
- Sonate für Viola solo, Op. 11 Nr. 5: II. Mäßig schnell, mit viel Wärme vorgetragen
- Sonate für Viola solo, Op. 11 Nr. 5: III. Scherzo
- Sonate für Viola solo, Op. 11 Nr. 5: IV. In Form und Zeitmaß einer Passacaglia
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Mathis der Maler / Trauermusik / Symphonic Metamorphosis (San Francisco Symphony feat. conductor: Herbert Blomstedt)
Released 1988
Released 1988
- Symphony "Mathis der Maler": I. Angelic Concert
- Symphony "Mathis der Maler": II. Entombment
- Symphony "Mathis der Maler": III. The Temptation of Saint Anthony
- Trauermusik: I. Langsam / II. Ruhig Bewegt / III. Lebhaft / IV. Sehr langsam
- Symphonic Metamorphosis: I. Allegro
- Symphonic Metamorphosis: II. Turandot, Scherzo. Moderato
- Symphonic Metamorphosis: III. Andantino
- Symphonic Metamorphosis: IV. March
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Das Marienleben (soprano: Gundula Janowitz, piano: Irwin Gage)
Released 1987
Released 1987
- Das Marienleben, Op. 27 Nr. 1: Geburt Mariä
- Das Marienleben, Op. 27 Nr. 2: Die Darstellung Mariä im Tempel
- Das Marienleben, Op. 27 Nr. 3: Mariä Verkündigung
- Das Marienleben, Op. 27 Nr. 4: Mariä Heimsuchung
- Das Marienleben, Op. 27 Nr. 5: Argwohn Josephs
- Das Marienleben, Op. 27 Nr. 6: Verkündigung über den Hirten
- Das Marienleben, Op. 27 Nr. 7: Geburt Christi
- Das Marienleben, Op. 27 Nr. 8: Rast auf der Flucht in Ägypten
- Das Marienleben, Op. 27 Nr. 9: Von der Hochzeit zu Kana
- Das Marienleben, Op. 27 Nr. 10: Vor der Passion
- Das Marienleben, Op. 27 Nr. 11: Pietà
- Das Marienleben, Op. 27 Nr. 12: Stillung Mariä mit dem Auferstandenen
- Das Marienleben, Op. 27 Nr. 13: Vom Tode Mariä I
- Das Marienleben, Op. 27 Nr. 14: Vom Tode Mariä II (Thema mit Variationen)
- Das Marienleben, Op. 27 Nr. 15: Vom Tode Mariä III
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When Lilacs Last in the Dooryard Bloom'd: A Requiem for Those We Love (Atlanta Symphony Orchestra and Chorus feat. conductor: Robert Shaw)
Released 1987
Released 1987
- When Lilacs Last in the Dooryard Bloom'd: Prelude
- When Lilacs Last in the Dooryard Bloom'd: I. When Lilacs Last in the Dooryard Bloom'd
- When Lilacs Last in the Dooryard Bloom'd: II. Arioso. In the Swamp
- When Lilacs Last in the Dooryard Bloom'd: III. March. Over the Breast of Spring
- When Lilacs Last in the Dooryard Bloom'd: IV. O Western Orb
- When Lilacs Last in the Dooryard Bloom'd: V. Arioso. Sing On, There in the Swamp
- When Lilacs Last in the Dooryard Bloom'd: VI. Song. O How Shall I Warble
- When Lilacs Last in the Dooryard Bloom'd: VII. Introduction and Fugue. Lo! Body and Soul
- When Lilacs Last in the Dooryard Bloom'd: VIII. Sing On! You Gray-Brown Bird
- When Lilacs Last in the Dooryard Bloom'd: IX. Death Carol. Come, Lovely and Soothing Death
- When Lilacs Last in the Dooryard Bloom'd: X. To the Tally of My Soul
- When Lilacs Last in the Dooryard Bloom'd: XI. Finale. Passing the Visions
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The Four Temperaments / Nobilissima Visione (Royal Philharmonic Orchestra feat. conductor: James de Preist, piano: Carol Rosenberger)
Released 1986
Released 1986
- The Four Temperaments: Theme
- The Four Temperaments: Melancholy
- The Four Temperaments: Sanguine
- The Four Temperaments: Phlegmatic
- The Four Temperaments: Choleric
- Nobilissima visione: Introduction and Rondo
- Nobilissima visione: March and Pastorale
- Nobilissima visione: Passacaglia
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Das Marienleben (feat. piano: Ingolf Dahl, vocals: Peggy Bonini)
Released 1977
Released 1977
- Birth of Mary
- The Presentation of Mary in the Temple
- Annunciation to Mary
- Visitation of the Virgin
- Joseph's Suspicion
- Annunciation Above the Shepherds
- Birth of Christ
- Rest on the Flight Into Egypt
- Of the Wedding at Cana
- Before the Passion
- Pieta
- Consolation of Mary
- Of the Death of Mary I
- Of the Death of Mary II
- Of the Death of Mary III
- Sonaat klaverile Fa mažoor
- Sonaat nr. 2 Sol mažoor
- Sonaat nr. 2 klaverile, Op. 11
- Sonatiin nr. 2, Op. 1
- Diagrammid, Op 11
- Flute Sonata No.2 in D major, Op. 94: I. Moderato
- Flute Sonata No.2 in D major, Op. 94: II.Scherzo
- Flute Sonata No.2 in D major, Op. 94: III. Andante
- Flute Sonata No.2 in D major, Op. 94: IV. Allegro con brio
- Flute Sonata, H.306: I. Allegro moderato
- Flute Sonata, H.306:II. Adagio
- Flute Sonata, H.306:III. Allegro poco moderato
- Flute Sonata: I. Heiter bewegt
- Flute Sonata: II. Sehr langsam
- Flute Sonata: III. Sehr lebhaft
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Mathis der Maler / Concert Music / Der Schwanendreher (Boston Symphony Orchestra feat. conductor: William Steinberg)
- Mathis der Maler: I. Angel Concert
- Mathis der Maler: II. Entombment
- Mathis der Maler: III. The Temptation of St. Anthony
- Konzertmusik, Op. 50: Part 1. Mässig schnell, mit Kraft - Sehr breit, aber stets filessend
- Konzertmusik, Op. 50: Part 2. Lebhaft - Langsam - Im ersten Zeitmass
- Der Schwanendreher, concerto for viola & small orchestra: 1. Zwischen Berg und tiefem Tal. Langsam - Mässig bewegt, mit Kraft
- Der Schwanendreher, concerto for viola & small orchestra: 2. Nun laube, Lindlein, laube! Sehr ruhig - Langsam
- Der Schwanendreher, concerto for viola & small orchestra: Der Gutzgauch auf dem Zaune sass. Fugato
- Der Schwanendreher, concerto for viola & small orchestra: 3. Variationen: Seid ihr nicht der Schwanendreher. Mässig schnell
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Concert Music for Strings and Bass, Violin Concerto, Symphonic Metamorphoses on themes of Carl Maria Von Weber
- Concert Music for Strings and Bass - Pt. 1 Maessig schnell, mit Kraft- Sehr breit, aber stets fliessend
- Concert Music for Strings and Bass - Pt.2 Lebhaft - langsam - im ersten Zeitmass
- Violin Concerto - 1.Maessig bewegte Halbe
- Violin Concerto - 2. Langsam
- Violin Concerto - 3. Lebhaft
- Symphonic Metamorphoses - 1. Allegro
- Symphonic Metamorphoses - 2.Turandot,Scherzo,Moderato - Lebhaft
- Symphonic Metamorphoses - 3. Andantino
- Symphonic Metamorphoses - 4. Marsch
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Nobilissima Visione, Der Schwanendreher, Konzertmusik (San Francisco Symphony feat. conductor: Herbert Blomstedt)
- Konzertmusik für Streichorchester und Blechbläser: I. Mäßig schnell, mit Kraft - Sehr breit, aber stets fließend
- Konzertmusik für Streichorchester und Blechbläser: II. Lebhaft - Langsam - Im ersten Zeitmaß
- Der Schwanendreher: I. "Zwischen Berg und tiefem Tal" (feat. viola: Geraldine Walther)
- Der Schwanendreher: II. "Nun laube, Lindlein, laube!" (feat. viola: Geraldine Walther)
- Der Schwanendreher: III. Variations: "Seid ihr nicht der Schwanendreher?" (feat. viola: Geraldine Walther)
- Nobilissima Visione: I. Einleitung und Rondo
- Nobilissima Visione: II. Marsch und Pastorale
- Nobilissima Visione: III. Passacaglia
- Concerto for Orchestra, Op. 38, Movement 1
- Concerto for Orchestra, Op. 38, Movement 2
- Concerto for Orchestra, Op. 38, Movement 3
- Concerto for Orchestra, Op. 38, Movement 4
- Konzertmusik, Op. 49 for Piano, Brass, and Harps, Movement 1
- Konzertmusik, Op. 49 for Piano, Brass, and Harps, Movement 2
- Konzertmusik, Op. 49 for Piano, Brass, and Harps, Movement 3
- Konzertmusik, Op. 49 for Piano, Brass, and Harps, Movement 4
- Symphony, "Mathis Der Maler", Movement 1
- Symphony, "Mathis Der Maler", Movement 2
- Symphony, "Mathis Der Maler", Movement 3
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Sinfonie "Mathis der Maler"; "Nobilissima Visione" Suite; Sinfonische Tänze No. 1-3 (NDR Sinfonieorchester feat. conductor: Hans Schmidt-Isserstedt)
- Symphony "Mathis der Maler": I. Engelkonzert. Ruhig bewegt - Ziemlich lebhafte Halbe
- Symphony "Mathis der Maler": II. Grabelung. Sehr langsam
- Symphony "Mathis der Maler": III. Versuchung des heiligen Antonius. Sehr langsam, frei im Zeitmaß - Sehr lebhaft
- "Nobilissima Visione" - Suite for Orchestra from the Dance Legend in Six Scenes: I. Einleintung - Rondo
- "Nobilissima Visione" - Suite for Orchestra from the Dance Legend in Six Scenes: II. Marsch und Pastorale. Lebhaft
- "Nobilissima Visione" - Suite for Orchestra from the Dance Legend in Six Scenes: III. Passacaglia. Feierlich bewegt
- Symphonic Dances Nos. 1-3: I. Langsam - Mäßig bewegt
- Symphonic Dances Nos. 1-3: II. Sehr langsam
- Symphonic Dances Nos. 1-3: III. Lebhaft
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Requiem ''For those we love'' (Wiener Symphoniker feat. conductor: Wolfgang Sawallisch)
- Prelude - Bariton & Chorus ''When lilacs last in the door-yard bloom'd''
- Aria - Mezzo-soprano ''In the swamp in secluded recesses''
- March - Chorus & Bariton ''Over the breast of the spring''
- Bariton & Chorus ''O western orb sailing the heaven''
- Aria - Mezzo-soprano ''Sing on there in the swamp''
- Song - Bariton & Chorus ''O how shall I warble myself''
- Introduction & Fugue - Chorus ''With the frdsh sweet herbage under foot''
- Mezzo-soprano & Bariton ''Sing on, you gray-brown bird''
- Death Carol - Chorus ''Come, lovely and soothing death''
- Bariton & Chorus ''To the tally of my soul''
- Finale - Bariton, Mezzo-soprano & Chorus ''Passing the visions''
- Ludus Tonalis: Praludium
- Ludus Tonalis: Fuga 1 in C major: Slow
- Ludus Tonalis: Interludium: Moderato, with energy
- Ludus Tonalis: Fuga 2 in G major: Gay
- Ludus Tonalis: Interludium: Pastorale, moderato
- Ludus Tonalis: Fuga 3 in F major: Andante
- Ludus Tonalis: Interludium: Scherzando
- Ludus Tonalis: Fuga 4 in A major: With energy - Slow, grazioso - Tempo primo
- Ludus Tonalis: Interludium: Fast
- Ludus Tonalis: Fuga 5 in E major: Fast
- Ludus Tonalis: Interludium: Moderato
- Ludus Tonalis: Fuga 6 in E-flat major: Quiet
- Ludus Tonalis: Interludium: March
- Ludus Tonalis: Fuga 7 in A-flat major: Moderato
- Ludus Tonalis: Interludium: Very broad
- Ludus Tonalis: Fuga 8 in D major: With strength
- Ludus Tonalis: Interludium: Very fast
- Ludus Tonalis: Fuga 9 in B-flat major: Moderato, scherzando
- Ludus Tonalis: Interludium: Very quiet
- Ludus Tonalis: Fuga 10 in D-flat major: Moderately fast, grazioso
- Ludus Tonalis: Interludium: Allegro pesante
- Ludus Tonalis: Fuga 11 in B major (Canon)
- Ludus Tonalis: Interludium: Valse
- Ludus Tonalis: Fuga 12 in F-sharp major: Very quiet
- Ludus Tonalis: Postludium
- Kleine Klaviermusik (Leichte Funftonstucke): Kleine Klaviermusik (Leichte Funftonstucke), Op. 45, No. 4
- Sonata for trumpet and piano - I. Mit Kraft feat. trumpet: Gilbert Johnson, piano: Glenn Gould
- Sonata for trumpet and piano - II. Mäßig bewegt - Lebhaft feat. trumpet: Gilbert Johnson, piano: Glenn Gould
- Sonata for trumpet and piano - III. Trauermusik. Sehr langsam - Ruhig bewegt - feat. trumpet: Gilbert Johnson, piano: Glenn Gould
- Sonata for trumpet and piano - Alle Menschen müssen sterben. Sehr ruhig feat. trumpet: Gilbert Johnson, piano: Glenn Gould
- Sonata for horn and piano - I. Mäßig bewegt feat. horn: Mason Jones, piano: Glenn Gould
- Sonata for horn and piano - II. Ruhig bewegt feat. horn: Mason Jones, piano: Glenn Gould
- Sonata for horn and piano - III. Lebhaft feat. horn: Mason Jones, piano: Glenn Gould
- Lulu Suite (Nurenberg Symphoniker & Maga)
- Chamber Symphony 2: Adagio (Philharmonia Slavonica & Adolphe)
- Chamber Symphony 2: Con Fuoco (Philharmonia Slavonica & Adolphe)
- Sonata for Violin & Piano in E: Ruhig Bewegt (Zwicker & Goldmann)
- Sonata for Violin & Piano in E: Langsam-Schnell (Zwicker & Goldmann)
Born: 1895-11-16
Died: 1963-12-28
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Glenn Gould - Paul Hindemith , Piano Sonata No. 3 - Fugue
- Order: Reorder
- Duration: 4:19
- Published: 24 Mar 2008
- Updated: 21 Sep 2012
Glenn Gould - Paul Hindemith , Piano Sonata No. 3 - Fugue
http://wn.com/Glenn_Gould_Paul_Hindemith_,_Piano_Sonata_No_3_Fugue
Paul Hindemith - Piano Concerto (1/3)
- Order: Reorder
- Duration: 8:28
- Published: 30 Jun 2010
- Updated: 11 Aug 2012
Paul Hindemith (1895-1963) Piano Concerto (1945) 1. Moderately fast Lee Luvisi, piano and The Louisville Orchestra conducted by Lawrence Leighton Smith
http://wn.com/Paul_Hindemith_Piano_Concerto_1_3
Paul Hindemith: Concerto per violoncello e orchestra (1940) (3/3)
- Order: Reorder
- Duration: 8:15
- Published: 22 Jan 2011
- Updated: 05 Sep 2012
Paul Hindemith (1895-1963): Concerto per violoncello e orchestra (1940) -- Raphael Wallfisch, violoncello -- BBC Philharmonic diretta da Yan Pascal Tortelier -- III. Marsch. Lebhaft - Trio (nach einem alten Marsch) - Lebhafter -- painting by Lyonel Feininger ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Paul_Hindemith_Concerto_per_violoncello_e_orchestra_1940_3_3
Paul Hindemith: Sancta Susanna op.21 (1921)
- Order: Reorder
- Duration: 25:35
- Published: 05 Feb 2011
- Updated: 19 Sep 2012
Paul Hindemith (1895-1963): Sancta Susanna, opera in un atto su libretto di August Stramm, op.21 (1921) -- RIAS-Kammerchor e Radio-Symphonie-Orchester Berlin diretti da Gerd Albrecht - Susanna: Helen Donath, soprano Klementia: Gabriele Schnaut, contralto la Vecchia Suora: Gabriele Schreckenbach, contralto ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Paul_Hindemith_Sancta_Susanna_op21_1921
Paul Hindemith: Ragtime (wohltemperiert) (1921)
- Order: Reorder
- Duration: 3:39
- Published: 15 Feb 2011
- Updated: 01 Sep 2012
Paul Hindemith (1895-1963): Ragtime (wohltemperiert) per orchestra (1921) -- BBC Philharmonic diretta da Yan Pascal Tortelier ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Paul_Hindemith_Ragtime_wohltemperiert_1921
Paul Hindemith: Heckelphone Trio op. 47
- Order: Reorder
- Duration: 7:36
- Published: 28 Jul 2008
- Updated: 20 Sep 2012
Hindemith's trio for Heckelphone, Viola and Piano, probably one of the most notable pieces composed for this rare woodwind instrument. The Heckelphone, often confused with bass oboe or baryton oboe, is a double reed instrument of the oboe family, pitched an octave below the oboe, about twice long and ending in a bulbous bell. Its soft and full sound reflected the early 20th century romantic sound ideal: R. Strauss employed it in his operas Salome, Elektra and in the Alpine Symphony.
