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573 Sentences With "first violin"

How to use first violin in a sentence? Find typical usage patterns (collocations)/phrases/context for "first violin" and check conjugation/comparative form for "first violin". Mastering all the usages of "first violin" from sentence examples published by news publications.

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Johannes Brahms wrote his first violin sonata for his muse, the pianist Clara Schumann.
"She'd probably be first violin," adds Scott Patterson who plays grumpy coffee shop owner Luke Danes.
ZACHARY WOOLFE Szymanowski's First Violin Concerto (1916) was the oldest work on the Boston Symphony Orchestra's program last Friday.
She played first violin in an orchestra and was student association president, both characteristics that Ms. Bever said showed leadership.
The first viola gets all the melodies — enough, anyway, to put it on an equal footing with the first violin.
I went to the upright piano, which he'd had tuned for my visit, and he handed me the score for Brahms's first violin sonata.
David Chan, the Met's concertmaster, said the instrument was even smaller than his first violin, which he got when he was 3 years old.
The first violin plays the same theme but with a one-and-a-half beat delay, so that there is no discernible strong first beat.
" But, added Mr. Oland, 32, who shares duties in the first violin chair, "you can't be free if you haven't prepared well on a technical level.
She received her first violin at age 3, and left her first teacher on the instrument begging to take a break after more than an hour.
VELES, North Macedonia (Reuters) - Svetozar Bogdanovski built his first violin 35 years ago for his son Kostadin, then aged seven, who had expressed interest in taking lessons.
But, he knows when the first violin should be playing, and he knows when the trumpets should be loud or soft, and when the drummer should be drumming.
Mendelssohn wrote it in 1825, when he was sixteen; he intended it as a birthday gift for his violin teacher, and the first-violin part requires virtuosic skill.
Written as an engagement present, Previn first violin concerto, full of lush strings, Hollywood harmonies and wiry virtuosity, was dedicated to Mutter (Its subtitle is even "Anne-Sophie").
At the same time it's unbelievably difficult, and it's like playing first violin in the Philharmonic; if you haven't done the 10,000 hours, it's not going to happen.
But he knows when the first violin should be playing, and he knows when the trumpets should be loud or soft, and when the drummer should be drumming.
It disappears almost as soon as you've noticed it — in fact, the first violin seems determined to put it firmly in the past, veering into a syrupy little dance.
The Andante is a wistful pas de deux between the first violin and the first viola, here the Calidore's Jeremy Berry, who produced an unusually bright and tangy sound.
Andreas Grossbauer, the chairman of the philharmonic and its first violin, said that was in part a nod to a generational change in the orchestra over the last decade.
His first violin teacher admonished him by hitting his hand with the violin bow, so Mr. Simons took to teaching himself by slipping into concerts and observing and emulating accomplished violinists.
But the most explicit tribute to Bach comes roughly five minutes in, when the first-violin soloist plays a scale reminiscent of the broken D major scale that opens the Fifth Brandenburg.
Sun's list included a trip to Wimbledon; climbing Mt. Snowdon, in Wales; and a range of musical aspirations—from learning the Bach sonatas and partitas to performing the first violin part in Mendelssohn's Octet in E-Flat Major.
Two years ago, when the ailing James Levine led the Met Orchestra in Berlioz's "Symphonie Fantastique" at Carnegie Hall, he accidentally flung his baton into the first violin section; during a rest, a player handed it back to him.
He took my chords that I showed him and spread the notes out across the piano, putting the cello in the low octave and the first violin in a high octave and gave me my first lesson in how strings were voiced for a quartet.
Mr. Tree was also a teacher throughout his career, including at Curtis and the Juilliard School, and though the first violin gets much of the attention in a small group, he sought to dispel any notion that the viola is somehow a secondary instrument.
Born in 1943 to parents ensconced in Los Angeles' proto-bohemian scene — her father was first violin in the orchestra at Twentieth Century Fox, and her mother was an artist — Babitz came of age amongst the likes of Igor Stravinsky (who was also her godfather), Greta Garbo, Charlie Chaplin, Aldous Huxley, and Bertrand Russell.
I wish I could tell you who takes the first violin break on their old "Clejani Love Song," a 20-second countermelody that sums up their collective pizzazz so irresistibly that all three violinists join in when it comes around again, and again, only to change it up around the seven-minute mark, and that ain't all—the track clocks in at 11:11.
The scherzo is light-textured, fleet for much of its span, foreshadowing those of Mendelssohn. The scherzo’s trio is a mild accompanied duet, first between cello and first violin, then first violin and viola, then again cello and first violin.
He played first violin in the Borodin Quartet for 20 years starting in 1976. He also played first violin in the Tokyo String Quartet. Kopelman taught at the Moscow Conservatory from 1980 to 1993. He emigrated to the United States with his family in 1993.
Sax had often contracted the leaders of most of London's orchestras to populate his first violin section.
Out of this quiet the first violin suddenly erupts to a forte, only to fall back into another piano section. The texture thins and the tension descends, until a second burst of fortissimo, with first violin and cello playing the fugal subject in canon, leading to the dramatic finale.
One of their founding members and first violin, Felix Ayo, is still an active violinist as of 2017.
It adds winds for tonal colour in the style of Shostakovich's symphonies. The first movement is constructed using sonata allegro form. The first theme appears in the first violin and is often heard interacting with the cello. The second theme is stated in the first violin and then imitated and transformed by the other three instruments.
Guidi studied at the Milan Conservatory, where he later became a teacher. He moved to London where he formed the Trio Guidi and later moved to New York. His career was predominantly as a first violin. From 1919 to 1921 he was the first violin of the National Symphony Orchestra of New York, which was absorbed by the New York Philharmonic in 1921.
He made his concert debut at the age of 18 playing Vieuxtemps' first violin concerto and Brahms's first violin sonata. At Gade's instigation he then studied for a year with Emil Telmányi. He moved to Berlin to study with Willy Hess. In 1921 Holst attracted favourable notice when he played three concertos at one concert with the Berlin Philharmonic Orchestra.
He currently is a first violin in the Kopelman Quartet, and a Professor of Violin at the Eastman School of Music, Rochester, NY, USA.
The second movement, in F major and marked "adagio cantabile", commences with the statement of the primary theme by the second violin, before it is taken up by the first violin in the ninth measure. The first violin part enjoys a move into a high register in the movement's central section as well as an elaborate solo passage towards the end of the movement. The movement's central section also features a five-measure passage of sixteenth notes for the cello, perhaps specially written for the opus's cellist dedicatee. The opening measure of the minuet, after an upbeat, is a descending C-major triad (G-E-C) played by the first violin.
Kristīne Balanas is a Latvian violinist who is a laureate of many international violin competitions. She received her first violin lessons at the age of seven.
The minuet features Lombard rhythms and the trio lets the first violin and the bassoon carry the melody. The finale is gigue-like and in sonata form.
The sonata, unlike the composer's first violin sonata, is in four movements: # Allegro commodo # Adagio molto # Prestissimo # Allegretto – Animato An average performance takes around 25–28 minutes.
The work was not performed in Enescu's lifetime, but was finally premiered in Bucharest in 1964 by (amongst others) Valentin Gheorghiu, piano, and Ștefan Gheorghiu, first violin .
Section of No. 4 showing interplay between the first violin and cello Prior to opus 20, the first violin, or, sometimes, the two violins, dominated the quartet. The melody was carried by the leader, with the lower voices (viola and cello) accompanying. In opus 20, Haydn gives each instrument, and particularly the cello, its own voice. An outstanding example of this is the second quartet in C major.
He served for one year as first violin in the second Toronto String Quartette in 1894. He moved to Buffalo, New York after leaving the Queen's Own Rifles.
Palatka Gypsy Band is a folk band formed by five musicians from the Transylvanian village of Pălatca ( or Palatka), Cluj County, Romania, led by the first violin Florin Codoba.
The Scottish Fantasy is one of several signature pieces by Bruch that is still widely heard today, along with his first violin concerto and Kol Nidrei for cello and orchestra.
He was also first violin teacher at the Leipzig Conservatory from 1892. Among his students were Walter Bach, Clemens Meyer, Gabriel del Orbe, Heinrich Schachtebeck, Gustav Schmidt and Hans Stieber.
The Ludwig Schuster Quartet was a string quartet from Halle (Saale) active in the 1950s and 1960s. It was named after first violin Ludwig Schuster (concertmaster at the Landestheater Halle).
The concerto is written in three movements: #Moderato con moto – Agitato – Tempo primo – #Vivace – Animando – Largamente – Cadenza – #Passacaglia: Andante lento (Un poco meno mosso) This form, although in three movements, is highly unlike that of concertos from the Classical and Romantic eras. First used in the First Violin Concerto of Sergei Prokofiev, this design is also evident in the concertos of William Walton and later in Shostakovich's first violin concerto, that has a structure that clearly recalls Britten's concerto.
A recording of his recent Concertino for violin and orchestra will shortly be released on the Parma label, and his first Violin Sonata, written for Ruth Palmer was premiered in March 2010.
The last aria,"" (What my heart desires from You), is accompanied by the strings, dominated by the first violin. The word "Herz" (heart) is rendered in sighing motifs, intensified by following rests.
Frank-Michael Erben (born 7 September 1965) is a German violinist and conductor. He is the first concertmaster of the Leipzig Gewandhaus Orchestra and plays the first violin in the Gewandhaus Quartet.
The principal first violin is called the concertmaster (or "leader" in the UK) and is considered the leader of not only the string section, but of the entire orchestra, subordinate only to the conductor.
Jacobsohn and Thomas alternated in playing first and second violin. Jacobsohn considered Thomas one of the finest interpreters of Mozart in the world; and so, when Mozart was played, Thomas always played first violin.
Brian Lisus is a violin maker born in South Africa, who started the first violin making School in South Africa. He is currently teaching in Ojai, California, US, and owns a violin making shop there.
The first movement in the ¾-beat is characterized by the, presented by the First Violin, "deviating in the ter-related D-major, genuinely romantic main theme." After a short-limbed idea of transition follows the vocal period in F sharp major. In the implementation, the main theme is further processed and modified in the "character of a free improvsiation". After a general pause, a mock recital begins, in which the main theme is engrossed, until finally the first violin leads to the actual reprise.
The Ludwig Quartet is a French string quartet ensemble founded in 1985 and leading an international career. It is composed of Thierry Brodard (first violin), Manuel Doutrelant (second violon), Padrig Fauré (viola) and Anne Copéry (violoncello).
22 His first violin teachers were probably Ludovico Ferronati and Carlo Antonio Marino, both of whom were members of the cappella. The maestro di cappella, Francesco Ballarotti, may have taught him composition.Dunning 1981, vol. I, p.
Third movement of opus 20 number 1, marked Affetuoso e sostenuto The second movement is a minuet, one of two from the set that follow all the rules of the traditional dance (the other is the minuet of number 6). The third movement is marked "Affettuoso e sostenuto", written in A major as an aria, with the first violin carrying the melody throughout. The finale, marked presto, is built on a six-measure phrase, with extensive use of syncopations in the first violin. In the middle of the movement there is an extended passage where the first violin plays syncopations and the other instruments are playing on the second beat of the bar; no one plays on the downbeat, and toward the end of the passage the listener loses track of the meter, until the main theme returns.
Overture Respighiana (Overtura Respighiana) was composed by Salvatore Di Vittorio in 2008, as an homage to Ottorino Respighi. The work was written one year before Di Vittorio's completion of Respighi's rediscovered first Violin Concerto in A Major.
Samuel (Sam) Swaap, the son of David Swaap (1859-1942) and Elisabeth Halberstad (1853-1928) began playing the violin at the age of eight, receiving his first violin lessons from H.M Hofmeester. He enrolled in the Amsterdam Conservatorium and studied under Carl Flesch from the years 1904 to 1907. Swaap made his debut as a soloist with the Royal Concertgebouw Orchestra at the age of sixteen and entered the orchestra's first violin section in 1909. In 1913, Swaap went to Finland for two years to serve as a concertmaster in Abo.
The trio ends with a plagal cadence to G major, for a Baroque-like Picardy third conclusion; but then the minuet recapitulates in G minor. The move from G major back to G minor is so jolting that Drabkin speculates that the trio might possibly have been borrowed from another piece. The third movement, marked Poco Adagio, is a long cantabile aria in G major, dominated by the first violin and the cello. After the first violin states the theme, the cello takes over with a long rippling line of sixteenth notes.
Reinthaler also conducted the premiere of the revised version of Max Bruch's first violin concerto in January 1868. In later years, Reinthaler required a wheel chair, which limited his appearances in public musical scenes. He died in Bremen.
She became famous for her skill with a violin. She played first violin in this ensemble. The band toured abroad and was invited to perform in noble houses. She also gave birth to four sons and one daughter.
Makris was a member of the first violin section of the National Symphony Orchestra for 28 years. He held previous positions in the Dallas Symphony Orchestra and the Saint Louis Symphony Orchestra.Andreas Makris biography . Retrieved 2011-02-02.
Butterworth, p. 89 Dvořák quoted in the third movement, measures 21-24, a bird that he believed was a scarlet tanager, an American songbird. The song appears as a high, interrupting strain in the first violin part.Miller, p.
Marchant is the co-creator and founding member of Well-Strung, an all-male singing string quartet. All four members are openly gay. They include Marchant (second violin), Edmund Bagnell (first violin), Trevor Wadleigh (viola), and Daniel Shevlin (cello).
In 1941 Lawrence married Marjorie Avice. She survived him and they had no children. In his spare time Lawrence was an accomplished violinist, having played first violin for the orchestra of the Oxford Bach Choir under Sir Hugh Allen.
He was born into a Hungarian gypsy musician family. He was six when he got his first violin. When he was twelve years old, he became the first violinist of the Rajkó Orchestra. In 1996, he founded the Budapest Gipsy Band.
In November 1924, Ter-Gabrielyan co-founded Komitas Quartet. He was the quartet's first violin from 1925 to 1976. The ensemble performed with such musicians as Konstantin Igumnov and Heinrich Neuhaus. Aram Khachaturian dedicated to Ter- Gabrielyan his "Dance" (1933).
Mitropoulos premiered many contemporary works. Examples include the American premieres of Shostakovich's Tenth Symphony (1954) and First Violin Concerto (1956) and the world premieres of Barber's Vanessa (1958), Ernst Krenek's Fourth Symphony (1947), and John J. Becker's Short Symphony (1950).
From 1901 to 1904, she was first violin for the Toronto Conservatory String Quartette. Pupils of Drechsler Adamson included Harry Adaskin, Frank Blachford, Julia Grover Choate and Lina Drechsler Adamson, her daughter. She died in Toronto at the age of 76.
Few concerti include a scherzo, but Walton's Viola Concerto seems to have been modeled on Prokofiev's First Violin Concerto, which Walton admired. Prokofiev's concerto also has a scherzo for its second movement as well as a relatively slow-moving first movement.
He placed in a national tennis tournament at age ten.The Univee, yearbook, 1978–9 Bell's first violin teacher was Donna Bricht, widow of Indiana University music faculty member Walter Bricht."Music: The Teacher, The Lesson". Bloomington Herald-Times, January 15, 1989.