http://wn.com/Paul_Hindemith_Heckelphone_Trio_op_47
Paul Hindemith: Nobilissima visione (1938)
- Order: Reorder
- Duration: 25:11
- Published: 04 Feb 2011
- Updated: 03 Sep 2012
Paul Hindemith (1895-1963): Nobilissima visione - suite (1938). 1. Einleitung und Rondo 2. Marsch und pastorale 3. Passacaglia Philharmonia Orchestra diretta da Paul Hindemith. Cover image: painting by Paul Klee. ***** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Paul_Hindemith_Nobilissima_visione_1938
Paul Hindemith: Sinfonia "Die Harmonie der Welt" (1951) (1/3)
- Order: Reorder
- Duration: 10:46
- Published: 20 Jan 2011
- Updated: 08 Sep 2012
Paul Hindemith (1895-1963): Sinfonia "Die Harmonie der Welt" (1951) -- BBC Philharmonic diretta da Yan Pascal Tortelier -- I. Musica Instrumentalis: Breit - Marsch - Gewichtig - Schnell, laut und brutal - Im früheren Marschtempo -- painting by Lyonel Feininger -- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Paul_Hindemith_Sinfonia_Die_Harmonie_der_Welt_1951_1_3
Paul Hindemith: Sonata per viola e pianoforte, Op.11, No.4 (1919)
- Order: Reorder
- Duration: 17:27
- Published: 04 Feb 2011
- Updated: 12 Sep 2012
Paul Hindemith (1895-1963): Sonata per viola e pianoforte, Op.11, No.4 (1919) 1. Phantasie 2. Thema mit Variationen 3. Finale mit Variationen Kim Kaskashian, viola Robert Levin, pianoforte. Cover image: painting by Paul Klee. ***** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Paul_Hindemith_Sonata_per_viola_e_pianoforte,_Op11,_No4_1919
Glenn Gould on Paul Hindemith
- Order: Reorder
- Duration: 1:28
- Published: 01 Dec 2008
- Updated: 30 Aug 2012
Glenn Gould talks about the composer Paul Hindemith, and in particular his skill as a fugue writer. The rest of the fugue that Gould begins at the end of this clip can be watched in the video to which this is a response: www.youtube.com
http://wn.com/Glenn_Gould_on_Paul_Hindemith
Kleines KammerMusik by Paul Hindemith Mvts 1 and 2
- Order: Reorder
- Duration: 4:49
- Published: 03 Apr 2008
- Updated: 25 Apr 2012
The Buffalo Grove Symphonic Band Woodwind Quintet (Kathy Hummel - flute, Debra Loftus - oboe, Howard Green - clarinet, Joanne Goluszka - Bassoon, and Becky Leff - horn) perform at the Band's 2008 Annual Ensemble Recital at the Vernon Area Library on March 30, 2008
http://wn.com/Kleines_KammerMusik_by_Paul_Hindemith_Mvts_1_and_2
Paul Hindemith: Kammermusik No.1, Op.24, No.1 (1921) Mov.1-3
- Order: Reorder
- Duration: 9:31
- Published: 04 Feb 2011
- Updated: 17 Sep 2012
Paul Hindemith (1895-1963): Kammermusik No.1, Op.24, No.1 (1921). 1. Sehr schnell und wild 2. Mäßig schnell Halbe 3. Quartett: Sehr langsam und mit Ausdruck Royal Concertgebouw Orchestra diretta da Riccardo Chailly. Immagini tratte e liberamente montate da films di Man Ray, Marcel Duchamp e René Clair. ***** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Paul_Hindemith_Kammermusik_No1,_Op24,_No1_1921_Mov1-3
Paul Hindemith: Concert music for string and brass, Op.50 (1930)
- Order: Reorder
- Duration: 18:02
- Published: 22 Dec 2011
- Updated: 21 Sep 2012
Paul Hindemith (1895-1963): Concert music for string and brass, Op.50 (1930). Chicago Symphony Orchestra diretta da Paul Hindemith. (Filmato televisivo, 7 Aprile 1963) *** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Paul_Hindemith_Concert_music_for_string_and_brass,_Op50_1930
Paul Hindemith "Ludus Tonalis" №1 plays Platon Buravicky
- Order: Reorder
- Duration: 5:00
- Published: 13 Dec 2009
- Updated: 28 Mar 2012
Paul Hindemith "Ludus Tonalis" №1 Praeludium and Fuge in G, plays Platon Buravicky
http://wn.com/Paul_Hindemith_Ludus_Tonalis_№1_plays_Platon_Buravicky
Paul Hindemith ~ Concertino for Trautonium and Strings
- Order: Reorder
- Duration: 9:05
- Published: 22 Mar 2011
- Updated: 11 Sep 2012
Paul Hindemith - Kleine Kammermusik, Op.24, no.2, mov. 1
- Order: Reorder
- Duration: 4:19
- Published: 11 Jun 2008
- Updated: 09 Feb 2012
New Zealand Secondary School Chamber music Contest Twenty Past Nine: Jennifer Timmons - Flute Peter Ou - Oboe Lilla Dittrich - French horn Lizzy Ogle - Bassoon Seb Recordon - Clarinet
http://wn.com/Paul_Hindemith_Kleine_Kammermusik,_Op24,_no2,_mov_1
Paul Hindemith, Engelskonzert, Mathis der Maler, Matthias Grünewald
- Order: Reorder
- Duration: 9:50
- Published: 10 Jul 2010
- Updated: 13 Jul 2012
Paul Hindemith (1895- 1963), Engelskonzert (Angelic Concert), Symphony: Mathis der Maler (Matthias the Painter), Atlanta Symphony Orchestra, Yoel Levi Matthias the Painter: Matthias Grünewald (1470- 1528), from the Isenheim Altarpiece.
http://wn.com/Paul_Hindemith,_Engelskonzert,_Mathis_der_Maler,_Matthias_Grünewald
Paul Hindemith: Flute Sonata 2nd+3rd Movement
- Order: Reorder
- Duration: 9:04
- Published: 12 Nov 2007
- Updated: 20 Sep 2012
..
http://wn.com/Paul_Hindemith_Flute_Sonata_2nd+3rd_Movement
Paul Hindemith: Trauermusik (1936)
- Order: Reorder
- Duration: 8:52
- Published: 10 Jun 2011
- Updated: 21 Sep 2012
Paul Hindemith (1895-1963): Trauermusik, per viola e orchestra d'archi (1936) -- Geraldine Walther, viola - San Francisco Symphony Orchestra diretta da Herbert Blomstedt -- Langsam-Ruhig Bewegt-Lebhaft-Sehr Langsam ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Paul_Hindemith_Trauermusik_1936
Paul Hindemith - Symphony in Sib for Winds (1/3) - Tokyo Kosei Wind Orchestra
- Order: Reorder
- Duration: 6:27
- Published: 12 Sep 2009
- Updated: 22 Sep 2012
Hindemith - Symphony in Sib for Winds (1/3) - Tokyo Kosei Wind Orchestra AUDIO ONLY
http://wn.com/Paul_Hindemith_Symphony_in_Sib_for_Winds_1_3_Tokyo_Kosei_Wind_Orchestra
Paul Hindemith: Flute Sonata 1st Movement
- Order: Reorder
- Duration: 5:05
- Published: 12 Nov 2007
- Updated: 08 Sep 2012
A performance from the Tivoli Concert Hall in Copenhagen.
http://wn.com/Paul_Hindemith_Flute_Sonata_1st_Movement
Paul Hindemith - Symphony in Sib for Winds (2/3) - Tokyo Kosei Wind Orchestra
- Order: Reorder
- Duration: 6:32
- Published: 12 Sep 2009
- Updated: 06 Aug 2012
Paul Hindemith - Symphony in Sib for Winds (2/3) - Tokyo Kosei Wind Orchestra AUDIO ONLY
http://wn.com/Paul_Hindemith_Symphony_in_Sib_for_Winds_2_3_Tokyo_Kosei_Wind_Orchestra
Paul Hindemith: Mathis der Maler (6a scena) (1934)
- Order: Reorder
- Duration: 9:41
- Published: 01 Jan 2012
- Updated: 21 Sep 2012
Paul Hindemith (1895-1963): Mathis der Maler, conclusione della scena sesta dell'opera (1934) -- Dietrich Fischer-Dieskau, baritono (Antonius/Mathis); Donald Grobe, tenore (Paulus/Albrecht) -- Radio-Symphonie-Orchester Berlin diretta da Leopold Ludwig (1961) -- cover image by Matthias Gruenewald ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Paul_Hindemith_Mathis_der_Maler_6a_scena_1934
Photo: AP / Marcio Jose Sanchez
21 Sep 2012
LOS ANGELES -- Space shuttle Endeavour took off Friday morning on a sightseeing tour of California, the last aerial hurrah before retiring to a Los Angeles museum. Hitching a ride on top of a jumbo...
Photo: AP / Bassem Tellawi
20 Sep 2012
Iran has been using civilian aircraft to fly military personnel and large quantities of weapons across Iraqi airspace to...
Photo: DOD / Public Domain
20 Sep 2012
KANDAHAR, Afghanistan | It was nearly 2 a.m. when Army Pfc. Zach Randle jumped out of his bulky armored vehicle in southern Afghanistan for what he hoped would be the last time. “I don’t...
Photo: WN / Ahmed Deeb
20 Sep 2012
In the recent wave of anti-Western demonstrations, political Islam has operated globally. The West's response has been mired in the local politics of its separate nation-states. It is a curious...
Photo: AP / B.K. Bangash
21 Sep 2012
Pakistan's government, wary of widespread frustration over its failure to provide basic services, declared Friday a day of protest over the film in an apparent bid to exploit anger which has inspired...