Viotti's music generally features the violin prominently. Most of his string quartets largely ignore the balanced texture pioneered by Haydn, giving a "solo" role to the first violin and as such may be considered Quatuors brillants. However, his Tre Quartetti Concertanti, G.112, 113 and 114 (after Remo Giazotto who catalogued Viotti's worksGiazotto, Giovan Battista Viotti (Milan: Curci, 1956).), composed in 1815 and published in Paris in 1817, are true concertante works offering extensive solos for each instrument and not just the first violin. Viotti often wrote chamber music for more traditional combinations such as two violins and cello.
Three of those original recordings, "Duel", "The 1812" and "Dalalai", were the backbone of the first album, Born, with producer Magnus Fiennes providing additional tracks and Mike Batt adding a remix of "Victory", which became the first single. The quartet currently consists of Tania Davis (first violin, formerly viola, from Sydney, Australia), Eos Counsell (second violin, from Cardiff, Wales), Elspeth Hanson (viola, from Upper Basildon, England) and Gay-Yee Westerhoff (cello, from Hull, England). Hanson replaced original band member Haylie Ecker (formerly first violin and from Perth, Australia), who left in 2008 to have a child.
Jones, p. 33 In January his first violin sonata was performed at a Société Nationale concert with great success, marking a turning-point in his composing career at the age of 31. Nectoux counts the work as the composer's first great masterpiece.
Thomann was born in 1900 as the son of a music teacher in northern Bohemia. He received his first violin lessons from his father. He studied at the Prague Conservatory and at the University of Music and Performing Arts Vienna. with Otakar Ševčík.
Wilhelm Stross (5 November 1907 – 18 January 1966) was a German violinist and composer. He was professor at the Hochschule für Musik und Theater München and the Hochschule für Musik und Tanz Köln as well as first violin of the Stross Quartet.
The last aria is sung by the alto with rich accompaniment: "" (People, believe this grace now,). The two oboes d'amore double the first violin when human beings are requested to accept the grace of God to not "perish in the pit of hell".
In 1741, king Louis XV granted him French nationality and the title of "Royal Master of the Menetriers". Guignon thus supervised the singers and dancers of the kingdom, officially becoming the first violin of the time. Guignon died in Versailles aged 71.
From 1974–85 he served as editor of The U. S. Rowing Association's magazineThe Oarsman which became the Rowing U.S.A. He was First Violin with the C.R.A.S.H.-B Marching Chamber Orchestra 1982–86. He is a writer and English teacher at Noble and Greenough school.
The first violin leads a slow, distressed line of music over soft seventh chords, and eventually finds calm in the romance. The finale works around to and ends in A minor, meaning that the quartet ends in the parallel minor to the opening major key.
The Melos Quartet was a much-recorded, Stuttgart-based string quartet active from 1965 until 2005, when its first violin died. It also went by the name Melos Quartett Stuttgart, partly to distinguish itself from the equally prominent chamber group the Melos Ensemble of London.
John Philip Sousa conducting with a baton (1911). Before the use of the baton, orchestral ensembles were conducted from the harpsichord or the first violin lead. Conductors first began to use violin bows or rolled pieces of paper before the modern baton was introduced.
It contains a quotation from Fauré's First Violin Sonata, composed 20 years earlier.Morrison, p. 13 The Fauré scholar Jean-Michel Nectoux considers this "perhaps the jewel of the suite, with its lovely tune, moving harmonies and limpid, subtle counterpoint." ;Kitty-valse Tempo di valse.
Khachik Babayan was born in 1956 in Tabriz, Iran. He began to play the violin when he was four. At the age of seven, he began violin studies with his first violin teacher, Zaven Yedigarian. In 1972, he entered the Tehran Conservatory of Music.
A revival of interest in his work began in 2012 with a performance of his first violin sonata at the English Music Festival in Dorchester Abbey on 2 June, 2012.Barnett, Rob. 'More Neglected Music Unveiled at the English Music Festival'. Seen & Heard, 2012.
Alex played for the Star Rugby football club in Invercargill. Alex played with the Theatre Royal orchestra as first violin. He won national solo cornet titles for the next few years. 1893 At the age of 23 he toured New Zealand as a professional soloist.
The second subject in the first violin, and the first subject, syncopated, in the viola. Then the second violin and cello take up the same thing. First fugue, exposition The first variation, following the rules of fugue, opens in the subdominant key of E. Beethoven adds to the chaos with a triplet figure in the first violin, played against the quaternary rhythm of the second subject in the second violin and the syncopated main subject in the viola. First fugue, first variation The second variation, back in the key of B, is a stretto section, meaning that the fugal voices enter one right after the other.
For a time, he was first violin in the Park Theater in New York City. He returned to France under the Directory in 1797 and acquired the magistrate post he would hold for the remainder of his life, as a judge of the Court of Cassation.
Bartók's first violin concerto was published only after both he and Geyer had died. Willy Burkhard dedicated his 1943 violin concerto jointly to Geyer and Paul Sacher. Her first marriage was to Vienna lawyer Edwin Jung. He died during the flu epidemic of the First World War.
Elkan Kosman ca.1906 The Kosman String Quartet is a name for two different ensembles founded by the violinist . The first one was founded in Scotland in 1898. Its members were: Elkan Kosman (first violin), Richard Dalblitz (second violin), John Daly (viola) and Willy Benda (cello).
This movement, too, is very chromatic, with the melody of the second section built on a descending chromatic scale in the first violin. Finale of opus 20 number 2. Haydn wrote over this passage, "" (Thus one friend flees another). The finale is a fugue with four subjects.
A, the funeral march, is varied on its return after the agitato section with rapid triplets in the piano and counterpoint reminiscent of the previous episode in first violin and cello, while the second appearance of B in F major also is with an enriched piano accompaniment.
He completed violin studies at Indiana University, USA with Franco Gulli. Iorio went on to study conducting at Saint Petersburg Conservatory with Ilya Musin and Alexander Polishchuk. At the same time, he held a position in the first violin section of the Danish National Symphony Orchestra.
Joshua "Josh" Hedley was born and raised in Naples, Florida. He felt "inexplicably drawn" to the fiddle as a child, requesting one by name from his parents at 3. He got his first violin at 8. By 12, he was playing with "middle-aged pickers" at the local VFW.
Born in Paris, Alexandre was a violinist at the Théâtre de l'Opéra-Comique from 1753 to 1755. Master of music at the Dubugrarre School of Music (1760), he became first violin of the Duke of Aiguillon then in 1783, violin teacher in Paris. He wrote operas and instrumental music.
With Mansfield, Rose acted in Beau Brummel, Monsieur Beaucaire, A Parisian Romance, and First Violin. One of her most noted roles was in The Sign of the Cross. Her first motion picture appearance was in 1905. Tapley was featured in the Thomas Alva Edison film, Wanted a Wife.
Music ensembles typically have a leader. In jazz bands, rock and pop groups and similar ensembles, this is the band leader. In classical music, orchestras, concert bands and choirs are led by a conductor. In orchestra, the concertmaster (principal first violin player) is the instrumentalist leader of the orchestra.
This "devil's staccato" was used to discipline students' technique. The first violin competition named after Wieniawski took place in Warsaw in 1935. Ginette Neveu took first prize, David Oistrakh second, and Henri Temianka third. The International Henryk Wieniawski Violin Competition has been held every five years since 1952.
It is thought he wrote around 36 sonatas, of which 14 have survived. They all have two movements, each in binary form. It is probable that Mozart's first violin sonatas, written at the age of seven, were modeled on Alberti's work. Alberti died in 1740 or 1746 in Rome.
Garaguly was a child prodigy,Postcard photo as child prodigy, accessed 10 February 2013. performing in public from the age of 6, having received his first violin lessons from his father. By the age of 10 he was undertaking concert tours.Grove Dictionary of Music and Musicians Fifth Edition.
The competition debuted in the summer of 2010 with a piano competition, followed by a violin competition in 2011, and the competition alternates annually between both instruments. George Li won the first prize in the first piano competition and Sirena Huang won first in the first violin competition.
The third movement in G major is the minuet, but, unusual in a minuet written at this time, the tempo indication is Presto, giving it the feel of a scherzo when played. The trio section is more lyrical and features the first violin playing a Ländler while accompanied pizzicato.
Additionally, during 1948–1964 Andres Archila founded the Quarteto Guatemala whose members included himself as first violin, Carlos Ciudadreal, second violin, Eduardo Ortiz Lara, cello, and, Humberto Ayestas, viola. The quartet performed in Washington, D.C., New York, Los Angeles, Dallas, Mexico, Chile, Colombia and all of Central America.
In 1928, Marie Jeanne Frigard as the first violin of the Saint-Denis Orchestra took part in guest performances in Canada. During the occupation of France Marie Jeanne Frigard lived in Nice, where she was deported in 1943 or 1944. There is a lack of news about her death.
In his third year Manns played first violin in the string-band and first clarinet in the wind-band of Urban's Town-band; and he was selected by Urban to receive special lessons in harmony and composition. Crystal Palace concert hall in 1857When Manns was approaching the age for military conscription, he avoided active service by volunteering as a member of an infantry band stationed at Danzig, for which he played the clarinet. At the same time he played the violin in the theatre, in concerts, and for the ballet. In 1848 his talent was spotted and he was invited to join Josef Gungl's orchestra in Berlin, where he played first violin.
Unlike many National Symphony musicians, who were not retained, Guidi was named the first violin of the New York Philharmonic. In 1919 he formed the New York Trio, with pianist Clarence Adler (father of Richard Adler) and Cornelius van Vliet at the cello, but left this group in 1923 due to the growing commitment with the orchestra. He remained in the first violin of the New York Philharmonic for a decade, from 1921 to 1931, under the direction, among others, of Willem Mengelberg and Arturo Toscanini. During this period, the Philharmonic merged with the New York Symphony and the name of the orchestra passed from the Philharmonic Society of New York to the Philharmonic-Symphony Society of New York.
Conducting an orchestra Among the instrument groups and within each group of instruments, there is a generally accepted hierarchy. Every instrumental group (or section) has a principal who is generally responsible for leading the group and playing orchestral solos. The violins are divided into two groups, first violin and second violin, with the second violins playing in lower registers than the first violins, playing an accompaniment part, or harmonizing the melody played by the first violins. The principal first violin is called the concertmaster (or "leader" in the UK) and is not only considered the leader of the string section, but the second-in-command of the entire orchestra, behind only the conductor.
The material between the opening and closing the ritornellos is freely developed, but nevertheless has some elements of sonata form, most significantly a division into two parts with the second part starting in the relative major key (bars 3–13 and bars 14–36). 900px In the opening ritornello, the motifs in the first violin part involve a dramatic downward drop in register onto chromatic notes which break the harmony. The lilting rhythms of the first violin and the slower rhythms of the middle strings continue throughout the movement as a form of quasi-ostinato, repeating every two bars. As with the other concertos, the harpsichord plays as a continuo instrument during the orchestral ritornellos.
Figueroa returned to Puerto Rico in 1940 after entertaining audiences all over Europe. In the island he formed the Brothers Figueroa Quintet. Narciso played the piano, Jose played first violin, Jaime played second violin, Guillermo the viola and Rafael the cello. His sisters, Leonor, Carmelina and Angelina would sometimes participate.
305 It is notable for its "polytonal" third movement, which contains four key signatures in its written four parts: the first violin with 3 sharps, the second violin with 6 sharps, the viola with 3 flats, and the cello with no flats or sharps.Iwanicka-Nijakowska, Anna (September 2007).(30 April 2014).
In 1984, soloist and Hungarian Romani conductor, the Primas (first violin and leader) Sándor Járóka ('The Primas of kings and the king of Primases') died. At his funeral, the Roma community gathered. Musicians gathered and from a gloomy serenade over a grave, the group was born. The orchestra became world-famous.
Since 2005 she has played in the first violin section of the Metropolitan Opera Orchestra,"Yoon Kwon, violin", metorchestramusicians.orgYoon Kwon, metopera.org while working with other ensembles, including the quintet Off The Score with Police drummer Stewart Copeland, and Jon Kimura Parker. Kwon has performed extensively with her pianist sister Min Kwon.
These concertos were composed at different times between 1725 and 1740. When they were ready, I took them along to the musical gathering organized in The Hague by Mr Bentinck, myself and some foreign gentlemen. Ricciotti played the first violin. Afterwards I allowed him to make a copy of the concertos.
First section of the Scherzo movement. Listen for the song of a forest songbird high in the first violin. Dvořák believed the bird to be a scarlet tanager, but it seems more likely that it was a red-eyed vireo. The third movement is a variant of the traditional scherzo.
In the first violin section was Franz de Paula Hofer, who later became Mozart's brother-in-law. The four musicians who played the "Turkish" instruments remain anonymous, though it is known that they were recruited for this purpose by one Franz Tyron, Kapellmeister of the Austrian Second Field Artillery Regiment.
From 1926, he was the first violin of his orchestra (). On 11 June 1925, Darrieux and Straram premiered Kurt Weill's Concerto for Violin and Wind Orchestra, Op. 12. Similarly, on 24 February 1927, they premiered Dimitrios Levidis's Poème pour violon et orchestre. In the 1930s, Darrieux was part of the Concerts Colonne.
His Threnody to the Victims of Hiroshima for string orchestra and the choral work St. Luke Passion have received popular acclaim. His first opera, The Devils of Loudun, was not immediately successful. Beginning in the mid-1970s, Penderecki's composition style changed, with his first violin concerto focusing on the semitone and the tritone.
William Primrose was born in Glasgow, Scotland to John Primrose and Margaret-McInnis Whiteside Primrose. He was the oldest of their three children. His father, John Primrose, taught violin and was part of the Scottish Orchestra. His father bought Primrose his first violin in 1908, when Primrose was only 4 years old.
The first violin teacher of Canetti was his father, Jacques Canetti. He also studied with Rami Shevelov, a student of Ivan Ivan Galamian and with Zvi Rotenberg, a Lucien Capet student. In 1972, he went to the Juilliard School of Music in New York, where studied with Sally Thomas and Ivan Galamian.
He was drafted to the Wehrmacht in February 1943. Until his release in Fürstenwalde in August 1945, he was a prisoner of war in the Soviet Union. He then continued his activities in the Gewandhaus Orchestra with conductors Herbert Albert, Franz Konwitschny, Václav Neumann and Kurt Masur until 1971, eventually playing first violin.
Scherzo: Vivace 3/8 F-sharp minor The second movement is coloured by Mendelssohnian lightness. Impressive ascending repeated notes, as shown in Excerpt 6, open the movement’s F-sharp minor scherzo. Effective frequent tacet insertions are observed here. Another main subject, Excerpt 7, is played by first violin in contrasting fluent manner.
During all these changes Scipione Guidi continued to lead the orchestra as the first violin. He appeared as a soloist for at least 12 times playing great solo repertoire (Bruch: Scottish Fantasy, Beethoven: Triple Concert and Concerto for Violin, Saint-Saens: 3rd Concerto for violin, Bach: Concerto for 2 violins, Mendelssohn: Concerto for violin, Brahms: Double concert (with Cornelius van Vliet)). One of his famous performances was between December 11 and 13, 1928, in the recording of Richard Strauss's Ein Heldenleben, with the great French hornist Bruno Jaenicke under the direction of Willem Mengelberg. In 1931, Guidi left the New York Philharmonic to move to St. Louis, where he was named first violin by Saint Louis Symphony by Vladimir Golschmann.
Earlier sources, such as the Alexis Chitty's Grove article (1900), give his mother as Theresa Eva, daughter of Adam and cousin of Ferdinand Ries. His father was born with the surname Montagny or Montaguey, but had adopted the professional name Artôt, which was preserved by all his children. Alexandre's older brother was the horn player , who later became the father of soprano Désirée Artôt. Alexandre received instruction in music and on the violin from his father, and at the age of seven played at the theatre a concerto of Giovanni Battista Viotti. He received further instruction from , principal first violin at the theatre, and afterwards at the Paris Conservatory from Rodolphe and , and in 1827 and 1828 he obtained the second and first violin prizes respectively.
His performance career started during his studies, when from 1987 till 1998 he was a concertmaster (first violin) in the orchestra of the State Radio and Television of Armenia conducted by Gevorg Adzhemian. On invitation by the Estonian Radio ″Fourth Station″ and the Conservatory of Estonia, from 1993 onwards, he has regularly performed in Scandinavia. Since 2000, he lives in Belgium and over 3 years, from 2002 till 2005, he served as the first violin at the National Chamber Orchestra of the Grand Duchy of Luxembourg. He has performed in many recitals and concert series with different pianists and renowned orchestras in Russia, Armenia, Ukraine, Belarus, Kazakhstan, and Israel as well as throughout West- European countries (Finland, Estonia, Luxemburg, Belgium, Poland, Slovakia, the Netherlands, and France).
He became a faculty member at the Conservatoire Rachmaninoff where he taught from 1925 to 1929. His earliest pupils in Paris include Vida Reynolds, the first woman in Philadelphia Orchestra's first- violin section, and Paul Makanowitzky. In 1937 Galamian moved permanently to the United States. In 1941 he married Judith Johnson in New York City.
Van Kempen was born in Zoeterwoude, Netherlands. He studied at the Amsterdam conservatory from 1910 to 1913, including composition and conducting with Julius Roentgen and Bernard Zweers, as well as violin with Louis Zimmerman. From 1913, he was a second violinist with the Concertgebouw Orchestra. One year later, he was in the first violin section.
Aguilar began playing violin at the age of 12, and played first violin with the Dade County Honors Orchestra, and the Greater Miami Youth Symphony. She taught herself guitar and mandolin during high school. She has performed in Miami at open mic venues with her sister Kristen Borrego (bass guitarist), Erika Coromina, and others.
Capicchioni was born in Santa Mustiola in the Republic of San Marino. At an early age he began working as a local carpenter as a cooper, as well as a woodcarver and furniture maker. He later developed an interest in instrument making and constructed several guitars. He completed his first violin when he was 24.
Konietzny received his first violin lessons in the year 1918. At the age of 17 he became concert master in the so-called Kurorchester of Bad Kudowa. In the year 1929 he became concert master of the Silesian Philharmonic Orchestra. A broken left hand after an accident finished his career as a violinist in 1930.
Remo Lauricella (1912 - 19 January 2003) was a British composer and concert violinist. He was born in London in 1912, his parents hailing from Catania in Sicily. Lauricella’s father Pietro, a successful tailor with a fashionable clientele, gave him his first violin lessons. He obtained a scholarship to the Royal College of Music in London.
Born on 21 January 1890, Florizel Reuter at Davenport, Iowa, U.S., he was the son of Jacob and Grace Reuter. His father was a musician and minor composer. Florizel had his first violin lessons with his mother. He showed extraordinary talent at a very young age, and went to London to study in 1899.
Maaike Aarts (born in Amsterdam, March 10, 1976) is a Dutch violinist. She is a member of the Royal Concertgebouw Orchestra, for which she plays as a first violin, since December 2004. She was briefly a member of the heavy metal band Celestial Season, playing in their 1995 releases Solar Lovers and Sonic Orb.
When Sõrmus was 6 years old, his father gave him his first violin. Sõrmus´s first music teacher was a local tailor named Gustav Puks. Sõrmus went to Hugo Treffner Gymnasium in Tartu from 1888. In gymnasium, he continued playing violin with Johann Kelder, who was a medical student in the University of Tartu.
He would eventually become a regular first violin with the military orchestra. One time he was nearly wounded while playing at an outdoor concert during a failed coup d'état. The bullet lodged into the seat of his chair. In an effort to expand Andrés’ musicianship, the father moved the family to Rome, Italy, in 1931.
Then in 1788, he was appointed concertmaster of the Opéra-Comique orchestra. Between 1788 and 1791, he conducted the orchestra of the Concert Spirituel. In 1791 Bertheaume left France and held several posts in northern Germany until 1801. Via Copenhagen and Stockholm he emigrated to Russia, where he became first violin in the tsar's court orchestra.
In the second aria, "" (I follow after Christ), the decision to follow Jesus is made. "Walking steps" in imitation symbolize the following. The first motif is an upward scale, illustrating the direction of Heaven, played by the first violin, imitated in fast succession by the second violin and then the continuo. The voice enters with the same motif.
The early years of Georges Frey are known through his typescript entitled Réminiscences.See in particular pp. 3-22. Born in Mulhouse on 2 August 1890, he received his first violin lessons from a former student of Joseph Joachim. After earning his Baccalaureate in Latin and Greek he went to Paris to further his violin studies with Daniel Herrmann.
When he was a child, Altiparmakian's family moved to Athens, Greece.Roupen Altiparmakian ireference.ca He got his first violin from his father when he was eight years old. His studies of music at the Conservatory of Athens were interrupted by World War II. He escaped to the mountain villages of Greece, and earned his living by the playing violin.
The piano part was performed by Ilona Štěpánová-Kurzová, František Kudláček played first violin, Viktor Nopp the second, the viola was played by Josef Trkan, the clarinet by Stanislav Krtička, František Janský played French horn and František Bříza the bassoon. The work was successful: it was played twice at its premiere and soon received great acclaim in Europe.
In 1969, Herman was appointed to a first violin position with the Saint Petersburg Philharmonic Orchestra (then called the Leningrad Philarmonic), which she held until 1974. She currently performs with the Rhode Island Philharmonic Orchestra. She plays a 1747 Januarius Gagliano violin. Cellist Hrant Tatian completed his studies with Leonard Rose at the Juilliard School of Music.
Spohr self-portrait This is a list of compositions for string quartet by Louis Spohr. The composer's works for this medium fall into two classes. Quatuor dialogue, classical quartets where all four instruments are treated equally. Both the Quatuor brillant and Potpourri are mini-concertos where the first violin acts as soloist and the remaining instruments provide accompaniment.
Born in Lavaur, Mazas was a pupil of Pierre Baillot at the Paris Conservatoire, from which he received the first prize in 1805. In 1808, he played a violin concerto dedicated to him by Auber. He then performed widely across Europe. In 1831, he accepted the post of first violin at the Théâtre du Palais-Royal.
He was born into an assimilated Jewish family in Taganrog on the Sea of Azov. His grandfather and father were also violinists. He started music lessons at the age of five, a year after he first played his first violin, which he had bought at a fair. For four years he was taught music in his home town.
This quartet in C major, nicknamed "The Bird" is numbered in variously as No. 32, Hob. III:39 and FHE No. 72. The first movement opens with a melody in the first violin featuring repeated notes. Grace notes are inserted between the repeated notes which gives the melody a "birdlike quality" and hence gives the quartet its nickname.
From his earliest childhood Igino Sderci was interested in music & art. He studied sculpture in Siena and had a gift for wood carving. Worked as a sculptor and carver for his uncles Tito and Giuseppe Corsini in Siena, who were in the business of making quality furniture with ‘richly carved decorations’. He made his first violin without supervision.
The shape and mood of the third movement is rather dreamy. The melodic line of the first violin is accompanied by triplets in the second violin. The last movement is the most complicated; its elegiac mood develops from its short opening passage. Dvořák probably intended to create another movement, but it was unfinished, only eight bars are preserved.
He was first violin of the Kulenkampff Quartet from 1944, and among his students was the Italian-American Ruggiero Ricci from San Francisco. Kulenkampff died in Schaffhausen, Switzerland of encephalitis (spinal paralysis) at age 50, suffering a rapid onset soon after his last concert. His memoirs appeared posthumously in 1952, entitled 'A Violinist's Observations' (Geigerische Betrachtungen).
Letter from Professor Ševčík to Strub, undated printed in Elgin Strub: Skizzen einer Künstlerfamilie in Weimar. J. E. Ronayne, London 1999, , p 57f. In his native town, Strub attended the Rabanus-Maurus-Gymnasium, where he showed himself to be musically and artistically talented. He played in the school orchestra there, whose first violin he soon took over.
Krančević was the son of a wealthy and respected merchant's family from Pančevo (). He attended the primary school and the gymnasium of his native place. The little boy received his first violin lessons during the school education. Karl Heisler, his private violin instructor of Danube Swabian origin, recommended further promotion of his musical talent in Vienna.
He also accompanied Wanda Wiłkomirska in the first violin and piano recital in that venue.Interview with Wanda Wilkomirska During his returns to Australia, he conducted several masterclasses at his alma mater, now the Sydney Conservatorium of Music. On 29 November 1981, he again appeared with Eileen Joyce, in a fund-raising concert at the Royal Opera House, Covent Garden.
Susanne Lautenbacher (born 19 April 1932, in Augsburg) is a German violinist. She studied violin with the Munich-based violin pedagogue Karl Freund (first violin of the Freund Quartet) and later with Henryk Szeryng. She was a prizewinner in the early years of the Munich ARD Violin Competition.Wismeyer, Ludwig: 'Susanne Lautenbacher', Zeitschrift für Musik 114 (1953), pp.
Gringolts is currently on the music faculty of the Zürcher Hochschule der Künste. In addition to the modern violin, he has a continued commitment to period-instrument performance. He founded the Gringolts Quartet in 2008 and plays first violin in the quartet. Gringolts plays the "ex-Kiesewetter" Stradivarius violin, loaned to him by the Stradivari Society of Chicago.
He received his first violin lessons from his father at the age of six. From 1930 he was instructed by the Konzertmeister of the Reußische Hofkapelle. He went to Leipzig in 1936 and attended Edgar Wollgandt's classes. After graduating from high school in 1940 he studied violin with Walther Davisson at the University of Music and Theatre Leipzig.
Violet Healey was born in Timaru in 1884. She played first violin in the Timaru orchestra. She worked first as a nursemaid, then at the department store Ballantynes in Timaru, where she met her future husband Alfred George Targuse (1878–1944). When Alfred was transferred to Christchurch, she accompanied him and found work as a seamstress.
Van Beinum was born in Arnhem, Netherlands, where he received his first violin and piano lessons at an early age. He joined the Arnhem Orchestra as a violinist in 1918. His grandfather was conductor of a military band. His father played the double bass in the local symphony orchestra, the Arnhemse Orkest (later Het Gelders Orkest).
Born in Graz, Großbauer received his first violin lessons at the age of five. At the age of twelve he was admitted to the University of Music and Performing Arts Graz. He then studied with the Vienna Philharmonic Alfred Staar in Oberschützen and Vienna. In May 2001, after winning an audition, he became first violinist with the Wiener Symphoniker.
Henri Temianka's students included Leo Berlin (who became concertmaster of the Stockholm Philharmonic), Nina Bodnar (who won the 1982 Thibaud International Competition in Paris), Amalia Castillo, Alison Dalton (subsequently in the first violin section of the Chicago Symphony), Marilyn Doty, Eugene Fodor, Michael Mann, Dolores Miller, Phyllis Moad, Karen Tuttle (who later became a violist) and Camilla Wicks.
The first concert is played in 1994 in Lapoutroie, Alsace in the Vosges mountains. At the same time, Francis Duroy gives the first violin lessons. Soon, concerts are also organized in Labaroche and Trois-Epis. In 1995, the Festival organises five concerts thanks to its first budget: 14 000 FR (about 2100 €). In 1996, the brand “MUSICALTA” is created.
It was here, on 15 March 1855, that Stern gave her last public concert. She retired from public performance only with reluctance. One musical outlet that she was able to pursue involved the education of her son, Julius Stern. While still aged only 14 he had been playing first violin with the Theatre Orchestra in Würzburg.
Theme of the scherzo movement Trio section of the scherzo Cobbett describes the third movement as the "dance of the demon fiddler". There is indeed something demonic in this fast-paced scherzo, full of syncopations and, like the other movements, dramatic leaps from fortissimo to pianissimo. The scherzo is designed as a classical minuet: two strains in time, repeated, in D minor, followed by a contrasting trio section in D major, at a slower tempo, and ending with a recapitulation of the opening strains. The trio section is the only real respite from the compelling pace of the whole quartet: a typically Schubertesque melody, with the first violin playing a dancing descant above the melody line in the lower voices, then the viola takes the melody as the first violin plays high eighth notes.
In the end, an ascending scale in the first violin illustrates the idea of entering the kingdom of God. The scale is in C major, while the movement is in C minor, a symbol of the Kingdom of God which is a seen but not yet present. The scale is related to the beginning of the tune of the closing chorale.
Mozart used the overture as a source of musical motives in his own compositions for years. There is no other attributable music not by Mozart to be found in the entire Mozart correspondence except for the notes of the beginning of the first violin part from this overture that were copied down by Mozart to help his sister identify it.
One of the issues that must be settled in rehearsal is who leads the ensemble at each point of the piece. Normally, the first violin leads the ensemble. By leading, this means that the violinist indicates the start of each movement and their tempos by a gesture with her head or bowing hand. However, there are passages that require other instruments to lead.
The Olave Baden-Powell Bursary Fund was set up in 1979 from voluntary contributions in memory of Olave B-P. Annually awarded bursaries aim to allow girls in Girlguiding UK to further their interests and hobbies and realise their dreams. As a child, Olave learned the violin; her first violin she called Diana. It was a copy of a Stradivarius made by Messrs.
The Hungarian violin school started with Jòzsef Joseph Böhm, when in 1819 he began to teach the first violin class of Vienna's Conservatory. Böhm studied in Budapest, with his father, and with Pierre Rode (probably when he was in Russia), so he is the link between the French school (an evolution of the Italian school through Viotti) and the Hungarian one.
Lipiński was born in Radzyń Podlaski. His father was Feliks Lipiński (1765–1847), and he had a younger brother of the same name Feliks (1815–1865). In 1810 he became the first violin and two years later the conductor of the opera orchestra at Lwów (now Lviv, Ukraine). In 1817 he went to Italy in the hope of hearing Niccolò Paganini.
In the second verse, marked "andante", the tune appears in a three-part canon in soprano, oboes and first violin. The third verse returns to B minor. It has the tune in the soprano with polyphony in the lower voices and the instruments. The oboes play a syncopated independent role, while the strings support the voices, and the oboes in the interludes.