Chicago Sun-Times
Johannes Moser can hold his own with any cellist in the world in Tchaikovsky’s beloved “Variations on a Rococo Theme” and other popular works for the instrument. But look down the list of repertory he’s scheduled to perform over the next year, and what jumps out are the many compositions off the...(size: 3.8Kb)
Graf set to bid farewell to the Houston Symphony
04 Sep 2012
Houston Chronicle
Monday, September 3, 2012 Comments (0) E-mail Print...(size: 17.0Kb)
From Passion To Transcendence
09 Sep 2012
The New York Times
THREE of the world’s greatest dancers, each from a different continent, each from a different dance idiom, come to New York this fall. The Spanish flamenco artist Soledad Barrio returns, with her troupe Noche Flamenca, to the Joyce Theater for two weeks starting Sept. 18. Nov. 1 through 3 the...(size: 10.4Kb)
Business Wire
Announces Concert Highlights for Fall 2012 CORAL GABLES, Fla.--(BUSINESS WIRE)--FESTIVAL MIAMI: Florida’s Premier Music Festival announces its 29th season, which will feature over 25 music concerts, lectures and master classes from October 2 to November 4, 2012. Festival Miami is presented by the...(size: 5.3Kb)
noodls
(Source: West Virginia University) West Virginia University music faculty member Andrew Kohn will present a double bass recital, Tuesday, Sept. 25, at the Creative Arts Center. The concert begins at 8:15 in Bloch Learning and Performance Hall (200A) and is free and open to the public. The program...(size: 3.5Kb)
Soprano Laura Claycomb returns for Texas tour
19 Sep 2012
Houston Chronicle
Wednesday, September 19, 2012 Comments (0) E-mail Print...(size: 13.4Kb)
noodls
(Source: Valdosta State University) » News » VSU Hosts Viola Day, Internationally Noted Artist Performs Friday September 19, 2012 12-250 Jessica R. Pope Communications Specialist...(size: 4.0Kb)
noodls
(Source: Ouachita Baptist University) September 21, 2012 Ouachita Baptist University will host Deborah Caldwell, trumpet, and Elyse Senteney, flute, in their senior recitals on Sept. 28 in Mabee Fine Arts Center's McBeth Recital Hall. The 11 a.m. recitals are free and open to the public. Caldwell is...(size: 3.1Kb)
noodls
(Source: Northwestern State University of Louisiana) NATCHITOCHES - The Northwestern State University will have seven performances as part of its 2012-13 concert season, according to music director and conductor Dr. Douglas Bakenhus. The season will feature top Northwestern State students and...(size: 3.6Kb)
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Paul Hindemith (16 November 1895 – 28 December 1963) was a German composer, violist, violinist, teacher, music theorist and conductor.
Contents |
Life and career[link]
Born in Hanau, near Frankfurt am Main, Hindemith was taught the violin as a child. He entered Frankfurt's Hoch’sche Konservatorium, where he studied violin with Adolf Rebner, as well as conducting and composition with Arnold Mendelssohn and Bernhard Sekles. At first he supported himself by playing in dance bands and musical-comedy groups. He became deputy leader of the Frankfurt Opera Orchestra in 1914, and was promoted to leader in 1917. He played second violin in the Rebner String Quartet from 1914. In 1921 he founded the Amar Quartet,[1] playing viola, and extensively toured Europe.
In 1922, some of his pieces were played in the International Society for Contemporary Music festival at Salzburg, which first brought him to the attention of an international audience. The following year, he began to work as an organizer of the Donaueschingen Festival, where he programmed works by several avant garde composers, including Anton Webern and Arnold Schoenberg. From 1927 he taught composition at the Berliner Hochschule für Musik in Berlin. Hindemith wrote the music for Hans Richter's 1928 avant-garde film Ghosts Before Breakfast (Vormittagsspuk), although the score was subsequently lost, and he also acted in the film.[2]
During the 1930s he made a visit to Cairo and several visits to Ankara where (at the invitation of Mustafa Kemal Atatürk) he led the task of reorganizing Turkish music education and the early efforts for the establishment of Turkish State Opera and Ballet. Towards the end of the 1930s, he made several tours in America as a viola and viola d'amore soloist.
Hindemith's relationship to the Nazis is a complicated one. Some condemned his music as "degenerate" (largely on the basis of his early, sexually charged operas such as Sancta Susanna), and in December 1934, during a speech at the Berlin Sports Palace, Germany’s Minister of Propaganda, Joseph Goebbels publicly denounced Hindemith as an "atonal noisemaker."
Other officials working in Nazi Germany, though, thought that he might provide Germany with an example of a modern German composer, who by this time was writing music based in tonality, and with frequent references to folk music; the conductor Wilhelm Furtwängler's defense of Hindemith, published in 1934, takes precisely this line.
The controversy around his work continued throughout the thirties, with the composer falling in and out of favor with the Nazi hierarchy; he finally emigrated to Switzerland in 1938 (in part because his wife was of partially Jewish ancestry).[3]
In 1935, Hindemith was commissioned by the Turkish government to reorganize that country's musical education, and, more specifically, was given the task of preparing material for the "Universal and Turkish Polyphonic Music Education Programme" for all music-related institutions in Turkey, a feat which he accomplished to universal acclaim.
This development seems to have been supported by the Nazi regime: it may have got him conveniently out of the way, yet at the same time he propagated a German view of musical history and education. (Hindemith himself said he believed he was being an ambassador for German culture.)
Hindemith did not stay in Turkey as long as many other émigrés. Nevertheless, he greatly influenced the developments of Turkish musical life; the Ankara State Conservatory owes much to his efforts. In fact, Hindemith was regarded to be a "real master" by young Turkish musicians and he was appreciated and greatly respected.[4]
In 1940, Hindemith emigrated to the United States. At the same time that he was codifying his musical language, his teaching and compositions began to be affected by his theories, according to critics like Ernest Ansermet.[5] Once in the U.S. he taught primarily at Yale University where he had such notable students as Lukas Foss, Graham George, Norman Dello Joio, Mel Powell, Harold Shapero, Hans Otte, Ruth Schonthal, and Oscar-winning film director George Roy Hill. During this time he also gave the Charles Eliot Norton Lectures at Harvard, from which the book A Composer's World was extracted (Hindemith 1952). Hindemith had a long friendship with Erich Katz, whose own compositions were influenced by him.[6]
He became an American citizen in 1946, but returned to Europe in 1953, living in Zürich and teaching at the university there. Towards the end of his life he began to conduct more, and made numerous recordings, mostly of his own music.
An anonymous critic writing in Opera magazine in 1954, having attended a performance of Hindemith's Neues vom Tage, noted that "Mr Hindemith is no virtuoso conductor, but he does possess an extraordinary knack of making performers understand how his own music is supposed to go".[7] He was awarded the Balzan Prize in 1962.
After a prolonged decline in his physical health (though he kept composing until almost the last), Hindemith died in Frankfurt from pancreatitis at the age of 68.
Hindemith's music[link]
Hindemith is among the most significant German composers of his time. His early works are in a late romantic idiom, and he later produced expressionist works, rather in the style of early Arnold Schoenberg, before developing a leaner, contrapuntally complex style in the 1920s. This style has been described as neoclassical,[citation needed] but is very different from the works by Igor Stravinsky labeled with that term, owing more to the contrapuntal language of Bach than the Classical clarity of Mozart.
The new style can be heard in the series of works called Kammermusik (Chamber Music) from 1922 to 1927. Each of these pieces is written for a different small instrumental ensemble, many of them very unusual. Kammermusik No. 6, for example, is a concerto for the viola d'amore, an instrument that has not been in wide use since the baroque period, but which Hindemith himself played. He continued to write for unusual groups throughout his life, producing a trio for viola, heckelphone and piano (1928), a sonata for double bass and a concerto for trumpet, bassoon, and strings (both in 1949), for example.
Around the 1930s, Hindemith began to write less for chamber groups, and more for large orchestral forces. In 1933-35, Hindemith wrote his opera Mathis der Maler, based on the life of the painter Matthias Grünewald. This opera is rarely staged, though a well-known production by the New York City Opera in 1995 was an exception (Holland 1995). It combines the neo-classicism of earlier works with folk song. Hindemith turned some of the music from this opera into a purely instrumental symphony (also called Mathis der Maler), which is one of his most frequently performed works.
Hindemith wrote Gebrauchsmusik (Music for use) - compositions intended to have a social or political purpose and sometimes written to be played by amateurs. The concept was inspired by Bertolt Brecht. An example of this is his Trauermusik (Funeral Music), written in January 1936. Hindemith was preparing the London premiere of Der Schwanendreher when he heard news of the death of George V. He quickly wrote this piece for solo viola and string orchestra in tribute to the late king, and the premiere was given that same evening, the day after the king's death.[8]
Hindemith's most popular work, both on record and in the concert hall, is probably the Symphonic Metamorphosis of Themes by Carl Maria von Weber, written in 1943. It takes melodies from various works by Weber, mainly piano duets, but also one from the overture to his incidental music for Turandot (Op. 37/J. 75), and transforms and adapts them so that each movement of the piece is based on one theme.
In 1951, Hindemith completed his Symphony in B-flat. Scored for concert band, it was written for the U.S. Army Band "Pershing's Own". Hindemith premiered it with that band on April 5 of that year.[9] Its second performance took place under the baton of Hugh McMillan, conducting the Boulder Symphonic Band at the University of Colorado. The piece is representative of his late works, exhibiting strong contrapuntal lines throughout, and is a cornerstone of the band repertoire. Hindemith recorded it in stereo with members of the Philharmonia Orchestra for EMI in 1956.
Hindemith's musical system[link]
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Most of Hindemith's music employs a unique system that is tonal but non-diatonic. Like most tonal music, it is centered on a tonic and modulates from one tonal center to another, but it uses all 12 notes freely rather than relying on a scale picked as a subset of these notes. Hindemith even rewrote some of his music after developing this system. One of the key features of his system is that he ranks all musical intervals of the 12-tone equally tempered scale from the most consonant to the most dissonant. He classifies chords in six categories, on the basis of how dissonant they are, whether or not they contain a tritone, and whether or not they clearly suggest a root or tonal center. Hindemith's philosophy also encompassed melody—he strove for melodies that do not clearly outline major or minor triads.
In the late 1930s, Hindemith wrote a theoretical book The Craft of Musical Composition (Hindemith 1937–70), which lays out this system in great detail. He also advocated this system as a means of understanding and analyzing the harmonic structure of other music, claiming that it has a broader reach than the traditional roman numeral approach to chords (an approach that is strongly tied to the diatonic scales). In the final chapter of Book I, Hindemith seeks to illustrate the wide-ranging relevance and applicability and of his system in analysis of music examples ranging from the early origins of European music to the contemporary. These analyses include an early Gregorian melody, and compositions by Guillaume de Machaut, J. S. Bach, Richard Wagner, Igor Stravinsky, Arnold Schoenberg, and finally, a composition of his own.
His piano work of the early 1940s, Ludus Tonalis contains twelve fugues, in the manner of Johann Sebastian Bach, each connected by an interlude during which the music moves from the key of the last fugue to the key of the next one. The order of the keys follows Hindemith's ranking of musical intervals around the tonal center of C.
One traditional aspect of classical music that Hindemith retains is the idea of dissonance resolving to consonance. Much of Hindemith's music begins in consonant territory, progresses rather smoothly into dissonance, and resolves at the end in full, consonant chords. This is especially apparent in his Concert Music for Strings and Brass.
Works[link]
See List of compositions by Paul Hindemith and List of operas by Hindemith.
Pedagogical writings[link]
- Unterweisung im Tonsatz, 3 vols. (Mainz: Schott, 1937–70) [English edition, as The Craft of Musical Composition, vol. 1: Theoretical Part, trans. by Arthur Mendel (New York: Associated Music Publishers; London: Schott, 1942) & vol. 2: Exercises in Two-Part Writing, trans. by Otto Ortmann (New York: Associated Music Publishers; London: Schott, 1941)]
- A Concentrated Course in Traditional Harmony (1943)
- Elementary training for Musicians (1946)
Notable students[link]
Recordings[link]
Hindemith conducted some of his own music in a series of recordings for EMI with the Philharmonia Orchestra and for Deutsche Grammophon with the Berlin Philharmonic Orchestra, which have been digitally remastered and released on CD.[10][11] The Violin Concerto was also recorded by Hindemith for Decca/London, with the composer conducting the London Symphony Orchestra with David Oistrakh as soloist. Everest Records issued a recording of Hindemith's postwar When Lilacs Last in the Dooryard Bloom'd ("A Requiem for Those We Love") on LP, conducted by Hindemith. A stereo recording of Hindemith conducting the requiem with the New York Philharmonic Orchestra, with Louise Parker and George London as soloists, was made for Columbia Records in 1963 and later issued on CD. He also appeared on television as a guest conductor of the Chicago Symphony Orchestra's nationally syndicated "Music from Chicago" series; the performances have been released by VAI on home video. A complete orchestral music collection has been recorded by German and Australian orchestras, all released on the CPO label, recordings all conducted by Werner Andreas Albert.
Hindemithon Festival[link]
A yearly festival of Hindemith's music is held at William Paterson University in Wayne, New Jersey.
Media[link]
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Notes[link]
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This article uses bare URLs for citations. Please consider adding full citations so that the article remains verifiable. Several templates and the Reflinks tool are available to assist in formatting. (Reflinks documentation) (November 2011) |
- ^ The Amar Quartet was founded for the Donaueschingen Festival of 1921 and was disbanded in 1929. See an account by Tully Potter, [1], and entry under Chamber-Music Players in Eaglefield-Hull 1924, 86.
- ^ Wilke, Tobias (2010) (in German). Medien der Unmittelbarkeit. Munich: Wilhelm Fink. pp. 63. ISBN 978-3-7705-4923-8.
- ^ [2]
- ^ [3]
- ^ 1961, note to p. 42 added on an errata slip
- ^ Davenport 1970, 43.
- ^ Opera (June 1954): 348.
- ^ Michael Steinberg, The Concerto[Full citation needed][page needed]
- ^ [4]
- ^ http://www.gramophone.net/Issue/Page/April%201987/40/824475/
- ^ http://www.amazon.com/Hindemith-Conducts-Complete-Recordings-Grammophon/dp/B0000U1NHE
Sources[link]
- Ansermet, Ernest. 1961. Les fondements de la musique dans la conscience humaine. 2 v. Neuchâtel: La Baconnière.
- Briner, Andres. 1971. Paul Hindemith. Zürich: Atlantis-Verlag; Mainz: Schott.
- Bruhn, Siglind (1998). The Temptation of Paul Hindemith. Mathis der Maler as a Spiritual Testimony. Stuyvesant, NY: Pendragon Press. ISBN 978-1-57647-013-8.
- Bruhn, Siglind. 2000. Musical Ekphrasis in Rilke's Marienleben. Internationale Forschungen zur allgemeinen und vergleichenden Literaturwissenschaft 47. Amsterdam: Rodopi. ISBN 90-420-0800-8.
- Bruhn, Siglind. 2005. The Musical Order of the World: Kepler, Hesse, Hindemith. Interplay, no. 4. Hillsdale, NY: Pendragon Press. ISBN 978-1-57647-117-3.
- Davenport, LaNoue. 1970. ""Erich Katz: A Profile"". The American Recorder (Spring): 43–44. Retrieved November 2, 2011
- Eaglefield-Hull, Arthur. (Ed.). 1924. A Dictionary of Modern Music and Musicians. London: Dent.
- Hindemith, Paul. 1937–70. Unterweisung im Tonsatz. 3 vols. Mainz, B. Schott's Söhne. First two volumes in English, as The Craft of Musical Composition, translated by Arthur Mendel and Otto Ortmann. New York: Associated Music Publishers; London: Schott & Co., 1941-42.
- Hindemith, Paul. 1952. A Composer's World, Horizons and Limitations. Cambridge: Harvard University Press.
- Holland, Bernard. 1995. "Music Review; City Opera Gamely Flirts with Danger". New York Times, 9 September.
- Kater, Michael H. 1997. "The Twisted Muse: Musicians and Their Music in the Third Reich". New York and Oxford: Oxford University Press.
- Kater, Michael H. 2000. "Composers of the Nazi Era: Eight Portraits". New York and Oxford: Oxford University Press.
- Kemp, Ian. 1970. Hindemith. Oxford Studies of Composers 6. London, New York: Oxford University Press.
- Neumeyer, David. 1986. The Music of Paul Hindemith. New Haven: Yale University Press.
- Noss, Luther. 1989. Paul Hindemith in the United States. Urbana: University of Illinois Press.
- Preussner, Eberhard. 1984. Paul Hindemith: ein Lebensbild. Innsbruck: Edition Helbling.
- Skelton, Geoffrey. 1975. Paul Hindemith: The Man Behind the Music: A Biography. London: Gollancz.
- Taylor-Jay, Claire. 2004. "The Artist-Operas of Pfitzner, Krenek and Hindemith: Politics and the Ideology of the Artist". Aldershot: Ashgate.
External links[link]
- Hindemith Foundation
- Hindemith Foundation list of compositions
- Schott Musik Publisher page
- The Paul Hindemith Collection at Yale University Music Library
- Art of the States: Paul Hindemith
- An Inner Emigration, notes on Hindemith and Der Schwanendreher by Ron Drummond
| Persondata | |
|---|---|
| Name | Hindemith, Paul |
| Alternative names | |
| Short description | German composer, violist, teacher, music theorist and conductor |
| Date of birth | 16 November 1895 |
| Place of birth | Hanau, Germany |
| Date of death | 28 December 1963 |
| Place of death | Frankfurt am Main |
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Glenn Gould
Glenn Herbert Gould[fn 1][fn 2] (September 25, 1932 – October 4, 1982) was a Canadian pianist who became one of the best-known and most celebrated classical pianists of the 20th century. He was particularly renowned as an interpreter of the keyboard music of Johann Sebastian Bach. His playing was distinguished by remarkable technical proficiency and capacity to articulate the polyphonic texture of Bach’s music.
Gould rejected most of the standard Romantic piano literature and, after his adolescence, avoided Liszt, Schumann, and Chopin. Although his recordings were dominated by Bach, Gould's oeuvre was diverse, including works by Beethoven, Mozart, Haydn, Brahms, pre-Baroque composers such as Jan Sweelinck, and such 20th-century composers as Paul Hindemith and Arnold Schoenberg. Gould was well known for various eccentricities, from his unorthodox musical interpretations and mannerisms at the keyboard to aspects of his lifestyle and personal behavior. He stopped giving concerts at the age of 31 to concentrate on studio recording and other projects.
Gould was also known as a writer, composer, conductor, and broadcaster. He was a prolific contributor to musical journals, in which he discussed music theory and outlined his musical philosophy. His career as a composer was less distinguished. His output was minimal and many projects were left unfinished. There is evidence that, had he lived beyond 50, he intended to abandon the piano and devote the remainder of his career to conducting and other projects. As a broadcaster, Gould was prolific. His output ranged from television and radio broadcasts of studio performances to musique concrète radio documentaries about life in the Canadian wilderness.
Contents |
Life[link]
Early life[link]
Glenn Herbert Gould was born at home in Toronto on September 25, 1932, to Russell Herbert ("Bert") Gold and Florence ("Flora") Emma Gold (née Grieg),[1] Presbyterians of Scottish and English ancestry.[2] His maternal grandfather was a cousin of Norwegian composer Edvard Grieg.[3][4] The family's surname was changed to Gould informally around 1939 in order to avoid being mistaken for Jewish, given the prevailing anti-Semitism of prewar Toronto and the Gold surname's Jewish association.[fn 3] Gould had no Jewish ancestry,[fn 4] though he sometimes made jokes on the subject, like "When people ask me if I'm Jewish, I always tell them that I was Jewish during the war."[5] Gould grew up in a home at 32 Southwood Drive, Toronto. His childhood home has been named a historic site by the City of Toronto.[6]
Gould's interest in music and his talent as a pianist became evident very early. Both his parents were musical, and his mother, especially, encouraged the infant Gould's early musical development. Before his birth, his mother planned for him to become a successful musician, and thus exposed him to music during her pregnancy.[9] As a baby, he reportedly hummed instead of crying and wiggled his fingers as if playing chords, leading his doctor to predict that he would "be either a physician or a pianist".[10] By the age of three, Gould's perfect pitch was noticed. He learned to read music before he could read words.[3][11][12] When presented with a piano, the young Gould was reported to strike single notes and listen to their long decay, a practice his father Bert noted was different from typical children.[11] Gould's interest in the piano proceeded side by side with an interest in composition. He would play his own little pieces for family, friends, and sometimes large gatherings, including, in 1938, a performance at the Emmanuel Presbyterian Church (a few blocks from the Gould house) of one of his own compositions.[13] At the age of six, he was taken for the first time to hear a live musical performance by a celebrated soloist. This left a tremendous impression. He later described the experience:
It was Hofmann. It was, I think, his last performance in Toronto, and it was a staggering impression. The only thing I can really remember is that, when I was being brought home in a car, I was in that wonderful state of half-awakeness in which you hear all sorts of incredible sounds going through your mind. They were all orchestral sounds, but I was playing them all, and suddenly I was Hofmann. I was enchanted.[3][14]
As a young child, Gould was taught piano by his mother. At the age of 10, he began attending The Royal Conservatory of Music in Toronto. He studied music theory with Leo Smith, the organ with Frederick C. Silvester, and piano with Alberto Guerrero.[15] Around the same time, he injured his back as a result of a fall from a boat ramp on the shore of Lake Simcoe.[fn 5] This incident is almost certainly related to the adjustable-height chair his father made shortly thereafter. Gould's mother would urge the young Gould to sit up straight at the keyboard.[16] He used this chair for the rest of his life and took it with him almost everywhere.[3] This famous chair was designed so that Gould could sit very low at the keyboard. The chair allowed him to pull down on the keys rather than striking them from above, a central technical idea of his teacher at the Conservatory, Alberto Guerrero.[17]
Gould developed a technique that enabled him to choose a very fast tempo while retaining the separateness and clarity of each note.[18] His extremely low position at the instrument arguably permitted more control over the keyboard. Gould showed considerable technical skill in performing and recording a wide repertoire including virtuosic and romantic works, such as his own arrangement of Ravel's La valse and Liszt's transcriptions of Beethoven's fifth and sixth symphonies. Gould worked from a young age with his teacher Alberto Guerrero on a technique known as finger-tapping: a method of training the fingers to act more independently from the arm.[19]
Gould passed his final Conservatory examination in piano at the age of 12 (achieving the "highest marks of any candidate"), thus attaining "professional standing as a pianist" at that age.[20] One year later he passed the written theory exams, qualifying for an ATCM diploma.[fn 6][20]
Gould the pianist[link]
Gould claimed he almost never practiced on the piano, preferring to study music by reading it rather than playing it,[fn 7] another technique he had learned from Guerrero. His manual practicing focused on articulation, rather than basic facility. He may have spoken ironically about his practicing, but there is evidence that on occasion, he did practice quite hard, sometimes using his own drills and techniques.[fn 8]
He stated that he didn't understand the requirement of other pianists to continuously reinforce their relationship with the instrument by practicing many hours a day.[21] It seems that Gould was able to practice mentally without access to an instrument, and even took this so far as to prepare for a recording of Brahms piano works without ever playing them until a few weeks before the recording sessions. This is all the more staggering considering the absolute accuracy and phenomenal dexterity exhibited in his playing. Gould's large repertoire also demonstrated this natural mnemonic gift.
The piano, Gould said, "is not an instrument for which I have any great love as such... [but] I have played it all my life, and it is the best vehicle I have to express my ideas." In the case of Bach, Gould admitted, "[I] fixed the action in some of the instruments I play on—and the piano I use for all recordings is now so fixed—so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things."[22]
Of significant influence upon the teenage Gould were Artur Schnabel,[fn 9] Rosalyn Tureck's recordings of Bach ("upright, with a sense of repose and positiveness"), and Leopold Stokowski.[23]
Gould was known for having a vivid imagination. Listeners regarded his interpretations as ranging from brilliantly creative to outright eccentric.[18] His piano playing had great clarity and erudition, particularly in contrapuntal passages,[18] and extraordinary control. He was a child prodigy[24] and in adulthood described as a musical phenomenon.[fn 10] As he played, he often swayed his torso in a clockwise motion.
Gould had a pronounced aversion to what he termed a "hedonistic" approach to the piano repertoire, performance, and music generally. For Gould, "hedonism" in this sense denoted a superficial theatricality, something to which he felt Mozart, for example, became increasingly susceptible later in his career.[25] He associated this drift towards hedonism with the emergence of a cult of showmanship and gratuitous virtuosity on the concert platform in the 19th century and later. The institution of the public concert, he felt, degenerated into the "blood sport" with which he struggled, and which he ultimately rejected.[26]
Performances[link]
In 1945, he gave his first public performance, playing the organ,[27] and the following year he made his first appearance with an orchestra, the Toronto Symphony Orchestra, in a performance of the first movement of Beethoven's 4th Piano Concerto.[28] His first solo recital followed in 1947,[29] and his first recital on radio was with the CBC in 1950.[30] This was the beginning of his long association with radio and recording. He founded the Festival Trio chamber group in 1953 with the cellist Isaac Mamott and the violinist Albert Pratz.
In 1957, Gould embarked on a tour of the Soviet Union, becoming the first North American to play there since World War II.[31] His concerts featured Bach, Beethoven, and the serial music of Schoenberg and Berg, which had been suppressed in the Soviet Union during the era of Socialist Realism. Gould made his Boston debut in 1958, playing for the Peabody Mason Concert Series.[32]
Gould was convinced that the institution of the public concert was not only an anachronism, but also a "force of evil", leading to his retirement from concert performance. He argued that public performance devolved into a sort of competition, with a non-empathetic audience (musically and otherwise) mostly attendant to the possibility of the performer erring or not meeting critical expectation. This doctrine he set forth, only half in jest, in "GPAADAK", the Gould Plan for the Abolition of Applause and Demonstrations of All Kinds.[33]
On April 10, 1964, Gould gave his last public performance, playing in Los Angeles, at the Wilshire Ebell Theater.[34] Among the pieces he performed that night were Beethoven's Piano Sonata No. 30, selections from Bach's The Art of Fugue, and Paul Hindemith's Piano Sonata No. 3.[fn 11] Gould performed fewer than 200 concerts over the course of his career, of which fewer than 40 were overseas. For pianists such as Van Cliburn, 200 concerts would have amounted to about two years' touring.[35]
One of Gould's reasons for abandoning live performance was his aesthetic preference for the recording studio, where, in his words, he developed a "love affair with the microphone".[fn 12] There, he could control every aspect of the final musical "product" by selecting parts of various takes. He felt that he could realize a musical score more fully this way. Thus, the act of musical composition, to Gould, did not entirely end with the original score. The performer had to make creative choices. Gould felt strongly that there was little point in re-recording centuries-old pieces if the performer had no new perspective to bring to the work. For the rest of his life, Gould eschewed live performance, focusing instead on recording, writing, and broadcasting.
Technology[link]
The issue of "authenticity" in relation to an approach like Gould's has been a topic of great debate, although diminished by the end of the 20th century—a development that Gould seems to have anticipated. It asks whether a recording is less authentic or "direct" for having been highly refined by technical means in the studio. Gould likened his process to that of a film director—one does not perceive that a two-hour film was made in two hours—and implicitly asks why the act of listening to music should be any different. He went so far as to conduct an "experiment" with musicians, sound engineers, and laypeople in which they were to listen to a recording and determine where the splices occurred. Each group chose different points based on their relationship to music, but none successfully. While the conclusion was hardly scientific, Gould remarked, "The tape does lie, and nearly always gets away with it".[36]
In a lecture and essay titled "Forgery and Imitation in the Creative Process", one of Gould's most significant texts,[37] he makes explicit his views on authenticity and creativity. Gould asks why the epoch in which a work is received influences its reception as "art", postulating a sonata he composes that sounds so much like Haydn that it is received as such. If, instead, the same sonata had been attributed to a somewhat earlier or later composer, it becomes more or less interesting as a piece of music. Yet it is not the work that has changed but its relation within the accepted narrative of music history. Similarly, Gould notes the "pathetic duplicity" in the reception of high-quality forgeries by Hans van Meegeren of new paintings attributed to Dutch Golden Age master Vermeer, before and after the forgery was known.
Gould, therefore, prefers an ahistorical, or at least pre-Renaissance, view of art, minimizing the identity of the artist and the attendant historical context in evaluating the artwork: "What gives us the right to assume that in the work of art we must receive a direct communication with the historical attitudes of another period? ... moreover, what makes us assume that the situation of the man who wrote it accurately or faithfully reflects the situation of his time? ... What if the composer, as historian, is faulty?"[38]
Writings[link]
Gould said that if he had not been a musician, he would have been a writer. He expounded his criticism and philosophy of music and art in lectures, convocation speeches, periodicals, and radio and television documentaries for the Canadian Broadcasting Corporation. Gould participated in many interviews, and had a predilection for scripting them to the extent that they may be seen as much as "works" as off-the-cuff discussions. His writing style was highly articulate but sometimes florid, indulgent, or rhetorical. This is especially evident in those works in which he attempts humour or irony, which he did often.[fn 13]
In these he praised certain composers and rejected what he deemed banal in music composition and its consumption by the public, and also gave insightful analyses of the music of Richard Strauss, Alban Berg and Anton Webern. Despite a certain affection for Dixieland jazz, Gould was mostly averse to popular music. He enjoyed a jazz concert with his friends as a youth, mentioned jazz in his writings, and once criticized The Beatles for "bad voice leading"[fn 14]—while praising Petula Clark and Barbra Streisand. He shared a mutual admiration with jazz pianist Bill Evans, who made his seminal record Conversations with Myself using Gould's celebrated Steinway CD 318 piano. Gould believed that "the piano is a contrapuntal instrument," and his whole approach to music was, in fact, centered in the Baroque. Much of the homophony that followed he felt belongs to a less serious and less spiritual period of art.