Born in Hamburg, he received his first violin lessons from his father, and made his first public appearance at the age of six. He studied under Hubert Léonard, at Royal Conservatory of Brussels, where he gained first prize. Afterwards he went to Leipzig, where he became a pupil of Ferdinand David. In 1863 he became a soloist at the Reinthaler concerts at Bremen.
Zimro's pianist, Leo Berdichevsky, was a graduate of the Petrograd and Berlin conservatories . The first theme, Un poco allegro, has a jumpy and festive rhythm, unmistakably evoking klezmer music by alternating low and high registers and using "hairpin" dynamics. The second theme, Più mosso, is a nostalgic cantabile theme introduced in the cello and then passed to the first violin .
Born in China, Chen Sa grew up in an artistic family. Her mother is a ballet dancer and her father was a French horn player who died of cancer when Chen was young. She received her first violin lesson from her father at the age of 6 and started her piano lessons with Prof. Dan Zhaoyi at age of 9.
Born in Wernigerode, Hirschfeld received his first violin lessons at the music school from the age of 5. At the age of 9 he began composing. From 1982 to 1987 he studied composition with Udo Zimmermann and Wilfried Krätzschmar and violin with Christian Redder at the Hochschule für Musik Carl Maria von Weber Dresden. Until 1989 he was master student of Udo Zimmermann.
Born in Altenburg, Bartel was the son of a teacher. He got his first violin lessons at the age of six. After graduating from high school he studied violin and viola with Gerhard Bosse and music composition with Ottmar Gerster at the University of Music and Theatre Leipzig from 1951 to 1956. In 1954 he changed from violin to viola.
Papavrami was born in Tirana in 1971 and started to play the violin at the age of four. He studied violin with his father, well known Prof. Robert Papavrami, which impacted heavily on the artistic future of his son. At age 8 he interpreted Sarasate's "Arie Bohemienne" with the Philharmonic Orchestra of Tirana, and three years later Paganini's first violin concerto.
Jacqueline Kent, An Exacting Heart: The Story of Hephzibah Menuhin, p. 18 Menuhin's sisters were concert pianist and human rights activist Hephzibah, and pianist, painter and poet Yaltah. Menuhin's first violin instruction was at age four by Sigmund Anker (1891–1958); his parents had wanted Louis Persinger to teach him, but Persinger refused. Menuhin displayed exceptional musical talent at an early age.
In 1897 he succeeded Eugène Ysaÿe as principal professor at the Brussels Conservatory. In 1898 he established a string quartet, with himself as first violin. He had great success as a concert soloist at Leipzig in 1891 and Brussels in 1898. His appearances in Britain and the United States were less favourably received, but he was popular in South America.
The oldest source is a partially autographed set of parts from around 1730.D-B Mus. ms. Bach St 153, Fascicle 1 at . Bach wrote out the first violin and continuo parts, C. P. E. Bach wrote out the trumpet, oboe, and timpani parts, and J. S. Bach's student Johann Ludwig Krebs wrote out the second violin and viola parts.
Okko Tapani Kamu (born 7 March 1946, Helsinki, Finland) is a Finnish orchestral conductor and violinist. Kamu was born into a family of musicians. His father played double bass in the Helsinki Philharmonic. He began violin studies at age two and entered the Sibelius Academy at age six. He formed his own string quartet, the Suhonen, in 1964 where he played first violin.
In 1946, he helped found the Fine Arts Quartet, in which he played first violin until 1982. In 1983, Sorkin became founding director of the Institute of Chamber Music at the University of Wisconsin- Milwaukee.Schenectady Gazette, June 6, 1985 Sorkin was married to Aviva Dolnick Sorkin (died March 16, 2009), who danced for many years with the Sybil Shearer Dance Company.
Geanakoplos was born in 1916 in Minneapolis, Minnesota to parents of Greek ancestry. He studied music before becoming a historian. He earned a diploma in violin from the Juilliard School of Music in 1939 and then played in the first violin section in the Minneapolis Symphony Orchestra under Dimitri Mitropoulos. Simultaneously, he pursued a B.A. in history from the University of Minnesota, receiving it in 1941.
The Festetics Quartet (pronounced "fesh-tat-itch") are a string quartet from Budapest, Hungary. The members are Istvan Kertesz, first violin; Erika Petoefi, second violin; Péter Ligeti, Kriszta Véghelyi, viola; and Rezső Pertorini, cello. The Festetics Quartet combines the use of period instruments with the legendary tradition of Hungarian string quartets. The quartet is named after the Festetics family, founders of the famous Helikon music library.
Schumann was born in Dohna. She received her first violin lessons at the age of five with Sabine Harazim and later with Hartmut Opolka. In 1974 she had her first public performance in Handel House in Halle an der Saale. From 1979 she was an external student at the Spezialschule für Musik Weimar and from 1982 to 1984 she was also in the boarding school there.
Completing his musical studies with honours at 14 years of age, Felix Ayo continued to study in Paris, Siena and Rome. He was a founder of the ensemble I Musici, and remained their first violin soloist for sixteen years. In 1970 he formed the Quartetto Beethoven di Roma, which is generally considered to be one of the best string quartets and piano quartets in existence.
Jennifer started her first violin in 1966, at age 11 and completed it at age 15. In 1970 (at the age of 16) she joined the company full-time. In 1978 she moved to Minneapolis and started her own violin making business. Paul Becker joined the company in 1971 at the age of 14. He is the current owner of “Carl Becker and Son”.
The first movement opens in the calm mood of the first violin; only in the middle part is the expression more passionate. The movement is accompanied with a rhythmical ostinato in the second violin and with a "bass" accompaniment in the viola. The second movement is written in an optimistic mood, with simple harmonic variations. It also contains some reminiscences of folk music, particularly at the end.
The main theme of the third movement is perhaps the most famous in the quartet. An agitated middle section, beginning in F major, followed by a series of modulations and lasting from bars 47–110 of the movement, interrupts this theme's otherwise peaceful mood. The main theme is restated after the middle section in canon (first cello and the first violin, then two violins).
Considerable uncertainty prevails on the subject of Dounis's early life, beginning with the date of his birth in Athens, variously given as 1886 (according to most library catalogues), 1893,Wrochem, p. 1345. or 1894.Eaton, p. 559. He is said to have performed his first violin recital at the age of 7, and to have toured the United States as a mandolinist at 14.
387 in G major) takes after the finale fugues of opus 20. The Sturm und Drang character of the second quartet (K. 421 in D minor) recalls the F minor quartet, of Haydn's; not only does the first violin line recall the sombreness of Haydn's quartet, the accompaniment figure of the opening is a close copy of Haydn's. Beethoven also recognized the importance of Haydn's work.
Instrumental dithyrambs were composed by Robert Volkmann and Hermann Ritter. Nikolai Medtner composed several dithyrambs, including a set of three for solo piano as his Opus 10. Additionally, the final movement of his first violin sonata carries the title, and the last of his Vergessene Weisen Op. 40 is a Danza ditirambica. The last movement of Igor Stravinsky's Duo Concertant for violin and piano is entitled Dithyrambe.
The Gramophone article, see sources. Humphreys, a Canadian violinist, studied in Vancouver and Toronto and in Europe trained with Frederick Grinke and George Enescu. He was leader of the Aeolian Quartet from 1952–1970. He was eminent both as a concertmaster and as a chamber player, notably in the St Cecilia Trio 1954-1965 and as first violin in the Purcell String Quartet 1979–1987.
Francesco Aliani (9 April 1762 – 28 May 1812) was an Italian cellist. He was a major figure in the musical life of Piacenza in the early nineteenth century. He was born at Piacenza. He for a time studied the violin under his father, who was first violin in the orchestra, but afterwards devoted studied under Giuseppe Rovelli of Bergamo, then in service to Ferdinand, Duke of Parma.
Ambi first sang on stage when he was six years old, and gave his first violin performance at the age of seven in Colombo, Sri Lanka, at the Indian Embassy. In 1999, he performed at the Necklace Road, Hyderabad, to an audience of 200,000. He performed alongside the Venga Boys as part of the Pepsi Live Concert in 2000. Ambi started performing regularly after he turned 13.
He led the orchestras that accompanied La Grange, Maria Piccolomini, and Thalberg through the country. Meanwhile, in 1855, with himself as first violin, Joseph Mosenthal, second violin, George Matzka, viola, Carl Bergmann, violoncello, and William Mason as pianist, he began a series of chamber music soirées which were given at Dodworth's Academy. The Mason-Thomas concerts lasted until his founding of the Theodore Thomas Orchestra in 1864.
His choice was John Pennington, who had been first violin of the London String Quartet from 1927 to 1934, and had then had a career in the US as concertmaster, successively, of the San Francisco Symphony, Los Angeles Philharmonic and Paramount Pictures orchestras.Jenkins (2005), pp. 99–100Lucas, p. 317 Beecham rehearsing in 1948 On 11 September 1946, the Royal Philharmonic assembled for its first rehearsal.
At the 1947 summer school, Henze turned to serial technique. In his early years he worked with twelve-tone technique, for example in his First Symphony and First Violin Concerto of 1947. Sadler's Wells Ballet visited Hamburg in 1948; this inspired Henze to write a choreographic poem, Ballett-Variationen, which he completed in 1949. The first ballet he saw was Frederick Ashton's Scènes de Ballet.
In a first "private" performance of the quartet, in Spillville, June 1893, Dvořák himself played first violin, Jan Josef Kovařík second violin, daughter Cecilie Kovaříková viola, and son Josef Jan Kovařík the cello. The first two public performances of the quartet were by the Kneisel quartet, in Boston on 1 January 1894,Hughes, p. 172Butterworth, p. 110 and then In New York on 13 January.
Bartók and Kodály found Transylvania to be a fertile area for folk song collecting. Folk bands are usually a string trio, consisting of a violin, viola and double bass, occasionally with a cimbalom; the first violin, or primás, plays the melody, with the others accompanying and providing the rhythm. Transylvania is also the original home of the táncház tradition, which has since spread throughout Hungary.
Lully's forays into operatic tragedy were accompanied by the pinnacle of French theatrical tragedy, led by Corneille and Racine. Lully also developed the common beat patterns used by conductors to this day and was the first to take the role of leading the orchestra from the position of the first violin. The French composer Georges Bizet composed Carmen, one of the best-known and most popular operas.
Quartissimo is a Slovenian string quartet featuring Žiga Cerar on first violin, Matjaž Bogataj on second violin, Luka Dukarić on viola, and Samo Dervišić on cello. The group's name is a portmanteau of quartet and the Italian suffix -issimo, which means extremely (e.g., fortissimo, prestissimo). The young but established musicians have experience as soloists and members of chamber orchestras, including the Slovene Philharmonic Orchestra.
In 1876 he went to Europe to study at the Royal Conservatory of Liège with Lambert Massart. After returning to Canada, he had a triumphany success in Montreal performing Felix Mendelssohn's Violin Concerto in E minor, Op. 64 in 1881. In 1882 he and his father established a successful music store in Ottawa. That same year he began playing first violin in a string quartet and working as a teacher.
There he led the first orchestra for two years under Clarence Raybould and played concertos at several 'end of term' concerts.This paragraph derived from Concert Programme, London Symphony Orchestra, Royal Festival Hall 18 March 1960, Jean Martinon (cover and 8 pages), page 8. In January 1949, Maguire was in the first violin section of the London Philharmonic Orchestra.Concert Programme, London Philharmonic Orchestra Saturday 29 January 1949, Central Hall, East Ham.
Between 1929 and 1931, she studied with Carl Flesch in Berlin. Besides concerts in Finland, Ignatius performed in Sweden, Norway, Denmark, Germany, Great Britain, France, Poland, the Soviet Union and the United States. She is best known for her interpretation of Sibelius' Violin Concerto. From 1953 to 1961, she played first violin with the Helsinki Quartet; from 1961 to 1965, she performed in a trio with France Ellegaard and .
Klezmorim in Rohatyn, Galicia, Austria-Hungary, 1912 Klezmer is generally instrumental, although at weddings klezmorim traditionally accompanied the vocal stylings of the badkhn (wedding entertainer). A typical 19th-century European orchestra included a first violin, a contra-violin (or modified 3-stringed viola also called Groyse Fidl [Yid. Big Fiddle], Sekund, Kontra or Zsidó Bratsch [Hun.]), a tsimbl (cimbalom or hammered dulcimer), a bass or cello, and sometimes a flute.
The cello section of the orchestra of the Munich University of Applied Sciences is shown here. Cellos are part of the standard symphony orchestra, which usually includes eight to twelve cellists. The cello section, in standard orchestral seating, is located on stage left (the audience's right) in the front, opposite the first violin section. However, some orchestras and conductors prefer switching the positioning of the viola and cello sections.
The second movement is in E major and starts with the first violin playing a lyrical melody in time. The mood shifts with the move to a minor key and unexpected accents and silences. The viola and cello interject with an odd motif marked "queste note ben marcate". The Scherzo returns to B major and is a "tour de force of syncopation" and "an explosion of rhythmic eccentricity".
Alexander Briger was born in Sydney and attended the Sydney Grammar School, where his uncle Alastair Mackerras was the headmaster. He had his first violin lessons there. He was inspired to become a conductor at age 12, when he saw another uncle, Sir Charles Mackerras, conduct the Sydney Symphony Orchestra in Mahler's Fourth Symphony. He left Grammar in 1987, then continued his violin studies at the Sydney Conservatorium of Music.
Having lost Hauser, the quartet needed a new leader. Introducing an unknown player as first violin is a risky step for a quartet. Owing to the established relationships and 'comfort level', a transition from second violin to first is safer. For this reason, Roisman was persuaded to make the switch from second to first.Brandt pp 52-53 The new second was Mischa Schneider's younger brother Alexander (Sasha), born Abram Sznejder.
The Violin Concerto No. 1 is the first violin concerto by the British composer Peter Maxwell Davies. It was commissioned by the Royal Philharmonic Orchestra to commemorate the ensemble's 40th anniversary. The work was completed in 1985 and first performed at the St Magnus Festival by the violinist Isaac Stern and the Royal Philharmonic Orchestra conducted by André Previn on 21 June 1986. The piece is dedicated to Isaac Stern.
He had extremely intensive activity there, both as opera and symphony orchestra conductor. As a pedagogue he constantly worked with each member of the orchestra and with each singer. He was first violin in the then newly formed quartet and was several times soloist in the regular concerts. There were young and fervent years, during which his remarkable personality was built with incredible work, precision and love of art.
Scholars had thought that no copies of the work survived, but in 1982, a copy of the first edition was found at the Cardiff public library. At the time, it was proclaimed that Lenton had "the honourable (if perhaps temporary) distinction of having written the earliest extant treatise on violin playing in any language."Boyd, Malcolm and John Rayson (July 1982). "The Gentleman's Diversion: John Lenton and the First Violin tutor".
The Swiss piano quintet: sitting Willy Rehberg (piano) and Rigo (viola), standing Louis Rey (first violin), Emile Rey (second violin) and Adolphe Rehberg (cello), c. 1900. In classical music, a piano quintet is a work of chamber music written for piano and four other instruments, most commonly a string quartet (i.e., two violins, viola, and cello). The term also refers to the group of musicians that plays a piano quintet.