"The Last Puritan"[link]
A 1962 quote is often used to summarize Gould's perspective on art: "The justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity."[39]
Gould referred to himself repeatedly as "the last puritan", a reference to philosopher George Santayana's novel of the same name. Weighing this statement against Gould's highly individualistic lifestyle and artistic vision leads to an apparent contradiction. He was progressive in many ways, promulgating the controversial atonal composers, and anticipating, through his deep involvement with the recording process, the vast changes that technology would have on the production and distribution of music. Mark Kingwell summarizes the paradox, never resolved by Gould nor his biographers:
He was progressive and anti-progressive at once, and likewise at once both a critic of the Zeitgeist and its most interesting expression. He was, in effect, stranded on a beachhead of his own thinking between past and future. That he was not able, by himself, to fashion a bridge between them is neither surprising, nor, in the end, disappointing. We should see this failure, rather, as an aspect of his genius. He both was and was not a man of his time.[40]
Eccentricities[link]
Gould was widely known for his unusual habits. He usually hummed while he played the piano, and his recording engineers had mixed results in how successfully they were able to exclude his voice from recordings. Gould claimed that his singing was subconscious and increased proportionately with the inability of the piano in question to realize the music as he intended. It is likely that this habit originated in Gould's having been taught by his mother to "sing everything that he played", as Kevin Bazzana puts it. This became "an unbreakable (and notorious) habit".[41] Some of Gould's recordings were severely criticised because of the background "vocalise". For example, a reviewer of his 1981 re-recording of the Goldberg Variations opined that many listeners would "find the groans and croons intolerable".[42] Gould was renowned for his peculiar body movements while playing and for his insistence on absolute control over every aspect of his playing environment. The temperature of the recording studio had to be exactly regulated. He invariably insisted that it be extremely warm. According to Friedrich, the air conditioning engineer had to work just as hard as the recording engineers.[43] The piano had to be set at a certain height and would be raised on wooden blocks if necessary.[44] A small rug would sometimes be required for his feet underneath the piano.[45] He had to sit fourteen inches above the floor and would play concerts only while sitting on the old chair his father had made. He continued to use this chair even when the seat was completely worn through.[46] His chair is so closely identified with him that it is shown in a place of honour in a glass case at the National Library of Canada.
Conductors responded diversely to Gould and his playing habits. George Szell, who led Gould in 1957 with the Cleveland Orchestra, remarked to his assistant, "That nut's a genius."[47] Leonard Bernstein said, "There is nobody quite like him, and I just love playing with him."[47] Ironically, Bernstein created a stir at the April 6, 1962 concert when, just before the New York Philharmonic was to perform the Brahms Piano Concerto No. 1 in D minor with Gould as soloist, he informed the audience that he was assuming no responsibility for what they were about to hear. He asked the audience: "In a concerto, who is the boss – the soloist or the conductor? (audience laughter). The answer is, of course, sometimes the one and sometimes the other, depending on the people involved."[48] Specifically, he was referring to their rehearsals with Gould's insistence that the entire first movement be played at half the indicated tempo. The speech was interpreted by Harold C. Schonberg, music critic for The New York Times, as an abdication of responsibility and an attack on Gould.[49] Plans for a studio recording of the performance came to nothing. The live radio broadcast (along with Bernstein's disclaimer) was subsequently released on CD.
Gould was averse to cold, and wore heavy clothing (including gloves), even in warm places. He was once arrested, presumably mistaken for a vagrant, while sitting on a park bench in Sarasota, Florida, dressed in his standard all-climate attire of coat(s), warm hat, and mittens.[50] He also disliked social functions. He hated being touched, and in later life he limited personal contact, relying on the telephone and letters for communication. On one visit to Steinway Hall in New York City in 1959, the chief piano technician at the time, William Hupfer, greeted Gould by giving him a slap on the back. Gould was shocked by this, and complained of aching, lack of coordination, and fatigue because of the incident. He went on to explore the possibility of litigation against Steinway & Sons if his apparent injuries were permanent.[51] He was known for cancelling performances at the last minute, which is why Bernstein's above-mentioned public disclaimer opens with, "Don't be frightened, Mr. Gould is here... will appear in a moment."
In his liner notes and broadcasts, Gould created more than two dozen alter egos for satirical, humorous, or didactic purposes, permitting him to write hostile reviews or incomprehensible commentaries on his own performances. Probably the best-known are the German musicologist "Karlheinz Klopweisser", the English conductor "Sir Nigel Twitt-Thornwaite", and the American critic "Theodore Slutz".[52] These facets of Gould, whether interpreted as neurosis or "play",[53] have provided ample material for psychobiography.
Fran's Restaurant in Toronto was a regular haunt of Gould's. A CBC profile noted, "sometime between two and three every morning, Gould would go to Fran's, a 24-hour diner a block away from his Toronto apartment, sit in the same booth, and order the same meal of scrambled eggs."[54]
It has been debated whether or not Gould was autistic, or, more accurately, if his mind fell within the autism spectrum.[6] The diagnosis was first suggested by psychiatrist Peter Ostwald, a friend of Gould's, in the 1997 book, Glenn Gould: The Ecstasy and Tragedy of Genius.[55] It has been disputed by, among others, Kevin Bazzana.[citation needed]
Relationships[link]
Gould lived a private life: Bruno Monsaingeon said of him, "No supreme pianist has ever given of his heart and mind so overwhelmingly while showing himself so sparingly."[56]
When Gould was in Los Angeles in 1956, he met Cornelia Foss and husband Lukas. Foss was an art instructor who had studied sculpture at the American Academy in Rome. Her husband worked for both the Buffalo Philharmonic Orchestra and the Brooklyn Philharmonic. After several years, Gould and Foss became lovers.[57] Foss left her husband in 1967 for Gould, taking her two children with her to Toronto. She purchased a house near Gould's 110 St. Clair Avenue West apartment. In 2007, Cornelia Foss finally admitted that she and Gould had had a love affair lasting several years.[57] According to Foss, "There were a lot of misconceptions about Glenn, and it was partly because he was so very private. But I assure you, he was an extremely heterosexual man. Our relationship was, among other things, quite sexual." Their affair lasted until 1972, when she returned to her husband. As early as two weeks after leaving her husband, Foss noticed disturbing signs in Gould. She describes a serious paranoid episode:
"It lasted several hours, and then I knew he was not just neurotic – there was more to it. I thought to myself, 'Good grief, am I going to bring up my children in this environment?' But I stayed four and a half years." Foss did not discuss details, but others close to Gould said he was convinced someone was trying to poison him and that others were spying on him.[57]
Health[link]
Gould suffered many pains and ailments, though he was something of a hypochondriac[58][fn 15] (admitting it himself on at least one occasion), and his autopsy revealed few underlying problems in areas that often troubled him.[fn 16] Early in his life, Gould suffered a spine injury. His physicians prescribed, usually independently, an assortment of analgesics, anxiolytics, and other drugs. Some speculate that his extensive use of prescription medications throughout his career had a deleterious effect on his health.
He was highly concerned about his health throughout his life, worrying about everything from high blood pressure (which in his later years he recorded in diary form) to the safety of his hands. Gould rarely shook hands with anyone and usually wore gloves.[fn 17][fn 18]
Death[link]
On September 27, 1982, after experiencing a severe headache, Gould suffered a stroke that paralyzed the left side of his body. He was admitted to Toronto General Hospital and his condition rapidly deteriorated. By October 4, there was evidence of brain damage, and Gould's father decided that his son should be taken off life support.[59] He is buried next to his parents in Toronto's Mount Pleasant Cemetery (section 38, Row 1088, Plot 1050). The first few measures of the Goldberg Variations are carved on his marker. According to the Glenn Gould Foundation, the cemetery staff often handle requests to locate his gravesite.[60]
Recordings[link]
Main article: List of recordings by Glenn Gould
Studio[link]
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The C major prelude from the first book of the WTC.
Compare the 1970 version from the "Complete Piano Sonatas" set (played first) and the 1958 interpretation (second).
The only organ recordings Gould made were the first nine parts of Bach's The Art of Fugue.
Gould recorded several Handel suites and a few pieces from J.S. Bach's WTC on a Wittmayer harpsichord. The somewhat muffled sound of this 20th-century instrument is very different from modern recordings that are made using copies of old harpsichords.
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In creating music, Gould much preferred the control and intimacy provided by the recording studio. He disliked the concert hall, which he compared to a competitive sporting arena. After his final public performance in 1964, he devoted his career solely to the studio, recording albums and several radio documentaries. He was attracted to the technical aspects of recording, and considered the manipulation of tape to be another part of the creative process. Although Gould's recording studio producers have testified that 'he needed splicing, less than most performers',[61] Gould used the process to give him total artistic control over the recording process. He recounted his recording of the A minor fugue from Book I of The Well-Tempered Clavier and how it was spliced together from two takes, with the fugue's expositions from one take and its episodes from another.[62]
Following his first recording (of Berg's Piano sonata, Op. 1, on the Canadian Hallmark label, c. 1952), the pianist's first breakthrough success, Bach: The Goldberg Variations, was recorded in 1955, at Columbia Records 30th Street Studios in New York City. Although there was initially some controversy at CBS as to whether this was the most appropriate piece to record, the finished product received phenomenal praise and was among the best-selling classical music albums of its time.[63] Gould became closely associated with the piece, playing it in full or in part at many of his recitals. Another version of the Goldberg Variations, recorded in 1981, would be among his last recordings, and one of only a few pieces he recorded twice in the studio. The 1981 recording was one of CBS Masterworks' first digital recordings. The first recording is highly energetic and often frenetic. The second, slower and more deliberate.[64][65] In the latter, Gould treats the aria and its 30 variations as one cohesive piece.[fn 19]
Gould revered Bach: "[he was] first and last an architect, a constructor of sound, and what makes him so inestimably valuable to us is that he was beyond a doubt the greatest architect of sound who ever lived".[66] He recorded most of Bach's other keyboard works, including the complete The Well-Tempered Clavier, Partitas, French Suites, English Suites, and keyboard concertos. For his only recording at the organ, he recorded about half of The Art of Fugue. He also recorded all five of Beethoven's piano concertos and 23 of the 32 piano sonatas.
Gould also recorded works by Brahms, Mozart, and many other prominent piano composers, though he was outspoken in his criticism of some of them. He was extremely critical of Frédéric Chopin. In a radio interview, when asked if he didn't find himself wanting to play Chopin, he replied: "No, I don't. I play it in a weak moment – maybe once a year or twice a year for myself. But it doesn't convince me." Although Gould recorded all of Mozart's sonatas and admitted enjoying the "actual playing" of them,[67] he claimed to dislike Mozart's later works, to the extent of arguing (perhaps facetiously) that Mozart died too late rather than too early.[68] He was fond of many lesser-known composers, such as Orlando Gibbons, whose Anthems he had heard as a teenager,[69] and for whose music he felt a "spiritual attachment".[70] He recorded a number of Gibbons's keyboard works and called him his favourite composer,[71][72] despite his better-known admiration for the technical mastery of Bach.[fn 20] He made recordings of piano music by Jean Sibelius (the Sonatines and Kyllikki), Georges Bizet (the Variations Chromatiques de Concert and the Premier nocturne), Richard Strauss (the Piano Sonata, the Five Pieces, and Enoch Arden with Claude Rains), and Paul Hindemith (the three piano sonatas and the sonatas for brass and piano). He also made recordings of the complete piano works Lieder by Arnold Schoenberg. The last thing Gould recorded as a session musician was Strauss: Piano Sonata, Op. 5. It was recorded between September 1 – 3, 1982[73] in New York City.
Collaborations[link]
The success of Gould's collaborations with other artists was to a degree dependent upon their receptiveness to his sometimes unconventional readings of the music. His television collaboration with Yehudi Menuhin in 1965, recording works by Bach, Beethoven and Schoenberg,Stegemann (1993b) was deemed a success because "... Menuhin was ready to embrace the new perspectives opened up by an unorthodox view ...".[74] In 1966, his collaboration with Elisabeth Schwarzkopf, however, recording Richard Strauss's Ophelia Lieder, Op. 67, was deemed an "outright fiasco".[74] Schwarzkopf believed in "total fidelity" to the score, but she also objected to the thermal conditions in the recording studio: "The studio was incredibly overheated, which may be good for a pianist but not for a singer: a dry throat is the end as far as singing is concerned. But we persevered nonetheless. It wasn't easy for me. Gould began by improvising something Straussian—we thought he was simply warming up, but no, he continued to play like that throughout the actual recordings, as though Strauss's notes were just a pretext that allowed him to improvise freely...."[75]
Radio documentaries[link]
As the result of Gould's association with CBC Records, he made numerous television and radio programs for CBC Television and CBC Radio. Notable productions include his music-concrète Solitude Trilogy, which consists of The Idea of North, a meditation on Northern Canada and its people, The Latecomers about Newfoundland, and The Quiet in the Land, about Mennonites in Manitoba. All three use a radiophonic electronic-music technique that Gould called contrapuntal radio, in which several people are heard speaking at once—much like the voices in a fugue—manipulated through the use of tape. Gould's experience of driving across northern Ontario while listening to Top 40 radio in 1967 provided the inspiration for one of his most unusual CBC radio pieces, The Search for Petula Clark, a witty and eloquent dissertation on the recordings of the renowned British pop singer, who was then at the peak of her international success[76]
Arrangements and compositions[link]
Main article: List of compositions by Glenn Gould
Gould was not only a composer, but also a prolific arranger of orchestral repertoire for piano. His arrangements include his recorded Wagner and Ravel transcriptions, as well as the operas of Richard Strauss and the symphonies of Schubert and Bruckner,[3] which he played privately for pleasure.[fn 21]
As a teenager, Gould wrote chamber music and piano works in the style of the Second Viennese school of composition. His only significant work was the String Quartet, Op. 1, which he finished when he was in his 20s, and perhaps his cadenzas to Beethoven's Piano Concerto No. 1. Later works include the Lieberson Madrigal (SATB and piano), and So You Want to Write a Fugue? (SATB with piano or string quartet accompaniment). The majority of his work is published by Schott Music. The recording Glenn Gould: The Composer contains his original works.
The String Quartet Op. 1 (published in 1956 and recorded in 1960) had a mixed reception from critics. For example, the notices from the Christian Science Monitor and The Saturday Review were quite laudatory, while the response from the Montreal Star was less so.[77] There is little critical commentary on Gould's compositional work for the simple reason that there are few compositions. He did not proceed beyond Opus 1. Gould left many compositions unfinished.[78] He attributed his failure as a composer to his lack of a "personal voice".[79] See List of compositions by Glenn Gould for a complete list of works.
Conducting[link]
Towards the end of his life, Gould began conducting. He had earlier directed Bach's Brandenburg Concerto No. 5 and the cantata Widerstehe doch der Sünde from the harpsipiano (a piano with metal hammers to simulate a harpsichord's sound), and Gustav Mahler's Symphony No. 2 (the Urlicht section) in the 1960s. His last recording was as a conductor of Wagner's Siegfried Idyll in its original chamber music scoring. He intended to give up the piano at the age of 50, spending later years conducting, writing about music, and composing.[80]
Legacy and honours[link]
Gould is one of the most acclaimed 20th-century classical musicians. His unique pianistic method, insight into the architecture of compositions, and relatively free interpretation of scores created performances and recordings that were revelatory to many listeners while highly objectionable to others. Philosopher Mark Kingwell writes that "his influence is made inescapable. No performer after him can avoid the example he sets... Now, everyone must perform through him: he can be emulated or rejected, but he cannot be ignored."[81]
Gould left an extensive body of work beyond the keyboard. After his retirement from concert performance, he was increasingly interested in other media, including audio and film documentary and writing, through which he mused on aesthetics, composition, music history, and the effect of the electronic age on the consumption of media. (Gould grew up in Toronto at the same time that Canadian theorists Marshall McLuhan, Northrop Frye, and Harold Innis were making their mark on communications studies.)[82][83] Anthologies of his writing and letters have been published.[fn 22] Library and Archives Canada retains a significant portion of Gould's work called the The Glenn Gould Archive.
One of Gould's performances of the Prelude and Fugue in C major from Book II of The Well-Tempered Clavier was chosen for inclusion on the NASA Voyager Golden Record by a committee headed by Carl Sagan. The disc of recordings was placed on the spacecraft Voyager 1, which is now approaching interstellar space and is the farthest human-made object from Earth.[84]
Gould is a popular subject of biography and even critical analysis. Philosophers such as Giorgio Agamben and Mark Kingwell have interpreted Gould's life and ideas.[85] References to Gould and his work are plentiful in poetry, fiction, and the visual arts.[86] For example, François Girard's Genie Award winning 1993 film, Thirty Two Short Films About Glenn Gould.
The Glenn Gould Studio at the Canadian Broadcasting Centre in Toronto was named after him.
Glenn Gould Foundation[link]
Main article: The Glenn Gould Foundation
In Toronto in 1983, The Glenn Gould Foundation was established to honour Gould and preserve his memory. The Foundation's mission "is to extend awareness of the legacy of Glenn Gould as an extraordinary musician, communicator, and Canadian, and to advance his visionary and innovative ideas into the future." Among other activities, the foundation awards the Glenn Gould Prize every three years[87] to "an individual who has earned international recognition as the result of a highly exceptional contribution to music and its communication, through the use of any communications technologies." The prize consists of $50,000 for an original work by a Canadian artist.
Glenn Gould School[link]
Main article: The Glenn Gould School
The Royal Conservatory of Music in Toronto decided to adopt the name The Glenn Gould School in 1997, after its most famous alumnus.[88]
Glenn Gould: The Sounds of Genius[link]
To commemorate what would have been Gould's 75th birthday, the Canadian Museum of Civilization held an exhibition titled Glenn Gould: The Sounds of Genius. The multimedia exhibit was held in conjunction with Library and Archives Canada.[89] The exhibition opened September 28, 2007[90] and looked at five aspects of Gould: "The person," "The musician," "The broadcast personality and producer," "The writer and theorist, composer and conductor," and "The Sounds of Genius".[91] Curator Sam Cronk said "The primary purpose of the exhibition is to remind Canadians of the many facets of Gould’s musical genius."[90] John F. Burns of the The New York Times reported, in an interview with Herbert Kallmann, that the exhibit will omit many of Gould's eccentricities in favour of highlighting Gould’s talent. Of the numerous documents, there are essays, scripts, and music scores. The scores on display were used for some of his most important recordings, marked only for breaks between takes.[58] Peter Goddard of the Toronto Star says that the exhibit will give patrons a feeling of what it was like at Gould's home: "The cramped space conveys a sense of what his St. Clair Ave. apartment might have felt like, with his piano at the very centre of things, along with his low piano chair made by his father."[92]
Awards[link]
Glenn Gould received many honours before and after his death, although he personally claimed to despise competition in music.
Juno Awards[link]
The Juno Awards are presented annually by the Canadian Academy of Recording Arts and Sciences. Gould won three awards out of his six nominations. However he only personally received one Juno. In 1983, he was posthumously inducted into the Canadian Music Hall of Fame.[93]
| Year | Award | Nominated artist and work | Result |
|---|---|---|---|
| 1979 | Best Classical Album of the Year | Himself and Roxolana Roslak for Hindemith: Das Marienleben | Won |
| 1981 | Best Classical Album of the Year | Himself for Bach Toccatas, Vol. 2 | Nominated |
| 1982 | Best Classical Album of the Year | Himself for Bach: Preludes. Fughettas & Fugues | Nominated |
| 1983 | Best Classical Album of the Year | Himself for Haydn: The Six Last Sonatas | Nominated |
| Himself for Bach: The Goldberg Variations | Won | ||
| 1984 | Best Classical Album of the Year | Himself for Brahms: Ballades Op. 10, Rhapsodies Op. 79 | Won |
Grammy Awards[link]
The Grammys are awarded annually by the National Academy of Recording Arts and Sciences. Gould won four awards but personally only received one.[94] In 1983, he was honoured posthumously, being inducted into the Grammy Hall of Fame for his 1955 recording (released in 1956) Bach: The Goldberg Variations.[95]
| Year | Award | Nominated artist and work | Result |
|---|---|---|---|
| 1973 | Best Album Notes – Classical | Himself for Hindemith: Sonatas for Piano (Complete) |
Won |
| 1982 | Best Classical Album | Himself and Samuel H. Carter (producer) for Bach: The Goldberg Variations |
Won |
| Best Instrumental Soloist Performance (without orchestra) |
Himself for Bach: The Goldberg Variations |
Won | |
| 1983 | Best Classical Performance – Instrumental Soloist or Soloists (without orchestra) |
Himself for Beethoven: Piano Sonatas Nos. 12 & 13 |
Won |
See also[link]
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- Glenn Gould Prize
- Music of Canada
- List of Canadian composers
- List of compositions by Glenn Gould
- List of recordings by Glenn Gould
References[link]
- Footnotes
- ^ Bazzana (2003, p. 27) states, "Gould's first name is frequently misspelled as "Glen" in documents (including official ones) dating back to the beginning of his life, and Gould himself used both spellings interchangeably throughout his life." Bazzana (2003, p. 24) further investigated the name-change records in Ontario's Office of the Registrar General and found only a record of his father Bert's name-change to Gould in 1979 (to be able to legally marry with that name); he concludes that the family's name-change was informal and "Gould was still legally 'Glenn Herbert Gold' when he died."
- ^ According to Bazzana (2003, p. 24), "[Gould's] birth certificate gave his name as 'Gold, Glenn Herbert.' The family name had always been Gold [...] All of the documents through 1938 that survive among Gould's papers give his surname as 'Gold,' but beginning at least as early as June 1939, the family name was almost always printed 'Gould' in newspapers, programs, and other sources; the last confirmed publication of 'Gold' is in the program for a church supper and concert on October 27, 1940. The whole family adopted the new surname."
- ^ Full circumstances of the name-change can be found in Bazzana (2003, pp. 24–26).
- ^ According to Bazzana (2003, p. 27), "At least as far back as the mid-eighteenth century, there were no Jews in this particular Gold lineage."
- ^ Friedrich (1990, p. 27) dates this incident on the basis of a discussion with Gould's father, who is cited by Friedrich as stating that it occurred "when the boy was about ten".
- ^ ATCM is Associate, Toronto Conservatory of Music. The Conservatory received it's royal charter in 1947 and became The Royal Conservatory of Music.
- ^ In their documentary film Glenn Gould: A Portrait (Till & Tovell 1985), Glenn Gould's father recalled that Glenn "would not come out [of his bedroom] until he memorized the whole music" [regarding one of Beethoven's piano concertos].
- ^ In outtakes of the Goldberg Variations, Gould describes his practising technique by composing a drill on Variation 11, remarking that he is "still sloppy" and with his usual humour that "a little practising is in order." He is also heard practising other parts of the Goldbergs.
- ^ Gould: "The piano was a means to an end for him, and the end was to approach Beethoven." See Tovell (1959) 07:40 minutes in.
- ^ During Gould's 1957 concert performances in Moscow, Vladimir Ashkenazy labelled him a phenomenon (Till & Tovell 1985).
- ^ Friedrich first states that Gould performed the Beethoven Piano Sonata No. 30 (Opus 109) Friedrich (1990, p. 108) but later states that he performed the Beethoven Piano Sonata No. 31 (Opus 110) Friedrich (1990, p. 354). Bazzana (2003, p. 229) cites Beethoven Piano Sonata No. 30 (Opus 109).
- ^ Originally published in Piano Quarterly in 1974. Reprinted and quoted in Kingwell (2009, p. 159) and Kieser (1993). See Album details at world catalogue.
- ^ These include his famous "self-interview", his book review of a biography written about him (in which he refers to himself in the third person)—not to mention the various appearances of his "alter egos" in print, radio, or TV, including an "extended and rather strained radio joke show", ("Critics Callout Corner" on the Silver Jubilee Album, 1980) which Kingwell (2009, p. 180) comments: "The humour is punishing... There can be no excuse for it, and the one clear lesson of the recording is that it could exist only because of the stature of its creator. Gould in effect called in twenty-five years of chits from Columbia when he got them to release this embarrassing piece of twaddle."
- ^ These comments can be found in essays in Gould (1987).
- ^ Bazzana (2003, pp. 352–368) In a section, quotes Gould: "They say I'm a hypochondriac, and, of course, I am."
- ^ Ostwald (1997, p. 329) specifies "No physical abnormalities were found in the kidneys, prostate, bones, joints, muscles, or other parts of the body that Glenn so often had complained about."
- ^ This is discussed and can be seen in the 1959 National Film Board of Canada documentary film On and Off the Record (Koenig & Kroitor 2004).
- ^ The claim that Gould "never shook hands" is exaggerated. Friedrich (1990, p. 267) quotes Timothy Findley: "Everybody said you never touched his hands, you never try to shake hands with him, but the first thing he did to me was to offer to shake hands. He offered me his hand in a very definite way, none of this tentative, 'don't-touch-me' stuff."
- ^ There are two other Gould recordings of the Goldberg Variations. One is a live recording from 1954 CBC Records (PSCD 2007); the other is live recorded in Moscow on May 7, 1957 and in Salzburg on August 25, 1959 (Sony SRCR 9500). It is part of the The Glenn Gould edition and has been re-released on CD on Sony Classical Records (SMK 52685).
- ^ Gould discusses this in the 1974 Bruno Monsaingeon film series Chemins de la Musique (Ways of the Music). His 24 part series features Gould in four of those parts: La Retraite (The Retreat), L'Alchimiste (The Alchemist), 1974, Partita No. 6 (Bach's Partia No 6).[1] The four parts on Gould were re-released in 2002 on DVD as Gould: the alchemist (Monsaingeon 2002).
- ^ The Schubert can be seen briefly in the film Hereafter (Monsaingeon 2006). The transcription of Bruckner's 8th symphony Gould alludes to in an article (Gould 1987) where he deprecates its "sheer ledger-line unplayability"; the Strauss opera playing can be seen in one of the Humphrey Burton conversations and is referred to by almost everyone who saw him play in private.
- ^ See Gould (1999) for an example.
- Citations
- ^ Bazzana (2003, p. 21)
- ^ Ostwald (1997, p. 35)
- ^ a b c d e Tovell, Vincent (December 4, 1959). Gould in conversation with his friend Vincent Tovell (excerpt): A 26-year-old Gould talks about his fame (CBC Radio. Radio Show: Project '60). CBC Radio 1. archives.cbc.ca. http://ms.radio-canada.ca/archives_new/2002/en/wma/gould19501204er1.wma. Retrieved December 25, 2011.
- ^ Bazzana (2003, p. 30)
- ^ Bazzana (2003, p. 24)
- ^ a b Bazzana, Kevin; Beckwith, John & Payzant, Geoffrey. "The Canadian Encyclopedia". Glenn Gould. Toronto: The Historica Dominion Institute. OCLC 71490162. http://www.thecanadianencyclopedia.com. Retrieved December 19, 2011.
- ^ Hafner 2009, p. 19 [2]
- ^ Jorgensen, Birgitte (2010). "The Dogs of Pianist Glen Gould". Modern Dog. http://www.moderndogmagazine.com/articles/dogs-pianist-glen-gould/280. Retrieved December, 24 2011.
- ^ Ostwald (1997, p. 39)
- ^ Ostwald (1997, p. 40)
- ^ a b Friedrich (1990, p. 15)
- ^ Ostwald (1997, pp. 44–45)
- ^ Ostwald (1997, p. 48)
- ^ Payzant (1978, p. 2)
- ^ Beckwith, John. "Alberto Guerrero". The Encyclopedia of Music in Canada. The Historica Dominion Institute. http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=U1ARTU0001464. Retrieved December 25, 2011.
- ^ Ostwald (1997, p. 73)
- ^ Ostwald (1997, p. 71)
- ^ a b c "Glenn Gould". soundbug.com. Misja.com. http://soundbug.com/artist/2127. Retrieved December 25, 2011.