The First Violin Concerto was written for renowned Soviet violinist David Oistrakh, and Shostakovich initially played the work for the violinist in 1948. In the intervening years, the concerto was edited by Shostakovich with the collaboration of Oistrakh. Oistrakh performed the premiere of the concerto on 29 October 1955 with the Leningrad Philharmonic with Yevgeny Mravinsky conducting. It was received in Russia and abroad as an "extraordinary success".
While a senior at the University of Calgary in 1970 he won the Greater Spokane Music and Allied Arts Festival Grand Award. After two years at Calgary, Vrba moved to Indiana in order to continue his studies. Vrba went on to play First Violin with the Toronto Symphony Orchestra, where he stayed for four years. Vrba was appointed concert master of the Calgary Philharmonic Orchestra in August 1975.
Alfred Einstein writes of the coda of this movement that "the first violin openly expresses what seemed hidden beneath the conversational play of the subordinate theme".Einstein, p. 156. Start of second movement The third movement is a minuet and trio, with the exuberant mood of the minuet darkening into the C minor of the trio. Start of third movement The last movement is also in sonata form.
Bristow was born into a musical family in Brooklyn, New York. His father, William, a well-respected conductor, pianist, and clarinetist, gave his son lessons in piano, harmony, counterpoint, orchestration and violin. George joined the first violin section of the New York Philharmonic Society Orchestra in 1843 at the age of seventeen, and remained there until 1879. The New York Philharmonic's records indicate that he was concertmaster between 1850 and 1853.
In 1910, he moved to Paris to be first violin at Le Trianon Lyrique. He subsequently moved to London and played for two years at the Ritz Hotel until March 1912. He lived at 10 Villa Road, Brixton, London and became bandmaster of the Trio String Orchestra, which played near the Café Français. This led to his being recruited by CW & FN Black, Liverpool to play on the Titanic.
In Switzerland he played as concertmaster in the Orchestre de la Suisse Romande under Ernest Ansermet in 1937. In the USA he played as violinist in the Pittsburgh Symphony Orchestra from 1938 to 1944 and as assistant concertmaster in the Chicago Symphony Orchestra from 1944 to 1952. He was first violin teacher at Chicago Musical College. In 1952 he was appointed professor for violin at a university in Lakeland, Florida.
The next climax calms down with a codetta using Excerpt 3, which closes the exposition. In the development section, Poco Lento, the viola starts a fugue based on Excerpt 1, followed by second violin, cello, and then first violin. A conventional development of the first subject (Excerpt 3), again Allegro, comes after the emotional end of the fugue. The development also includes Excerpts 4, 5 and many other materials.
Despite the marking "very slow", the third movement has numerous changes of tempo. The viola introduces the first theme, which the first violin then repeats. There are strong thematic links with the first movement, and, in defiance of orthodox rules of harmony, conspicuous use of consecutive fifths. The music is rhapsodic and lyrical; it begins and ends in G major with passages in A minor and D minor.
Andrea Amati (December 20,1577) designed and created the violin, viola and cello known as the "violin family". He standardized the basic form, shape, size, materials and method of construction. Makers from nearby Brescia experimented, such as Gasparo da Salò, Micheli, Zanetto and Pellegrino, but it was Andrea Amati in Cremona, Italy, who gave the modern violin family their definitive profile. The first violin was ordered by Lorenzo de' Medici in 1555.
The highest voice, the soprano, sings in the first person as the soul in a recitative, convinced of taking part in the resurrection. In the last aria, soprano and solo oboe in echo-effects contrast with low-lying unison strings, which already anticipate the closing chorale's melody. The hymn is a "death-bed chorale", set for a four-part choir, crowned by a descant from the trumpet and first violin.
In her early age, Zara Levina admired the composers Rachmaninoff, Scriabin, Prokofiev, Beethoven and Schumann. She mainly wrote choral works (mostly romances, then children's songs) and, besides, also other vocal music, as well as two piano concertos and solo piano works. The inspiration of those five composers is evident throughout her works. Both of her piano concertos have been recorded, as has her 1928 first violin sonata (by David Oistrakh).
The América, directed by Ninón Mondéjar, was the group that pioneered the genre thanks to its first violin Enrique Jorrín. After touring México with the América, Jorrín decided to stay in the country for some time with hiw own group, and Reina stayed with him. In 1958, back in Cuba, Reina re-joined José Fajardo y sus Estrellas. Both Jorrín and Fajardo were former members of the Maravillas, like Reina.
Hermann Rosendorff Hermann Rosendorff (1860–1935) was a violinist. Born in Berlin, he arrived in Australia in 1879. By 1887 he was first violin in J. B. Hickie's Theatre orchestra and enjoyed a career of thirty years involvement with His Majesty's Brisbane. He is best remembered for conducting the J. C. Williamson productions over a thirty year span, but also arranged and composed a few pieces for piano and violin.
Original manuscript of Symphony No. 15 in E-flat major (1762) Herschel moved to Sunderland in 1761 when Charles Avison immediately engaged him as first violin and soloist for his Newcastle orchestra, where he played for one season. In "Sunderland in the County of Durh: apprill 20th 1761" he wrote his Symphony No. 8 in C Minor. He was head of the Durham Militia band from 1760 to 1761.
Darryl Kubian is a member of the first violin section of the NJ Symphony, and was the principle second violinist of the Brooklyn Philharmonic. Indigo Fox Media, Kubian's New Jersey-based audio/video production company, has recorded artists such as the Emerson String Quartet, the Orpheus Chamber Orchestra, members of the NY Philharmonic, New Jersey Symphony, and the Metropolitan Opera, among many others. He is married to violinist JoAnna Farrer.
János Négyesy was born in Budapest, Hungary on September 13, 1938 and died on December 20, 2013. His father was taken by the Nazis to a concentration camp, from where he never returned. He got his first violin at the age of four, and only six months later he gave his first public concert at his school. According to him, this was the moment when he decided to become a violinist.
Born in Paris, Bertheaume was a child prodigy. He was the nephew of violinist Jacques Lemière the eldest (who died in 1771). According to the Mercure de France of April 1761, at the age of nine and a half, he obtained great success at the Concert Spirituel with a sonata by Lemière and another by Felice Giardini. In 1767, he joined the Orchestra of the Paris Opera and became its first violin in 1774.
The third movement of the quintet is notably the most famous, and is the most often performed of all the movements. It is in 3/4 time, and is occasionally referred to as the “Celebrated Minuet”. It departs from the original key of E Major and becomes A Major. In the beginning of the movement, the first violin plays a simple, elegant melody, while the viola and celli have eighth note pizzicato.
His first violin concerto, later published as Concerto No. 2, dates from this time. His Violin Concerto No. 1 was acclaimed when he played it in Saint Petersburg on his second visit in 1840 and in Paris the next year; Berlioz found it "a magnificent symphony for violin and orchestra". Based in Paris, Vieuxtemps continued to compose with great success and perform throughout Europe. With the pianist Sigismond Thalberg, he performed in the United States.
Tátrai soon afterwards took the first violin desk at the Hungarian State Orchestra and was still occupying it in 1982. In 1957 Tátrai founded the Hungarian Chamber Orchestra, which has no conductor, and remained its leader for more than two decades. The quartet was awarded the Kossuth Prize in 1958. By 1982 it had given the first performances of 72 Hungarian works and the Hungarian premieres of 64 works by foreign composers.
Throughout the 1930s he played in various orchestras including the Canadian Radio Broadcasting Commission and the CBC Radio. From 1933 to 1941 he played in the first violin section of the Toronto Symphony Orchestra. In 1937 he made his solo debut at the Promenade Symphony Concerts performing the Tchaikovsky's Violin Concerto under the baton of Reginald Stewart. He served as the conductor of the CBC's orchestra in Winnipeg from 1940 to 1943.
Steck began studying the modern violin with Jörg-Wolfgang Jahn in Karlsruhe and the baroque violin with Reinhard Goebel in Cologne. After his studies he served as concertmaster for Musica Antiqua Köln and the French ensemble Les Musicians du Louvre under Marc Minkowski. With these ensembles he gave concerts worldwide and has participated in more than thirty CD recordings. In 1996 he co-founded the Schuppanzigh Quartet, where he is first violin.
Oscar played first violin, and his brother percussion. From 1930, the Orchestra began playing in the Berlin Eden hotel, which led to a recording contract with Electrola, followed by subsequent contracts with other record labels: Pallas (1931), Crystal (1931–1934), Ultraphon/Telefunken (1932), Grammophon/Polydor (1934–1941). In this time, he was also involved in film work. In 1933, Oskar Joost joined the Nazi Party, again spelling his name with a 'k'.
The original founding members of the Philadelphia String Quartet were Alan Iglitzin (viola), Irwin Eisenberg (second violin), Charles Brennand (cello), and Veda Reynolds (first violin). The original quartet made its New York City debut at Carnegie Hall during the 1963-64 season. The move angered orchestra management, which sued to prevent the quartet's departure, claiming a violation of contract. In 1961, the group was appointed quartet in residence at the University of Pennsylvania.
Joshua Epstein was born on November 14, 1940, as war raged across the Continent. His parents continued to live in the same small apartment in which he was born, on HaShoftim Street, until 1975. As a child, Joshua spoke French with his mother, German with his father and Hebrew outside of the home and in school. Joshua received his first violin lessons from Yariv Ezrahi when he was 8 years old and progressed quickly.
His father wished for him to become a minister, but he desired a musical career. At the age of four or five, he could play all of the songs he had heard his mother play on the violin. At age nine, he played first violin in the orchestra of Bergen's theatre and was a soloist with the Bergen Philharmonic Orchestra. At eighteen, he was sent to the University of Christiania, but failed his examinations.
Born in Volynia, at the age of 18 he was already playing the first violin in count orchestra of Józef August Iliński in Romaniv, where he composed several operas and ballet music. In 1799–1817 he was conductor of this orchestra. In 1817–1825 he taught music at the Polish Gymnasium in Vinnytsia. He then spent some years in Kremenets, before moving to Warsaw, where his son was already a renowned composer.
During his teaching career he has served on faculties of Rostov State Rachmaninoff Conservatory, Flint Institute of Music, Blue Lake fine arts camp, and Michigan State University College of Music. Bezuglov is also a tenured member of six professional symphony orchestras in the United States: Associate Concertmaster of the Battle Creek Symphony Orchestra; Assistant Principal Second of the Midland Symphony Orchestra, First Violin of Kalamazoo Symphony, West Michigan Symphony, Flint Symphony, and Traverse Symphony orchestras.
He conducted at least three concerts in Carnegie Hall. During Pensis' tenure with the Luxembourg Orchestra the first violin chair was occupied by Ern(e)st Eichel, a Polish violinist who was born in Sambor (Galicia) and had studied in Vienna and Cologne. This violinist who also led occasionally the Luxembourg Orchestra tried after the war to make a career as a conductor. For that purpose Eichel chose the 'nom de plume' of Ernest Borsamsky.
In 1927 he re-orchestrated Arthur Sullivan's music for "The Mikado" for Erik Charell's re-staging as an operetta-revue in Berlin's Grosses Schauspielhaus. (Review in the Times (London) September 2, 1927) In 1928, his String Quartet no. 2 won first prize in a competition organized by the Association of Young Polish Musicians in Paris. His first violin concerto made a major impression on the 1929 International Society for Contemporary Music concert.
Throughout the first movement – and, indeed, for almost the entire quartet – the first violin leads with the concertante part. Even so, the texture is not galante, for the other parts play important and independent roles throughout. Haydn in the recapitulation continues developing the melody with new embellishments, and the coda wanders through strange modulations – D major, G minor – before returning to the plaintive F minor conclusion. The minuet continues the sombre mood in F minor.
Georg's son Benno Walter was later to become the first violin teacher of Franz's son Richard and dedicatee of some of his works. At the age of 15, through the influence of George Walter, Strauss was appointed to the private orchestra of Duke Max in Munich, where he remained for ten years. He gradually found that of all the instruments he could play, the horn suited him best. He started to compose for that instrument.
61 The movement ends with a final statement of the opening theme. ; Scherzo, Allegro vivo The second movement, a playful scherzo, is one of Fauré's rare virtuoso pieces. He generally shied away from brilliant instrumental display, but the Fauré scholar Jean-Michel Nectoux comments that here, as in the First Violin Sonata, composed just before the quartet, the composer felt a brilliant scherzo necessary to preserve the balance of the whole work.Nectoux, p.
Koutzen was born in Uman, Southern Russia. He began composing at the age of six and studied violin with his father. In 1918 his family moved to Moscow, where Boris entered the Moscow Conservatory to study violin with Leo Zeitlin, and composition with Reinhold Glière. That same year, he won the national competition for the position of first violin in the State Opera House Orchestra, and later joined the Moscow Symphony Orchestra under Serge Koussevitzky.
160-166 (2002). At the end of the second movement, the entire string section is directed to play col legno dell'arco (with the wood of the bow). The trio of the minuet is scored for two solo violins each playing con sordino on single strings. The first violin plays the melody on the E string and the second violin tunes its G string down to F and plays a drone on the open string.
The opening chorus, "" (It is our salvation come here to us), is a chorale fantasia, the vocal part embedded in a concerto of the instruments. The cantus firmus of the chorale melody is in the soprano in unadorned long notes, while the lower voices engage in imitation. The scoring with the obbligato instruments flute and oboe d'amore in contrast to the strings is unusual, sometimes the first violin takes also part in the concerto.
A student of Rodolphe Kreutzer, he was admitted in 1801 into the orchestra of the Opéra-Comique, originally as first violin, became deputy conductor in 1805 and succeeded Frédéric Blasius as first chief in 1816, a position that he would leave in 1828.Viviane Niaux, George Onslow : gentleman compositeur, 2003, p. 97 He authored music for opéras comiques, arrangements for operas and compositions of numerous plays for Parisian boulevard theatres of the 19th century.
He spent many hours at the British Museum copying by hand the works of John Field, who at that time was little known; the result was his edition of Field's piano concertos which became vol. 17 of Musica Britannica. He made several recordings of the music of Sir Arnold Bax, including the composer's first violin sonata (reissued on compact disc in 2003) and the four piano sonatas. Bax's Pæan for piano is dedicated to him. ().
As Nazi forces closed on Odessa, Klara and her mother—knowing the danger they faced as Jews—fled by ship on 12 August 1941, across the Black Sea. Seeking sanctuary, they wound up in the village of Kafkas, where they stayed for a year. During that time Klara taught her first violin student. In August 1942, with the Germans advancing more deeply into the Soviet Union, Klara and her mother left Kafkas on foot.
Margriet E. Tindemans (March 26, 1951 – December 31, 2014) was a musician, specializing in medieval music. The fourth child of Wilhelmina Coenen and Henricus Tindemans, Margriet demonstrated her musical talents early, and was named first violin in the National Youth Orchestra of the Netherlands."Margaretha E. Tindemans Obituary", Seattle Times, accessed March 15, 2009. After Conservatory studies in Maastricht, then Brussels, Belgium, and Basel, Switzerland, she became an early member of Sequentia.