- ^ Friedrich (1990, p. 31)
- ^ a b Bazzana (2003, p. 76)
- ^ Dubal (1985, pp. 180–183)
- ^ Stegemann (1993a, p. 15)
- ^ "Glenn Gould, Biography". sonymasterworks.com. Sony BMG Masterworks. Archived from the original on February 10, 2008. http://web.archive.org/web/20080210175113/http://www.sonyclassical.com/artists/gould/bio.html. Retrieved March 12, 2009.
- ^ Host: Gordon Burwash (June 23, 1957). "Glenn Gould is a rising star » The Story". CBC Newsmagazine. .. Canadian Broadcasting Corporation. CBC Television. http://archives.cbc.ca/arts_entertainment/music/clips/1670/. Retrieved December 25, 2011.
- ^ Friedrich (1990, p. 147)
- ^ Friedrich (1990, p. 100)
- ^ Friedrich (1990, p. 32)
- ^ Friedrich (1990, p. 35)
- ^ Friedrich (1990, p. 36)
- ^ Friedrich (1990, p. 38)
- ^ Bazzana (2003, p. 163)
- ^ Kelly, Kevin (March 22, 1958). "Glenn Gould at Jordan Hall". The Boston Globe. www.bostonglobe.com (The New York Times Company). ISSN 0743-1791. OCLC 66652431.
- ^ Gould (1987)
- ^ Bazzana (2003, p. 229)
- ^ Bazzana (2003, pp. 232–233)
- ^ Kingwell (2009, pp. 158–159)
- ^ Gould (1999, p. 205) Editor's introduction to the essay.
- ^ Gould (1999, p. 208)
- ^ Kingwell (2009, p. 194)
- ^ Kingwell (2009, p. 166)
- ^ Bazzana (2003, p. 47)
- ^ Greenfield, Layton & March (1988, p. 44)
- ^ Friedrich (1990, p. 50)
- ^ Ostwald (1997, p. 18)
- ^ Friedrich (1990, p. 51)
- ^ Ostwald (1997, pp. 304–306)
- ^ a b Bazzana (2003, p. 158)
- ^ Announcer: James Fassett, Guest: Leonard Bernstein (April 25, 1962). "Leonard Bernstein and Glenn Gould don't see eye to eye". CBC Radio Special. .. New York. CBC Radio. CBC Radio 1. http://archives.cbc.ca/on_this_day/04/25/. Retrieved December 23, 2011.
- ^ Schonberg, Harold C. (April 7, 1962). "Music: Inner Voices of Glenn Gould; Pianist Plays Them in Addition to Brahms Bernstein Speech Hits at the Interpretation (article abstract)". The New York Times. nytimes.com (Arthur Ochs Sulzberger, Jr.): p. 17. ISSN 0362-4331. OCLC 1645522. http://select.nytimes.com/gst/abstract.html?res=FA0F1FFC395D117B93C5A9178FD85F468685F9. Retrieved December 23, 2011.
- ^ Friedrich (1990, p. 62)
- ^ "Musician's Medical Maladies". ahsl.arizona.edu. Arizona Health Sciences Library. Archived from the original on December 30, 2007. http://web.archive.org/web/20071230140202/http://www.ahsl.arizona.edu/about/ahslexhibits/musicianmedicalmaladies/musicians.cfm. Retrieved March 12, 2009.
- ^ Stegemann (1993a, p. 14)
- ^ Kingwell 2009, pp. 125–128 On "play" chapter 11.
- ^ Interviewer: Hugh Thomson (July 15, 1958). "Glenn Gould: Variations on an Artist » Gould on his eccentricities » Did you know?". Assignment. .. Toronto. CBC Radio. CBC Radio 1. http://archives.cbc.ca/IDC-1-68-320-1673/arts_entertainment/glenn_gould/. Retrieved March 12, 2009.
- ^ Ostwald (1997)
- ^ Bruno, Monsaingeon (1983). "Introduction to The Last Puritan". collectionscanada.gc.ca (Ottawa: Library and Archives Canada). http://www.collectionscanada.gc.ca/glenngould/028010-4020.15-e.html. Retrieved December 15, 2011.
- ^ a b c Clarkson, Michael (August 25, 2007). "The secret life of Glenn Gould". Toronto Star. www.thestar.com (Torstar Corporation). OCLC 679765547. http://www.thestar.com/article/249787. Retrieved May 29, 2009.
- ^ a b Burns, John F. (May 29, 1988). "OTTAWA; An Exhibition Of Glenn Gould Memorabilia Sheds A Little Light on A Musical Enigma". The New York Times. nytimes.com (Arthur Ochs Sulzberger, Jr.). ISSN 0362-4331. OCLC 1645522. http://www.nytimes.com/1988/05/29/arts/ottawa-exhibition-glenn-gould-memorabilia-sheds-little-light-musical-enigma.html?scp=1&sq=An%20Exhibition%20Of%20Glenn%20Gould%20Memorabilia%20Sheds%20A%20Little%20Light%20on%20A%20Musical%20Enigma&st=cse. Retrieved December 18, 2011.
- ^ Ostwald (1997, pp. 325–328)
- ^ "Glenn Gould Toronto Walk". glenngould.ca. Glenn Gould Foundation. http://glenngould.ca/glenn-gould-toronto-walk/. Retrieved December 23, 2011.
- ^ Bazzana (2003, p. 263)
- ^ Gould, Glenn (1966). "The Prospects of Recording – Resources – The Glenn Gould Archive". collectionscanada.gc.ca (Ottawa: Library and Archives Canada). http://www.collectionscanada.gc.ca/glenngould/028010-4020.01-e.html#d. Retrieved December 8, 2010.
- ^ Ostwald (1997, p. 119)
- ^ "The Variations of Glenn Gould: Legendary, Eccentric Pianist Launched His Career by Playing Bach". www.npr.org. National Public Radio. http://www.npr.org/templates/story/story.php?storyId=1967623. Retrieved December 24, 2011.
- ^ Tommasini, Anthony (September 1, 2002). "Two faces of a pianist who had many". The New York Times. nytimes.com (Arthur Ochs Sulzberger, Jr.) 151: p. AR20. ISSN 0362-4331. OCLC 1645522. http://www.nytimes.com/2002/09/01/arts/music-recordings-two-faces-of-a-pianist-who-had-many.html?pagewanted=2&src=pm. Retrieved December 22, 2011.
- ^ In "Bach the Nonconformist"; Roberts (ed.), 100
- ^ "Of Mozart and Related Matters. Glenn Gould in Conversation with Bruno Monsaingeon". The Piano Quarterly. www.pianoandkeyboard.com (San Anselmo: The String Letter Press): p. 33. Fall 1976. ISSN 0031-9554. Reprinted in 1990. See also Ostwald (1997, p. 249)
- ^ Ostwald (1997, p. 249)
- ^ Ostwald (1997, p. 257)
- ^ Ostwald (1997, pp. 256–257)
- ^ "Variations on Gould". cbc.ca/radio2. CBC Radio 2. http://www.cbc.ca/radio2/feature-gouldLibrary.html. Retrieved December 24, 2011.
- ^ Friedrich (1990, p. 141)
- ^ "Glenn Gould » The CBC Legacy » Timeline of a Musical Genius". cbc.ca/gould. Canadian Broadcasting Corporation. http://www.cbc.ca/gould/timeline/. Retrieved December 25, 2011.
- ^ a b Stegemann (1993b, p. 10)
- ^ Gould (1992, p. 12)
- ^ Announcer: Ken Haslam, Commentator: Glenn Gould (December 11, 1967). "Glenn Gould's fascination with Petula Clark (excerpt)". The Best of IDEAS. .. Toronto. 4:34 minutes in. CBC Radio. CBC Radio 1. http://archives.cbc.ca/arts_entertainment/music/clips/1708/. Retrieved December 17, 2011.
- ^ Friedrich (1990, pp. 165–166)
- ^ Friedrich (1990, p. 170)
- ^ Friedrich (1990, p. 172)
- ^ Friedrich (1990, p. 315)
- ^ Kingwell (2009, p. 59)
- ^ Kingwell (2009, p. xi) "Introduction" by John Ralston Saul
- ^ Kingwell (2009, pp. 34–35)
- ^ "Voyager – Music From Earth". voyager.jpl.nasa.gov. Jet Propulsion Laboratory. August 20, 1977. http://voyager.jpl.nasa.gov/spacecraft/music.html. Retrieved March 12, 2009.
- ^ Kingwell (2009, pp. 62 & 75)
- ^ Kingwell (2009, notes 3, 13, 18)
- ^ "Dr. José Antonio Abreu Awarded Coveted 2008 Glenn Gould Prize" (Press release). Aerial Communications Group. February 14, 2008. http://www.newswire.ca/en/story/377803/dr-jose-antonio-abreu-awarded-coveted-2008-glenn-gould-prize. Retrieved December 18, 2011.
- ^ "The Glenn Gould School » Key Facts and History". learning.rcmusic.ca. Royal Conservatory of Music. 1997. http://learning.rcmusic.ca/glenn-gould-school/about-glenn-gould-school/key-facts-and-history. Retrieved December 20, 2011.
- ^ "Glenn Gould: The Sounds of Genius » Credits". civilization.ca. Canadian Museum of Civilization. 2007. http://www.civilization.ca/cmc/exhibitions/cmc/gould/gould05e.shtml. Retrieved December 18, 2011.
- ^ a b Staff Report (May 15, 2007). "Home » KlassikNet: Classical Music » News » GLENN GOULD EXHIBITION SET TO OPEN THIS AUTUMN". culturekiosque.com. Euromedia Group. http://www.culturekiosque.com/klassik/news/glenn_gould.html. Retrieved December 18, 2011.
- ^ "Glenn Gould: The Sounds of Genius » The exhibition". civilization.ca. Canadian Museum of Civilization. 2007. http://www.civilization.ca/cmc/exhibitions/cmc/gould/gould01e.shtml. Retrieved December 18, 2011.
- ^ Goddard, Peter (February 16, 2008). "At the Galleries". Toronto Star. www.thestar.com (Torstar Corporation): Arts and Entertainment p. E05. OCLC 679765547.
- ^ "Juno Awards Database". junoawards.ca. Canadian Academy of Recording Arts and Sciences. http://junoawards.ca/awards/artist-summary/?artist_name=Glenn+Gould&submit=Search. Retrieved December 18, 2011.
- ^ "Home Past » Winners Search". www.grammy.org. National Academy of Recording Arts and Sciences. http://www.grammy.com/nominees/search?artist=Glenn+Gould&title=&year=All&genre=All. Retrieved December 18, 2011.
- ^ "Home » The Recording Academy » The GRAMMY Awards » GRAMMY Hall Of Fame". www.grammy.org. National Academy of Recording Arts and Sciences. http://www.grammy.org/recording-academy/awards/hall-of-fame#g. Retrieved December 19, 2011.
- Bibliography
- Bazzana, Kevin (2003). Wondrous Strange: The Life and Art of Glenn Gould. Toronto: McClelland & Stewart. ISBN 978-0-7710-1101-6. OCLC 52286240. http://books.google.ca/books?id=Fj_c-WF9sBIC&lpg=PP5&dq=Wondrous%20Strange%3A%20The%20Life%20and%20Art%20of%20Glenn%20Gould&pg=PP5#v=onepage&q&f=true.
- Dubal, David (1985). The World of the Concert Pianist. London: Gollancz. ISBN 978-0-575-03654-3. OCLC 12112836. http://books.google.com/?id=Sn2FQgAACAAJ&dq=The+World+of+the+Concert+Pianist.
- Friedrich, Otto (1990) [Reprint. Originally published: New York: Random House, 1989]. Glenn Gould: A Life and Variations. New York: Random House. ISBN 978-0-679-73207-5. OCLC 21445409. http://books.google.com/?id=ZJoQAQAAMAAJ&q=Glenn+Gould:+A+Life+and+Variations&dq=Glenn+Gould:+A+Life+and+Variations.
- Gould, Glenn (1987). Page, Tim. ed. The Glenn Gould Reader. Boston: Faber and Faber. ISBN 0-571-14852-2. OCLC 751249764. http://books.google.com/?id=r2qzQgAACAAJ&dq=0571148522.
- Greenfield, Edward; Layton, Robert & March, Ivan (1988). The New Penguin Guide to Compact Discs and Cassettes. London: Penguin Books. ISBN 978-0-14-046829-8. OCLC 18804114. http://books.google.ca/books?id=JSk_s3YqJbQC&dq=editions:z5HZMH8UU4UC.
- Hafner, Katie (2009). A Romance on Three Legs : Glenn Gould's Obsessive Quest for the Perfect Piano. Toronto: McClelland & Stewart. ISBN 978-0-7710-3762-7. OCLC 0771037627. http://books.google.ca/books?id=m25e7t4efpgC&lpg=PP1&dq=A%20Romance%20on%20Three%20Legs&pg=PP1#v=onepage&q&f=true.
- Kingwell, Mark (2009). Extraordinary Canadians Glenn Gould. Toronto: Penguin Canada. ISBN 978-0-670-06850-0. OCLC 460273223. http://books.google.com/?id=Er3x5AALbMkC&printsec=frontcover&dq=Glenn+Gould.+Extraordinary+Canadians#v=onepage&q=Glenn%20Gould.%20Extraordinary%20Canadians&f=false.
- Ostwald, Peter F. (1997). Glenn Gould: The Ecstasy and Tragedy of Genius. New York: W. W. Norton & Company. ISBN 978-0-393-04077-7. OCLC 35586754. http://books.google.ca/books?id=V0YCotrV9NAC&lpg=PP1&dq=Glenn%20Gould%3A%20The%20Ecstasy%20and%20Tragedy%20of%20Genius&pg=PP1#v=onepage&q&f=true.
- Payzant, Geoffrey (1978). Glenn Gould: Music & Mind. Toronto; London: Van Nostrand Reinhold. ISBN 0-442-29802-1. OCLC 16422990. http://books.google.ca/books?id=YPCcXr7tFVoC&lpg=PP1&dq=Glenn%20Gould%3A%20Music%20%26%20Mind&pg=PP1#v=onepage&q&f=true.