There are clear parallels to the sinfonie concertante which was popular at the same time. A special form is the Quatuor d'airs connus, which is based on the variation of a popular melody, derived either from folksong or from an opera aria. The quatuor concertants should be distinguished from the Quatuor brillant that became popular around 1800, and in which the first violin dominates to the accompaniment of the other three voices.
Anne Terzibaschitsch was born in Essen, Germany, on August 5, 1955. She was taught her first piano lessons at the age of five and her first violin and cello lessons since she was ten and twelve years old. She received a degree in music from the University of Music Karlsruhe, Germany, majoring in piano, from 1975 to 1983. For many years, she has been working as a freelance pianist and piano teacher.
Dmitri Shostakovich's String Quartet No. 4 in D major, Op. 83, was composed in 1949. It was premiered in Moscow in 1953 and is dedicated to the memory of Pyotr Vilyams (1902–1947), the artist and set designer. It has four movements: Playing time is approximately 25 minutes. This string quartet is notable for the second movement's sustained, passionate first violin part, which rises to ecstatic heights, and also for the suspenseful and complex last movement.
When Abramovich was six years old, he studied violin performance with Martin Llorca and later won a contest and became a violinist in the Teatro Colón. In 1943 he began his relationship with the tango. Worked as first violin with Osvaldo Fresedo, Miguel Caló and Argentino Galván, he joined the orchestra for 23 years of Héctor Varela and made recordings with Juan d'Arienzo and Aníbal Troilo. In 1987, Abramovich performed on Bryan Ferry's solo album Bête Noire.
He also was a member of the first violin section of the Toronto Symphony Orchestra under Ernest MacMillan from 1932 to 1946. Blachford appeared on occasion as a violin soloist in concerts and broadcasts in Canada. As a chamber musician, Blachford was the violinist in the Schumann Trio from 1902 to 1905 and the Conservatory Trio from 1926 to 1928, and founded and served as the first violinist of the Toronto String Quartette from 1907 until the mid-1920s.
David returned to Dorpat to marry Liphart's daughter Sophie. In 1843 David became the first professor of violin (Violinlehrer) at the newly founded Leipziger Konservatorium für Musik. David worked closely with Mendelssohn, providing technical advice during the preparation of the latter's Violin Concerto in E minor. He was also the soloist in the premiere of the work in 1845, and, with Clara Schumann, played the official premiere of Schumann's first violin sonata in Leipzig in March 1852.
Francisco Canaro (November 26, 1888 – December 14, 1964) was a Uruguayan violinist and tango orchestra leader. Canaro was born in San José de Mayo, Uruguay, in 1888. His parents were Italian immigrants, and later, when he was less than 10 years old, they emigrated to Buenos Aires, Argentina in the late nineteenth century. As a young man he found work in a factory, where an empty oil can, in his skilled hands, became his first violin.
Blinder was a noted violin teacher as well. His most prominent student was one of the most critically acclaimed violinists of the twentieth century, Isaac Stern. At one point, his students included 17 members of the San Francisco Symphony Orchestra, and the whole first violin section of the Oakland Symphony Orchestra. Other students of Blinder have had distinguished careers including David Abel, Austin Reller, and Glenn Dicterow, who was the concertmaster of the New York Philharmonic.
Leon was seven years old, when the entire family moved to Soviet Union's capital, where he has finally received a possibility to study music at no charge. In 1925 he entered the A. and N. Rubinstein Brothers Musical College. Following the instruction of the Commissar of Enlightenment Anatoly Lunacharsky, Leon was given a special stipend for gifted children. Lev Zeitlin – the student and successor of the Russian violin school founder Leopold Auer – became Leon's first violin pedagogue.
The quartet is in four movements: #Allegro con brio #Adagio ma non troppo #Scherzo: Allegro #La Malinconia: Adagio – Allegretto quasi Allegro The first movement is in sonata form. The first theme starts in B with a conversation between the first violin and the cello. After a while the second violin takes over the conversation from the cello. It then modulates to the dominant of F major and then F minor for the second theme at around m. 45.
The German-Brazilian violinist Nicolas Koeckert, who comes from a traditional musical family, was born in 1979 in Munich, Germany. At the age of 5 he received as a gift his first violin from his grandfather. Nicolas started his academic studies when he was 16 at the Hochschule für Musik Würzburg with Grigori Zhislin. Continuing his studies with Zakhar Bron at the Hochschule für Musik Köln from 1998, Nicolas started to perform regularly as an international soloist.
Their son David, born in 1892, demonstrated an aptitude for music from infancy, according to his father. For his fifth birthday, David received his first violin, a gift from his father, who became the boy's first instructor. Around 1902, David Hochstein was playing his violin at the home of a friend whose father was architect J. Foster Warner. Emily Sibley Watson, a patron of the arts, lived next door to the Warners and heard Hochstein's playing.
The Busch Quartet was particularly admired for its interpretations of Brahms, Schubert, and above all Beethoven. It made a series of recordings in the 1930s that included many of these composers' works for string quartet. In 1941, it set down three Beethoven quartets that it had not previously recorded, including Opus 130. The Busch Quartet never recorded the Grosse Fuge, Opus 133; an arrangement was recorded by the Busch Chamber Players, with Busch leading from the first violin desk.
The second movement is an aria in G minor for first violin over a steady accompaniment in the other three instruments. The melody bears a strong resemblance to the oboe theme that begins the arioso "Che puro ciel" from Gluck's Orfeo ed Euridice, which Haydn had directed at Eszterháza in 1778.Heartz, Daniel, Mozart, Haydn and Early Beethoven 1781–1802, p. 315, Norton (2009), The movement contains what is essentially a written-out, accompanied cadenza from mm.
In addition to his solo concert work, he was also first violin in the Quartet of San Remo and concertmaster at the Symphonic Orchestra of San Remo, as well at the Teatro San Carlo in Naples. As teacher, he held the violin class at Music Conservatory "N.Piccinni" in Bari from October 1967 till 1973, when Nino Rota was the director. Among his pupils we can remember Uto Ughi that studied with him privately in Naples for 7 years.
Hansheinz Schneeberger (16 October 1926 – 23 October 2019)Geigenlegende Hansheinz Schneeberger tot was a Swiss violinist. Born in Bern, he studied under Walter Kägi at the conservatory in Bern, as well as Carl Flesch and Boris Kamensky. He formed a string quartet and gave concerts with it and as a soloist. Schneeberger was the soloist in the premieres of Frank Martin’s violin concerto in 1952, Béla Bartók’s first violin concerto in 1958 and Klaus Huber’s ‘Tempora’ in 1970.
In 1901, Deakin began studying singing and violin at The Conservatorium of Music. She gained a diploma in 1903 and won the prestigious Ormond Scholarship in 1904, but had to relinquish it upon her marriage the following year. She was first violin in George Marshall-Hall's orchestra from 1903 to 1913, and maintained an interest in music for the rest of life. In 1926, she was appointed to the faculty of music at the University of Melbourne.
" "Since the very beginning, when I got my first violin from my father, a binding feeling of big expectations bore on me. I wasn’t sure whether I was able to be up to the wishes and hopes of my parents and my grandfather. The great commitment of filling my family tradition attached all my artist career. Sometimes it might have opened some gates and routes, but on the other hand it meant also an indispensable stress.
The trio section of the movement is a cello solo, marching in perfectly regular time, "the perfect foil to the Menuet alla zingarese".Drabkin (2000), p. 139. The fourth movement continues the gypsy style of the third movement. Chromatic melodies, octave leaps, use of the gypsy scale (a minor scale with raised fourth and raised seventh), and flashy virtuoso embellishments in the first violin make this movement "sheer fun for the listener and likewise for the players," writes Miller.
The character of the minuet is as far from that of a courtly dance as can be imagined. Again, the structure of the minuet is irregular and undanceable. The trio section, in F major, offers a brief respite from the relentless minor, but even this section is subdued in tone. Siciliana movement of opus 20 number five, featuring a virtuosic first violin part embellishing the main theme The slow movement is a Siciliana, in F major.
Fritz Geißler (or Geissler) (16 September 1921 in Wurzen, Saxony – 11 January 1984 in Bad Saarow, Brandenburg) was one of the most important composers of the German Democratic Republic. The son of Elsa and Walther Geißler, he was raised in modest circumstances. His first violin lessons came from the leader of a local tenants' association's mandolin-band, himself a pipe-fitter. Following graduation from public school, Geissler went into training with the town-pipers band of Naunhof.
The quartet opens with an austere melody from the first violin which comprises the main subject of the predominantly fugal first movement. In turn, the melody is taken up by all four instruments and then developed by metamorphosis throughout the rest of the movement. This subject also forms an integral part of the rest of the quartet. The interval of a perfect fifth in particular plays a vital role of the concentrated construction of the entire work.
Larghetto 3/4 B major The structure of the third movement is close to ternary form. The lyrical opening theme, Excerpt 9, is supposed to have originated from Excerpts 1 and 4. The first part of this movement is in ternary form itself, and Excerpt 9 reappears after the exposition of Excerpt 10. In the second part of this movement, a passionate melody is exhibited by the first violin over the accompaniment of extended arpeggios (Excerpt 11).
In the fall of 1923 Koutzen came to the United States and became a member of the first violin section of the Philadelphia orchestra under Leopold Stokowski. From 1937 until 1945 he was a member of the NBC Symphony Orchestra under Arturo Toscanini. Mr. Koutzen was head of the violin department of the Philadelphia Conservatory from 1925-1962. In 1944 he joined the faculty of Vassar College, where he taught violin and conducted the Vassar orchestra until 1966.
Even before the Stalinist anti-Semitic campaigns in the late 1940s and early 1950s, Shostakovich showed an interest in Jewish themes. He was intrigued by Jewish music's "ability to build a jolly melody on sad intonations".Wilson (1994), p. 268. Examples of works that included Jewish themes are the Fourth String Quartet (1949), the First Violin Concerto (1948), and the Four Monologues on Pushkin Poems (1952), as well as the Piano Trio in E minor (1944).
In 1801, the 18-year-old Paganini was appointed first violin of the Republic of Lucca, but a substantial portion of his income came from freelancing. His fame as a violinist was matched only by his reputation as a gambler and womanizer. In 1805, Lucca was annexed by Napoleonic France, and the region was ceded to Napoleon's sister, Elisa Baciocchi. Paganini became a violinist for the Baciocchi court, while giving private lessons to Elisa's husband, Felice.
Born in Brussels,Jean Baptiste Accolay Schott Music Accolay studied the violin at the Royal Conservatory of Brussels and played the solo flugelhorn at the second cuirassier-regiment of Bruges. He also played the first violin at the orchestra of the theaters of Namur and Bruges. In 1860, he became a teacher of solfège at the conservatory of Bruges. Later on he also taught the violin (1861-1864), the viola (1864), string quartets (1865), and harmony (1874).
It is the only movement of any of Haydn's symphonies to be in the key of A major. The menuetto is "marvellously kinetic and very Austrian". The final movement has a long coda in which "finally everything dies away except for the first violin, which goes up to an enigmatic g-flat. There follows one of Haydn's magnificent silences, and then the music plunges into a last tutti and this elegant chamber symphony is at an end".
In 1951, she became the leader of the Tivoli Symphony Orchestra, often playing popular violin concertos. She joined the Royal Symphony Orchestra in 1954, becoming the first woman to serve on the orchestra's board in 1957–58. In 1957, she established the Copenhagen String Quartet, one of the leading quartets of the times. It consisted of musicians from the Royal Orchestra, including Givskov as first violin, Mogens Lüdolph, second violin, Mogens Bruun, viola, and Asger Lund Christiansen, cellist.
Like the Beethoven model, the fugue goes through a series of increasingly complex variations with cross-rhythms in the different instruments. The theme of the Intermezzo movement, with lyrical violin theme and pizzicato accompaniment. The Intermezzo movement opens with a light, gossamer theme which is Mendelssohn's signature style. The lilting theme in the first violin, with pizzicato accompaniment in the other instruments, recalls the A Midsummer Night's Dream Overture and scherzo movements from many of Mendelssohn's chamber works.
Second page of Sinfonia The cantata begins with the instrumental Sinfonia. Set in G major, it is in a triple meter in siciliano rhythm. Albert Schweitzer likened the music to a concerto of the shepherds, playing oboes, and the angels playing strings and flute in unison with the first violin. The movement is a ternary form, ABA', repeating the beginning modified after a middle section, and this a forerunner of the classical sonata form, as Dürr notes.
Music for the viola differs from most other instruments in that it primarily uses the alto clef. When viola music has substantial sections in a higher register, it switches to the treble clef to make it easier to read. The viola often plays the "inner voices" in string quartets and symphonic writing, and it is more likely than the first violin to play accompaniment parts. The viola occasionally plays a major, soloistic role in orchestral music.
Tátrai was born in Kispest, now 19th district of Budapest. A professor at the Franz Liszt Academy of Music, he founded the Tátrai Quartet in 1946 with members of the Budapest orchestra. The quartet was then formed by Tátrai on the first violin, Mihály Szűcs on the second violin, József Iványi at the viola and Vera Dénes – replaced in 1951 by Ede Banda – on the cello. In 1948, the quartet won the Bartók String Quartet Competition.
Then she moved into the region around Lake Constance, where, from 1920 until 1924 she worked in various establishments, wrote short stories and played first violin and viola for the Lindauer Orchestra "Symposia". In 1924, she studied at the Higher Teaching and Research Institute for Horticulture in Berlin-Dahlem. In 1926, she passed her exam as a certified horticultural technician. From 1926 to 1928, she worked in the Department of Landscaping Späth'schen nurseries in Baumschulenweg as horticultural technician.
Edward Hardy, "#tbt When I performed with Kygo back in October...", Instagram, February 2, 2017. In 2014, Hardy performed as a guest solo violinist at the Charleston Museum under the button of Maestro Marlon Daniel and performed in the first violin section of The Black Stars of Broadway Concert led by Norm Lewis and Chapman Roberts. Months later Hardy took the stage as concertmaster of the Trilogy Opera Company at the New Jersey Performing Arts Center’s Victoria Theater.
The old hymn tune is in four lines, the last one equal to the first. The instrumental ritornello of the opening chorus already quotes this line, first in the continuo, then slightly different in meter in the oboes. Other than these quotes, the orchestra plays a free concerto with the oboes introducing a theme, the first violin playing figuration. The ritornello appears shortened three times to separate the lines of the text and in full at the end.
Eugène Ysaÿe came from a background of "artisans", though a large part of his family played instruments. As violinist Arnold Steinhardt recounts, a legend was passed down through the Ysaÿe family about the first violin brought to the lineage: > It was told of a boy whom some woodcutters found in the forest and brought > to the village. The boy grew up to be a blacksmith. Once, at a village > festival, he astonished everyone by playing the viol beautifully.
Alfred Pochon in 1890 was already in the ranks of violinists in the orchestra of "Classical Concerts" in Geneva, led by Hugo de Senger. It also takes the first violin in the orchestra desk Eugène Ysaÿe, founded and directed by the latter in Brussels. In 1901, he left Belgium to Vienna before discovering the United States . In 1903 Pochon founded, with the financial support of his friend the banker Edward J. de Coppet, the Flonzaley Quartet in Manhattan, New York City.
He earned a 'licence de concert' from the school in 1933. In July 1933 Martin returned to his native city. He was an active recitalist in Montreal and also appeared numerous times as a soloist on the radio during the 1930s and 1940s. He played in the first violin section of the Montreal Symphony Orchestra and was notably the featured soloist in the orchestra's second concert on 4 February 1935 in a performance of Max Bruch's Violin Concerto No. 1.
Striking is the frequent use of Sesto in the Ländler-like eighth-note of the first viola, which is due to the line of the second violin and the violoncello of the first part and refers directly to the trio in Scherzo. An airy counterpart of the first violin pushes playfully unstoppable upwards. The actual implementation theme becomes the starting point of a fugue whose theme is contrasted with a striking triplet figure. Finally, the recapitulation follows in D flat major.
The Pacifica Quartet is a professional string quartet based in Bloomington, Indiana. Its members are: Simin Ganatra, first violin; Austin Hartman, second violin; Mark Holloway, viola; and Brandon Vamos, cello. Formed in 1994 by Ganatra and Vamos with violinist Sibbi Bernhardsson and violist Kathryn Lockwood, the group won prizes in competitions such as the 1996 Coleman Chamber Music Competition, the 1997 Concert Artists Guild Competition, and the 1998 Naumburg Chamber Music Competition. In 2001, violist Masumi Per Rostad replaced Lockwood.
Baráti was born into a musical family in Budapest in 1979; his mother played the violin and his father was a cellist. He received his first violin instruction from his mother and continued his studies with Vilmos Tátrai, the founder of the famous Tátrai Quartet. Throughout much of his childhood, Baráti lived in Venezuela, where he began performing with leading orchestras from the age of eight. When he was eleven, he performed a recital at the Festival de Radio France in Montpellier, France.
This is followed by a sudden forte sixteenth note in the beginning of the adagio that shocks the audience. After this, the first violin plays the A theme of the opening phrase with rests interrupting the music every two bars. The rests get progressively longer, giving the impression that the piece is over many times in a row, making for an amusing ending. During this time period, it has been said that audiences would erupt in laughter at this humorous coda.
Born into a musical family in Dublin, Lunny was given her first violin at the age of three, immediately showing a natural aptitude and love for the instrument. She was classically trained in the Suzuki Method. A brief fling with movie acting failed to distract her, and a life in music became her goal. From the age of thirteen she studied intensively with violin teachers around Europe, including Rimma Sushanskaya, Joji Hattori, Alexander Arenkov, Arkady Futer, Lara Lev and Vladimir Spivakov.
Niculescu was born into a family of educated lăutari. Everybody in his family was involved in music: his father and his uncle were violinists, his mother a pianist and his sister a cellist. He received his first violin lessons from his father, with whom he started to study seriously when he was 4–5 years old. At 6 he enrolled at the Dinu Lipatti Music School and then at George Enescu Music High School where he was a first prize student.
Charles and Lady Hallé toured as a piano and violin duo with great success, in Europe, South Africa and Australia. Throughout her life, Wilma Neruda was an avid chamber musician. Following some encouragement from Henri Vieuxtemps, she joined a Monday Popular Concert series in London with a string quartet, where she led from the first violin position except for when her lifelong friend Joseph Joachim was visiting and took this position. Tragedy would strike Neruda's life at the end of the 19th century.
He also played in various youth orchestra at the Baldwin Wallace Preparatory Department, and in 1987 was honored as the Outstanding Preparatory Student of the Year. That same year he was also the piano soloist in Beethoven's Choral Fantasy with the Parma Symphony Orchestra. He was also a member of the first violin section of the Cleveland Orchestra Youth Orchestra in its inaugural season. Mahlay received a bachelor of arts in music history and literature from Case Western Reserve University.
Suddenly there is a burst of arpeggio in the first violin, lapsing immediately back to the quiet of the first motive. The juxtaposition of calm and vigor continues through the exposition, to the statement of the second theme, and a short codetta leading to the development. In the development section, Haydn repeatedly offers false reprises: After a section of development, he presents a dominant arpeggio leading back to the first theme. But this is not the reprise, the development goes on.
Their most recent releases include an all-Beatles CD, "The Off-White Album," as well as "All Zeppelin," the content of which is self-explanatory. The quartet also has collaborated with a number of rock bands. Their current roster consists of Regis Iandiorio, first violin, Abe Appleman, second violin, Richard Maximoff, viola and John Reed, cello, all of whom except Appleman are original members. Mr. Reed is their principal arranger with over 100 arrangements, although they all arrange and are still working.
The performance was a live broadcast and was recorded by Radio Hilversum on 78 RPM acetates, the most used recording medium at the time. For several years he lived in the Netherlands and from 1940–1941 he was leader of the Royal Concertgebouw Orchestra under Willem Mengelberg. He later went to live in the USA and Canada. Zoltan Szekely joined the Hungarian String Quartet in its second year, and played the first violin from 1937 until the quartet disbanded in 1972.
Arch shaped lines emphasizing fourths in the first violin (C – F – C) and the violoncello (G – C – C' – G') are combined with lines emphasizing fifths in the second violin and viola. Over the barline between the second and third measures of the example, a fourth-suspension can be seen in the second violin's tied C. In another of his string quartets, KV 464, such fourth-suspensions are also very prominent. The second movement is in sonatina form, i.e., lacking the development section.
He gives all of the instruments mutually rich parts > to play, alternating in exquisite fashion. His excellence is particularly > strong in the sparkling themes. He is able to combine the external beauty of > form with effective ideas and distinctive harmonies and rhythms. A copy of his String Quartet No.2 in F, Op.23 (published by Belyayev in 1894), which is conserved at the Cornell University Library, has notations in the margin of the first violin part from a performance with Eugène Ysaÿe.
Poco lento - Allegro 4/4 D major This movement, written in unusual sonata form combined with ternary form, begins with a large introduction, which d'Indy calls the Lied (song) and also L'idée mère (fundamental or generative idea). The first violin plays the main theme of the introduction over the harmonic accompaniment of strings (Excerpt 1). This subject will appear in this and later movements as the first cyclic theme. The introduction comprises Excerpt 1 and Excerpt 2, which is played quietly in contrast.
By 1907, he was feeling sufficiently improved to embark on a musical career. He obtained a position in the first violin section of the Orchestre du Théâtre de Genève (now the Orchestre de la Suisse Romande), but left after an "artistic disagreement". The following year, he was engaged by the Orchestre Symphonique de Lausanne and, in 1915, by the Orchestre de Genève. Problems persisted, however, and by 1918 he was playing in small ensembles at tea rooms and tourist resorts.
Portrayed by Yin Chang in seasons one, two and six, Nelly Yuki is Blair's academics rival. Depicted as a bookworm, she's a Merit Scholar, a Peabody Scholar, and an Intel Science Talent Search Finalist. Itzhak Perlman gave her first violin and her parents own a substantial amount of property in Tribeca. Despite being sabotaged by Blair during the SATs, she has a short-lived friendship with her, and sides with Blair (along with Isabel) during Blair's battle for the throne.
She also continued to perform as a soloist, on one occasion causing quite a stir by performing nine of the most famous violin concertos over three consecutive evenings. Breuning-Storm is also remembered for playing first violin in the Breuning-Bache Quartet which gave its first performance in 1919 and continued to play until 1956. Outside of Denmark it was known as the Copenhagen Quartet. Initially, its members included Gerhard Rafn, second violin, Ella Faber, violist, and Paulus Brache, cello.
Péter Komlós was born in Budapest in October 1935, and studied at the Franz Liszt Academy of Music with Ede Zathureczky, Leó Weiner and others.Bartók String Quartet first violinist Péter Komlós has died, aged 81 The Strad, 3 May 2017. Retrieved 30 September 2017.Obituary - Péter Komlós Liszt Academy, 5 May 2017. Retrieved 30 September 2017. In 1957, with other graduates of the Academy, he established the Komlós String Quartet, in which he played first violin; the other members were , and .
Born in Mainz, Kirchner took his first violin lessons with his grandfather. He studied at the Peter Cornelius Conservatory in Mainz from 1956 to 1959, violin with Günter Kehr and musical composition with Günter Raphael. On a recommendation by Kehr, he then studied at the Hochschule für Musik Köln from 1959 to 1963, where he was influenced by composers Bernd Alois Zimmermann, Karlheinz Stockhausen and Pierre Boulez. Kirchner studied further with Tibor Varga at the Hochschule für Musik Detmold from 1964 to 1965.
Wind quartets are scored either the same as a string quartet with the wind instrument replacing the first violin (i.e. scored for wind, violin, viola and cello) or are groups of four wind instruments. Among the latter, the SATB format woodwind quartet of flute, oboe, clarinet, and bassoon is relatively common. An example of a wind quartet featuring four of the same types of wind instruments is the saxophone quartet, consisting of soprano saxophone, alto saxophone, tenor saxophone and baritone saxophone or (SATB).
Anton Thadäus Johann Nepomuk Stamitz (November 1750 - ) was a German composer and violinist. Anton was born during a family visit to Deutschbrod, and baptised there on 27 November 1750."Stamitz (3) – Anton (Thadäus Johann Nepomuk) Stamitz" by Eugene K. Wolf, Jean K. Wolf, Grove Music Online He and his brother Carl received their first violin instruction from their father Johann. After their father's death in 1757 they were taken on as students by Christian Cannabich, who had been a student of their father's.
When the Royal Danish Academy of Music was established in 1867, Tofte was appointed as the first violin teacher. For his long and important career he was in 1893 honored with the title of professor. He taught until 1904, training an entire school of violinists in Denmark. It is estimated that he taught over 300 violinists and almost two generations of artists, including Anton Svendsen, Frederick Hilmer, Frida Schytte, Fini Henriques, Frederik Rung, Victor Bendix, Carl Nielsen, and Georg Høeberg.
Eva Klein received her first piano lesson when she was 4 and her first violin lesson when she was 7. Dancing lessons began when she was 5. Musical training sometimes came at the expense of other conventional aspects of her schooling, and when her evening engagements began to interfere with her school work she gave up on her Lyceum (secondary school). She nevertheless received a rigorous conventional musical training, attending the Berlin Music Conservatory where she received lessons in piano and violin playing.
The concerto is characterized by a subtle yet expressive relationship between the violins throughout the work. In addition to the two soloists, the concerto is scored for strings (first violin, second violin and viola parts) and basso continuo. The musical structure of this piece uses fugal imitation and much counterpoint.Bach: Violin Concerti / Oliveira at hbdirect website The concerto comprises three movements: # Vivace # Largo ma non tanto # Allegro Performance time of the concerto ranges from less than 13 minutes to over 18 minutes.
She completed her development with Otakar Ševčík (1927–28) and George Enescu (1932–34). In the years 1932–1934 she was the concertmaster of the Orchestra of the Polish Radio in Warsaw, and following this in 1937 became the second concertmaster of the Warsaw Philharmonic. At the same time, she was first violin in the string quartet of the Warsaw music society and member of the Polish string quartet. Playing in a duo with Karol Szymanowski she influenced similar compositions.
Its title "Chacony" refers back to Purcell, who used that name for the musical form more often called chaconne or passacaglia. It consists of a theme (a nine-bar unit) and 21 variations, divided into four sections by solo cadenzas for the cello, viola and first violin. In a programme note for the premiere, Britten wrote: "The sections may be said to review the theme from (a) harmonic, (b) rhythmic, (c) melodic, and (d) formal aspects". A typical performance takes about 2832 minutes.
Cohen joined the West-Eastern Divan Orchestra in the summer of 2003, aged 19. He was a member of the first violin section for the next eight years and played in more than twelve international tours. Among many other concerts, Cohen participated in the memorable Ramallah Concert of 2005. Between 2008 and 2011 Cohen became assistant conductor to Daniel Barenboim in the preparation of a Beethoven symphonies cycle as well as major works by Schoenberg and Boulez with the West-Eastern Divan Orchestra.
The quartet is divided into a pair of duos, Duo I made up of the first violin and the cello, and Duo II made up of the second violin and viola. The two duos play in their own overlapping movements: distinct tempos, articulation, and material, neither coinciding with the other. The first duo is instructed to play rubato throughout its four movements, while the second plays in strict time in six movements. In addition, each movement is assigned a characteristic interval.
In 1942, she founded the Zorian String Quartet, in which she played first violin. The other founding members were Marjorie Lavers (violin II), Winifred Copperwheat (190576, viola) and Norina Semino (cello). The quartet gave the premiere performances of, and made the first recordings of, several string quartets by English composers, including Benjamin Britten and Michael Tippett, and gave the English premieres of others. The quartet was also famous for its performances of string quartets by Bartok and Bloch, as well as modern music.
From an early age, Castellanos trained as an apprentice under his uncle Manuel José de Quirós, chapelmaster of the cathedral of Santiago de Guatemala. In 1740, the young Rafael signed a composition for voice and basso continuo, on the Latin text of the Second Lamentation of Jeremiah. This piece reflects his mastery of baroque writing and an unusual expressive talent. In 1745 he became a journeyman and was admitted as a member of the cathedral orchestra as first violin, sometimes also playing harp.
In 1977 the orchestra went on another tour there, this time staging a show with more than 20 musicians and tango dancers. On his return, Francini organised a symphony orchestra which staged the show Tangos por el mundo in the Teatro Alvear in Avenida Corrientes. He was musician who, in parallel with his activities in the world of tango, played as a first violin in the Buenos Aires Philharmonic until his death. He was also active in the Argentine Society of Authors and Music Composers (SADAIC).
The "minuet" section, which is in G minor, is followed by a "trio" section in G major, followed by another "minuet" section (written out) and finally the coda section in the key of the trio. The fourth movement, marked Vivace, ma non troppo presto, is in and has a key signature of one sharp (G major and E minor) throughout. It displays influences of Hungarian music. The opening theme in the first viola is in B minor, and is copied by the first violin nine bars later.
He studied at the Munich High School for Music. Around 1906 he played first violin at the Prinzregententheater and was organist in St. Michael. In 1912 he founded the musical Matinees which have become famous. From the beginning of the 1920s until the end of the Second World War he was song accompanist for many singers, including Frida Leider, Erna Berger, Hans Hotter, Elisabeth Schwarzkopf, Karl Schmitt-Walter, Karl Erb, Heinrich Schlusnus and Helge Rosvaenge, to mention only a few of the most prominent figures.
Catherine Bodet was born in Poissy, near Paris, the daughter of a doctor and pianist father, and a violinist mother. Catherine started playing the violin at age 5 and entered the Conservatoire de Versailles at age 11, obtaining first prize in 1958. She went on to get the 2nd prize for violin at the Conservatoire de Paris in 1965 and the first prize for chamber music in 1966. Leaving the Conservatoire, Lara started her own chamber orchestra, Les Musiciens de Paris, in which she played first violin.
In 1976 Turovsky and fellow Soviet emigrants Rostislav Dubinsky (violin) and Luba Edlina (piano) founded the Borodin Trio. Turovsky founded the I Musici de Montréal Chamber Orchestra in 1983. The orchestra originally consisted of music students from Montreal, many of whom were or had been students of Turovsky and his wife. Under Turovsky's direction and with Eleonara as first violin, I Musici became one of the best known classical ensembles of Canada, toured extensively in Canada, in the United States and abroad and produced over thirty recordings.
One member, Miss Grice, was a pianist and her father Joseph first violin. A small orchestra was formed and music rehearsals took place in Mr Grice's garage and cycle shop on Princess Street. Rehearsals for the plays, however, were held in Kings Coffee House and performances were first at the Y.M.C.A., then at the Town Hall before moving to the Marcliff Cinema, on the site where the civic hall now stands. It was here that the society held some of its most spectacular early productions.
He was born in 1643 in the province of Chieti in Villa Santa Maria. He received a formal music education at the Conservatory of S. Mary of Loreto in 1657. Recognized as a talented violinist and teacher, Marchitelli took the role of first violin in the most prestigious musical institutions in Naples: the Chapel Royal of Naples and the orchestra of the Teatro San Bartolomeo. He was a close friend of Alessandro Scarlatti during his career, and held in high esteem by his contemporaries.
In 1976, the quartet made their final change of residency and moved to the Eastman School of Music in Rochester, New York.CLEVELAND QUARTET - The Encyclopedia of Cleveland History The quartet had three personnel changes: violist Atar Arad replaced Strongin Katz in 1980; violist James Dunham then replaced Arad in 1987; and William Preucil replaced Weilerstein as first violin in 1989. The quartet disbanded in 1995. Preucil became concertmaster of the Cleveland Orchestra, a position he held until 2018, when he was fired for sexual misconduct.
Trained as a violinist, he made his first violin on his own and received praise for it. Thus he decided to become a violin maker and moved to Milan to work with the Antoniazzi family in 1886. With them he established a partnership of exceptional importance, putting to good use his artistic skills and business ability. After having moved his workshop to various premises, he retired to his villa in Venegono leaving his sons Andrea and Carlo Bisiach to continue the business in Milan.
They frequently collapsed during rehearsals, especially those playing brass instruments. Eliasberg himself had to be dragged to rehearsals on a sledge, and was eventually moved by Communist officials to an apartment nearby and given a bicycle for transport. His first attempts at conducting were like a "wounded bird with wings that are going to drop at any moment". A report by Babushkin noted that "the first violin is dying, the drum died on his way to work, the French horn is at death's door ...".
"Nagareboshi" is a piano and strings-driven ballad with lyrics comparing human individuals and their potential to the motion and light of shooting stars. The song was initially written and recorded by Japanese singer-songwriter Rica for her album Grain (2015). The song was eventually re-recorded by Misia whose version was produced by Takayuki Hattori. The piano was played by Sae Konno and the strings, an ensemble of ten musicians on first violin, eight on second violin, six violists, and six cellists, were conducted by Hattori.
Owens performed as a violinist, pianist and harpsichordist with orchestras and chamber ensembles, serving as musical director for the Staten Island Baroque Ensemble. She was employed as pianist for the Richmond Opera Collection and played first violin in La Puma Opera Company Orchestra. She also worked as a free-lance music editor and pioneered in the use of music editing software. Owens taught music and composition privately, and also at the Neighborhood Music School of New York, and the Music Institute of Staten Island.
Because of this hostile environment, Shostakovich kept the concerto unpublished until Stalin's death in March 1953 and the thaw that followed. Music historian Boris Schwarz notes that during the post-war years, Shostakovich divided his music into two idioms. The first was "simplified and accessible to comply with Kremlin guidelines" while the second was "complex and abstract to satisfy [Shostakovich's] own artistic standards". The First Violin Concerto, given the complex nature of its composition, falls into the second category and as such was not premiered until 1955.
The minuet of the second quartet in C major is built of tied suspensions in the first violin, viola and cello, so that the listener loses all sense of downbeat. The fourth quartet has the off-beat alla zingarese movement. The minuet of the fifth quartet has a first section of 18 measures, divided asymmetrically. So far did Haydn stray from the formal minuet dance structure, that in his next set of quartets, opus 33, he did not call them minuets at all, but rather scherzos.
In January, 1930, Ma returned to Guangzhou, and became first violin of the orchestra of the Research Institute for Dramatic Arts in Guangdong (廣東戲劇研究所). With financial support from the Guangdong regional government, Ma returned to France in 1931 to study composition. Through Oberdoerffer, Ma became a student of Janko Binenbaum, a Turkish composer of Jewish descent, who served as musical director in Regensburg, Hamburg, and Berlin. Though he led a private life, Binenbaum's compositions had a unique style.
Kolly d'Alba took her first violin and piano lessons at the age of five. She studied at the Lausanne Conservatory where she received, at the age of 15, her diplomas for teaching the violin and for chamber music. She continued her studies at the University for Music and Drama in Berne in the class of the Slovenian violinist and teacher Igor Ozim. In addition to her violin studies, she studied orchestration with Jean Balissat, composition with Michael Jarrell in Geneva and contemporary chamber music with Bruno Canino.
The second movement, in B-flat major, is in two parts: an exposition and a recapitulation. The first violin plays the leading role throughout, although the movement is characterised by rich textures between the four parts created by compositional devices such as contrary motion. It is this movement that gives the Op. 50 No. 5 the nickname of "Der Traum", or "The Dream". The minuet is in F major, but it is not until well into its second half that a strong chord in the tonic arrives.
The third and final Toronto String Quartette was formed in 1906 with Frank Blachford as the first violin, Roland Roberts on second violin, violist Frank Converse Smith, and cellist Frederic Nicolai. The group gave its first performance on 23 January 1907. Blachford was the only member to stay with the group for its entire duration. Other members included second violinists Benedict Clarke (1914–1923), Erland Misener (1923), and Albert Aylward (1924); violists Alfred Bruce (1923) and Erland Misener (1924); and cellist Leo Smith (1914-mid-1920s).
In the Baroque music era (1600–1750), most orchestras were led by one of the musicians, typically the principal first violin, called the concertmaster. The concertmaster would lead the tempo of pieces by lifting his or her bow in a rhythmic manner. Leadership might also be provided by one of the chord-playing instrumentalists playing the basso continuo part which was the core of most Baroque instrumental ensemble pieces. Typically, this would be a harpsichord player, a pipe organist or a luteist or theorbo player.
I was there, and a greater treat, or a more remarkable one, > cannot be imagined. Both Dittersdorf and Vanhal, though little-remembered now, were well-known composers (particularly of symphonies) of the time. (Many, if not most, now believe that Dittersdorf actually played first violin, given his world-class technique, and Haydn second.) The composer Maximilian Stadler also remembered chamber music performances in which Haydn and Mozart participated: the two of them took the viola parts in performances of Mozart's string quintets, K. 515, 516, and 593.
Neuberth's mother was a French teacher at Lycée Lakanal and a first-rate harpsichordist, his father was a first violin of Concerts Colonne, a vila alta soloist, which explains his early orientation for music and jazz in particular. An encounter with abstract painter, Henri-Jean Closon (Liège 1888 - Paris 1975) made him discover painting. On seeing him again in 1941 he decided in 1942 to devote all his time to painting. During the 70's, he abandons gouache and centers his works on sketching and pasting.
The Amati Quartet in Residence was established in August 2003 with Marla Cole (first violin), Michael Swan (second violin), Geoff Cole (viola) and Linda Bardutz (cello). In 2004, Luke Hnenny became second violinist and Peter Hedlin replaced Bardutz as cellist. The Amati Quartet performed a yearly recital series, and played at various University of Saskatchewan events. In May 2005, it performed for Queen Elizabeth II during her visit in honour of Saskatchewan’s 100th anniversary, and undertook a project to perform all of Joseph Haydn’s string quartets.
Zimbalist was born in the southwestern Russian city of Rostov-on-Don, the son of Jewish parents Maria (née Litvinoff) and Aron Zimbalist (Цимбалист, Russian pronunciation ), who was a conductor. By the age of nine, Efrem Zimbalist was first violin in his father’s orchestra. At age 12 he entered the Saint Petersburg Conservatory and studied under Leopold Auer. He graduated from the Conservatory in 1907 after winning a gold medal and the Rubinstein Prize, and by age 21 was considered one of the world's greatest violinists.
Erben was born in 1965 in Leipzig as the son of the cellist Friedemann Erben and the pianist Mathilde Erben. He received his first violin lessons at the age of five from Klaus Hertel, and from 1972 he was his pupil in the children's class of the Leipzig Academy.Frank-Michael Erben at the Boston Symphony Orchestra In 1987, at the age of 21, Erben was elected first concertmaster of the Gewandhaus Orchestra. Since 1993 he has also been the first violinist of the Gewandhaus Quartet.
One of his students was a prominent businessman and music patron Francisco L. Roxas, who will later on be executed for treason during the Philippine Revolution. He mentored famed composer Francisco Beltran Buencamino Sr. at Liceo de Manila. He also encouraged and recognized the musical talent of noted violinist Ernesto Vallejo, whom Adonay gifted his first violin. During the Philippine Revolution, Adonay's work "Te Deum", which is meant to be played in a mass of thanksgiving for victory in battle, was first performed on July 7, 1897.
In 1925, he had the first solo violin recital as a Korean and published "Eumakgye" (음악계, Music World), the first music magazine published in Korea. Hong also wrote Eumakmanpil (음악만필, Music Essay) in Changjo. In 1926, as Hong entered Kunitachi College of Music as a transfer student, he was accepted to play first violin at Tokyo Symphony Orchestra (current NHK Symphony Orchestra). After graduation in 1929, he returned to Korea and published the first volume of "100 pieces of Joseon Children's song" (조선동요 100곡집) through Yeongakhoe.
The Moyzes Quartet is a Slovakian string quartet. It was founded in 1975, and consists of Stanislav Mucha (first violin), Fratinšek Török (second violin), Alexander Lakatoš (viola) and Ján Slávik (cello). The members of the quartet studied first at the Bratislava Academy of Music and Performing Arts, then at the Hochschule fur Musik und darstellende Kunst in Vienna. The quartet has made over 30 recordings, including works by Shostakovich, Dvořák, Smetana, and Slovak composers such as Ján Levoslav Bella, Alexander Moyzes and Eugen Suchoň.
Theme of the second movement The theme of the second movement is the one that interpreters have most tried to associate with a Negro spiritual or with an American Indian tune. The simple melody, with the pulsing accompaniment in second violin and viola, does indeed recall spirituals or Indian ritual music. It is written using the same pentatonic scale as the first movement, but in the minor (D minor) rather than the major. The theme is introduced in the first violin, and repeated in the cello.
On 1 August 1860 Georg Wilhelm Rauchenecker received a passport to travel to France: initially he went and worked as first violin at the Grand Théâtre in Lyon.Léon Vallas (1903) 130 In 1862 he was appointed conductor in Aix-en-Provence and then in 1864 he took the post of chief conductor of the theatre orchestra in Carpentras.Mémorial d’Aix (1867) 3 Here, in 1866, he married Elisabeth Antoinette Emilie Fournial (1842–1870), a lecturer. Their twins, Alban and Margarethe were born in Carpentras on 8 September 1867.
The second movement leads to the dissonant beginning of the third, which jolts the whole quartet into a series of fast notes and long, dissonant chords. The fourth movement and the fifth form a diptych in which fast melodies and repetitive motions are present. In the fourth, the first violin plays fast notes while the rest of the group plays menacing chords; in the fifth, the ostinato in the second violin simplifies the motion presented in the previous movement. From now on, the general mood of the quartet changes and turns more elegiac and tragic.
He left the Conservatoire without taking part in the end-of-year competitions and began, from then on, to perform in the concerts and musical soirées in Paris where he acquired a certain vogue despite the inequalities of his talent. His urban and distinguished ways allowed him to create, as an accompanying teacher, a large clientele. He was later given an official title and, until the fall of the Second French Empire, served as first violin soloist in the Imperial Chapel. Le Cieux wrote for the violin a number of fantasies and concert pieces.
Born in Hereford, Heins was the grandson of a German piano maker who had immigrated to England. He received his musical training in Germany at the Leipzig Conservatory from 1892–1897, where he was a pupil of Richard Hofmann (orchestration), Gustav Schreck (harmony), and Hans Sitt (violin). Heins returned to England in 1897, where he continued with further musical studies under August Wilhelmj for the next five years. During that time, he played in the first violin section of several orchestras, including those led by Edward Elgar and Hubert Parry.
In 1910 the orchestra was restructured to become the Ottawa Symphony Orchestra. With the orchestra, Heins presented several major symphonies that had never been heard in the city of Ottawa, including works by Ludwig van Beethoven, Antonín Dvořák, Wolfgang Amadeus Mozart, and Pyotr Ilyich Tchaikovsky. While teaching at the CCM, Heins also held an organist posts at three different Presbyterian churches in Ottawa; a career spanning a total of 23 years. In 1918 he established the first violin training program in Ottawa's public schools, enlisting a group of 14 violin teachers to forward the project.
Yitzhak-Meir (Isaac) Gitlis was born in Haifa, Palestine Mandate to Jewish parents, who emigrated in 1921 from Kamianets-Podilskyi, Russia, now Ukraine. Gitlis acquired his first violin when he was five years old and started lessons under Mme Velikovsky together with his friend Zvi Zeitlin. He then studied privately with Mira Ben-Ami, a pupil of Joseph Szigeti.Gitlis, L'Âme et la corde (2013) When he was eight, she arranged for him to play for Bronisław Huberman, which prompted a fundraising campaign to allow him to study in France.
The third, in A minor, also begins without clarinet, with a viola melody – also with signature acciaccatura – but the clarinet joins in to finish. The major mode returns for the fourth variation, as does the main theme to the accompaniment of semiquaver virtuosity – given to the clarinet only in the first repeated half, first violin and clarinet in the second. There are four bars of dramatic interruption leading to a pause; the next variation is a lyrical Adagio. A transition brings us to an Allegro coda, containing much of a variation itself.
Reinhard Goebel (; born 31 July 1952 in Siegen, West Germany) is a German conductor and violinist specialising in early music on authentic instruments and professor for historical performance at the Mozarteum in Salzburg. Goebel received his first violin lessons at the age of twelve. He studied the violin with , the leader of the Collegium Aureum, Saschko Gawriloff, an expert in difficult modern scores, and baroque violinists Marie Leonhardt in The Hague and Eduard Melkus in Vienna. In 1973 Goebel founded his early music ensemble Musica Antiqua Köln that he led till its dissolution in 2007.
Seal was born in London and raised in Rochester, Kent where he began his violin studies at the age of nine. He attended Chatham Grammar School for Boys and played in the Kent County Youth Orchestra, first as a violist and later as the orchestra's first violin and concertmaster. He continued his musical studies at the Royal Birmingham Conservatoire, where he won the Birmingham Philharmonic Concerto Prize. He joined the CBSO as a violinist in 1992.Royal Birmingham Conservatoire (15 Aori 2016). "Conservatoire music competition goes full circle as former winner conducts this year’s final".
This quartet, like all of Villa-Lobos's quartets except the first, consists of four movements: #Poco andantino #Vivo e energico #Andantino – tempo giusto e ben ritmato #Allegro The Fifth