- Multimedia sources
- Gould, Glenn (1992). The Glenn Gould Edition Richard Strauss: Ophelia-Lieder: Three Songs after Shakespeare, Op. 67; Enoch Arden: A Melodrama for Piano after Tennyson, Op.38; Piano Sonata, Op. 5; Five Piano Pieces, Op. 3 (Booklet). Glenn Gould & Claude Rains & Elisabeth Schwarzkopf. New York City: Sony Classical Records. ASIN B0000028O4. SM2K 52657. http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-27T08%3A15%3A46Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=12663008&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng.
- Kieser, Karen (1993) (in English). Glenn Gould Bach: original CBC broadcasts (Booklet). Glenn Gould. Toronto: CBC Records. OCLC 609984589. PSCD 2005. Lay summary.
- Koenig, Wolf & Kroitor, Roman (2004). Glenn Gould: on and off the record (DVD release. Originally produced in 1959 for the television program Documentary '60). Montreal: National Film Board of Canada; Image Entertainment (Distributor). OCLC 130741039. UPC 014381206920. http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-23T05%3A52%3A07Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=30899711&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng. Retrieved December 23, 2011. Lay summary.
- Monsaingeon, Bruno (2002) (in English (interviews), French (commentary). Sub-titles: German, English, French, Spanish). Glenn Gould: the alchemist (DVD re-release of the four parts featuring Gould. His 24 part 1974 series was titled Chemins de la Musique.). ORTF; EMI Classics (Distributor). OCLC 52719241. UPC 724349012899. http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-23T04%3A18%3A53Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=28403434&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng. Retrieved December 23, 2011. Lay summary.
- Stegemann, Michael (1993a). Bach: Partitas BWV 825–830; Preludes and Fugues (Booklet). Glenn Gould. Sony Classical Records. OCLC 222101706. SM2K 52597.
- Till, Eric & Tovell, Vincent (1985). Evans, Wayne. ed. Glenn Gould: A Portrait (VHS Videotape released October 22, 1991). West Long Branch: CBC Enterprises; Kultur International Films (Distributor). OCLC 22897163. UPC 032031118836. http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-23T01%3A27%3A55Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=23396582&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng. Retrieved December 23, 2011. Lay summary.
Further reading[link]
- Cott, Jonathan (2005). Conversations with Glenn Gould. University of Chicago Press. ISBN 0-226-11623-9. OCLC 475021622. http://books.google.ca/books?id=dKCdsOq3X4sC&lpg=PP1&dq=Glenn%20Gould%3A&pg=PP1#v=onepage&q&f=true.
- Konieczny, Vladimir (2008). Glenn Gould: a musical force. Toronto: Dundurn Press. ISBN 978-1-55002-819-5. OCLC 471481579. http://books.google.ca/books?id=EL3ik0iCXjEC&lpg=PP1&dq=Glenn%20Gould%3A&pg=PP1#v=onepage&q&f=true.
External links[link]
 |
Wikiquote has a collection of quotations related to: Glenn Gould |
Media related to Glenn Gould at Wikimedia Commons- Glenn Gould Official website
- Glenn Gould recordings owned by Sony Music
- The Glenn Gould Foundation including the GlennGould Magazine
- The Glenn Gould Archive from Library and Archives Canada
- Glenn Gould: Variations on an Artist from the CBC Digital Archives
- Glenn Gould at Société Radio-Canada from the CBC French language Digital Archives
- Glenn Gould pictures and writings by film director Bruno Monsaingeon
- Glenn Gould collected news and commentary at The New York Times
- Works by or about Glenn Gould in libraries (WorldCat catalog)
- Video
- Bach & Friends: Glenn Gould (2010) from director Michael Lawrence
- Genius Within: The Inner Life of Glenn Gould (2010) from co-directors Peter Raymont and Michèle Hozer
- Glenn Gould on Myspace
| Persondata | |
|---|---|
| Name | Gould, Glenn Herbert |
| Alternative names | Gold, Glenn Herbert (legal); Gould, Glen |
| Short description | Canadian classical pianist |
| Date of birth | September 25, 1932 |
| Place of birth | Toronto, Ontario, Canada |
| Date of death | October 4, 1982 |
| Place of death | Toronto, Ontario, Canada |
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Glenn_Gould
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Matthias Grünewald or "Mathis" (as first name), "Gothart" or "Neithardt" (as surname), (c. 1470 – August 31, 1528), was a German Renaissance painter of religious works, who ignored Renaissance classicism to continue the expressive and intense style of late medieval Central European art into the 16th century.
Only ten paintings—several consisting of many panels—and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings were attributed to Albrecht Dürer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece created between 1506-1515.
Contents |
Life[link]
The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he had reasonable recognition in his own lifetime. The first source for his biography is the German art historian Joachim von Sandrart, who describes him as around 1505 working on the exterior decoration of an altarpiece by Albrecht Dürer in Frankfurt; this is the sort of work typically performed by apprentices and therefore an estimate of his age can be reached, suggesting he was born in 1480-83.[1] Sandrart records that Grünewald had as an apprentice the painter Hans Grimmer, who would become famous in his time, but most of whose works were lost in the Thirty Years' War.[2] Sandrart describes Grünewald as leading a withdrawn and melancholy life, and marrying unhappily.[3]
More recent investigations have provided further information on Grünewald's life. In 1511 he became court artist of Uriel von Gemmingen, Archbishop of Mainz, and he also worked for the next archbishop, Albert of Brandenburg. In 1512 he settled in nearby Frankfurt where records indicate he bought a house and married Anna, a converted Jew, then probably aged 18; the marriage was not happy and in 1523 she would be institutionalised with what is variously described as mental illness and demonic possession.[4]
From 1512 to 1514 or 1515 he worked on the Isenheim altarpiece, apparently in partnership with another Mathis, variously surnamed Nithart, Neithart, von Würzburg (after his place of birth), or Gothardt. Grünewald seems to have left Isenheim in a hurry, returning to Frankfurt, and his subsequent poverty suggests he was not fully paid for the altarpiece. In 1527 he entered the services of the wealthy and noble von Erbach family, apparently with a child (whether his own or adopted, is unclear). He most probably died in 1532, although sources vary.[5]
There has been considerable uncertainty about the details of his life. In 1938 Walter Karl Zülch published the theory that Grünewald and his partner Nithart/Gothardt were the same person; this Nithart/Gothardt was a painter, engineer, and "water artist" born in Würzburg in the 1460s or maybe 1470s and probably dying in 1528. This theory is now generally discredited, although more recent historians believe Nithart/Gothardt may have pretended to be Grünewald for business reasons.[6]
Grünewald's first dated painting is probably in Munich, dated 1503 on a much later note which apparently records an older inscription.[citation needed] There is much speculation about Grünewald's politics, with some people associating him with the Reformation or support for the lower classes. He may have left the Archbishop of Mainz because of sympathies either with the German Peasants' War, or Lutheranism (he had some Lutheran pamphlets and papers at his death).[citation needed]
Works[link]
Only religious works are included in his small surviving corpus, the most famous being the Isenheim Altarpiece, completed 1515, now in the Musée d'Unterlinden, Colmar. Its nine images on twelve panels are arranged on double wings to present three views (rather than just the open and closed states of triptych altarpieces), according to the season or occasion. The first view with the outer wings closed shows a Crucifixion flanked by Saint Sebastien and Saint Anthony, with a predella showing the entombment. When the first set of wings is opened, the Annunciation, Angelic Concert (sometimes interpreted as the Birth of Ecclesia) Mary bathing Christ, and Resurrection are displayed. The third view discloses a carved and gilded wood altarpiece by Nikolaus Hagenauer, flanked by the Temptation of St. Anthony and Anthony's visit to Saint Paul. As well as being by far his greatest surviving work, the altarpiece contains most of his surviving painting by surface area, being 2.65 metres high and over 5 metres wide at its fullest extent.
His other works are in Germany, except for a small Crucifixion in Washington and another in Basel, Switzerland. Around 1510 he was asked to paint four saints in grisaille for the outside of the wings of Albrecht Dürer's Heller Altarpiece (:de) in Frankfurt. Dürer's work was destroyed by fire and only survives in copies, but fortunately the wings have survived, one pair of saints being displayed in Frankfurt's Municipal Art Gallery and the other in Karlsruhe's, Staatliche Kunsthalle. There are also the late Tauberbischofsheim altarpiece in the Staatliche Kunsthalle Karlsruhe, and the Establishment of the Santa Maria Maggiore in Rome (1517–1519), Augustiner Museum, Freiburg. A large panel of Saint Erasmus and Saint Maurice in Munich probably dates from 1521–24, and was apparently part of a larger altarpiece project, the rest of which has not survived. Other works are in Munich, Karlsruhe, Aschaffenberg and Stuppach (:de). Altogether four somber and awe-filled Crucifixions survive. The visionary character of his work, with its expressive colour and line, is in stark contrast to Dürer's works. His paintings are known for their dramatic forms, vivid colors, and depiction of light.
Reputation[link]
The Protestant theologian Philipp Melanchthon is one of the few contemporary writers to refer to Grünewald, who is rather puzzlingly described as "moderate" in style, when compared with Dürer and Cranach; what paintings this judgement is based on is uncertain. By the end of the century, when the Holy Roman Emperor, Rudolph II embarked on his quest to secure as many Dürer paintings as possible, the Isenheim Altarpiece was already generally believed to be a Dürer. In the late 19th century he was rediscovered, and became something of a cult figure, with the angst-laden expressionism—and absence of any direct classicism—of the Isenheim Altarpiece appealing to both German Nationalists and Modernists. Joris-Karl Huysmans promoted his art enthusiastically in both novels and journalism, rather as Proust did that of Vermeer. His apparent sympathies with the peasants in the Peasants' War also brought him admiration from the political left.
The composer Paul Hindemith based his 1938 opera Mathis der Maler on the life of Grünewald during the Peasants' War; scene Six includes a partial re-enactment of some scenes from the Isenheim Altarpiece.
Elias Canetti wrote his novel Auto-da-Fé surrounded by reproductions of the Isenheim altarpiece stuck to the wall.
German author W.G. Sebald traces the life story of Grünewald in his first literary work, After Nature. This book-length prose-poem uses the preoccupations of Grünewald and especially his creation of the Isenheim Altarpiece to communicate an intensely apocalyptic vision of a world that has abandoned nature.[7] The Isenheim Altarpiece also features in the last chapter of Sebald's novel The Emigrants, in which the painter Max Ferber describes his intuition of the extreme power of pain after seeing Grünewald's work.
Veneration[link]
Grünewald is honored together with Albrecht Dürer and Lucas Cranach the Elder with a feast day on the liturgical calendar of the Episcopal Church (USA) on August 5.
He is commemorated as an artist and saint by the Lutheran Church on April 6, along with Dürer and Cranach.
Gallery[link]
-
Isenheim Altarpiece, 1515.
-
The Stuppach Madonna, 1517-1519.
-
Establishment of the Santa Maria Maggiore in Rome, 1517-1519.
-
The Mocking of Christ, c. 1503
-
Christ Bearing the Cross, 1523-25 (originally on one side of the panel that is known as the Tauberbischofsheim altarpiece, Kunsthalle Karlsruhe)
-
Large Crucifixion, 1523-25 (originally on the other side of the panel known as the Tauberbischofsheim altarpiece)
-
Crucifixion in the Kunstmuseum Basel.
-
Crucifixion in the National Gallery of Art, Washington.
References[link]
- ^ Siglind Bruhn, The temptation of Paul Hindemith: Mathis der Maler as a spiritual testimony. Pendragon: 1998. pp 25-27
- ^ Joachim von Sandrart, Teutsche Academie, TA 1675, II, Buch 3 (niederl. u. dt. Künstler), S. 231, http://ta.sandrart.net/edition/text/view/448
- ^ Joachim von Sandrart, Teutsche Academie, TA 1675, II, Buch 3 (niederl. u. dt. Künstler), S. 237 http://ta.sandrart.net/edition/text/view/455
- ^ Siglind Bruhn, The temptation of Paul Hindemith: Mathis der Maler as a spiritual testimony. Pendragon: 1998. pp 28-29
- ^ Siglind Bruhn, The temptation of Paul Hindemith: Mathis der Maler as a spiritual testimony. Pendragon: 1998. pp 29-31
- ^ Siglind Bruhn, The temptation of Paul Hindemith: Mathis der Maler as a spiritual testimony. Pendragon: 1998. pp 34-35
- ^ Curiosity and Catastrophe - New York Times
Sources[link]
- Grünewald, Matthias. article in: Meyers Konversations-Lexikon, 4. Aufl. 1888–1890, Bd. 7, S. 875 f.
- Andersson, Christiane. "Grünewald, Matthias." In Grove Art Online. Oxford Art Online, (accessed January 30, 2012; subscription required).
- Bautz, Friedrich Wilhelm (1990). Bautz, Friedrich Wilhelm. ed (in German). Matthias Grünewald. Biographisch-Bibliographisches Kirchenlexikon (BBKL). 2. Hamm. cols. 367–369. ISBN 3-88309-032-8. http://www.bautz.de/bbkl/g/gruenewald_m.shtml.
- Cuttler, Charles D. (1968) Northern Painting from Pucelle to Bruegel. Holt, Rinehart and Winston, Inc. ISBN 0-03-072500-3
- Ladendorf, Heinz (1966) "Grünewald, Matthias ". In Neue Deutsche Biographie (NDB). 7. Berlin: Duncker & Humblot. pp. 191–197. (German)
- Woltmann, Alfred (1879) (in German). "Matthias Grünewald". In Allgemeine Deutsche Biographie (ADB). 10. Leipzig: Duncker & Humblot. pp. 52–53.
External links[link]
 |
Wikimedia Commons has media related to: Matthias Grünewald |
- Grünewald Gallery at MuseumSyndicate
- Grünewald paintings at CGFA
- wgsebald.de W. G. Sebald about Grünewald
- Matthias Grünewald. paintings
| Persondata | |
|---|---|
| Name | Grünewald, Matthias |
| Alternative names | Gothart-Nithart, Mathis;Gruenewald, Matthias |
| Short description | German Renaissance painter |
| Date of birth | |
| Place of birth | |
| Date of death | 31 August 1528 |
| Place of death | Halle (Saale) |
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Matthias_Grünewald
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
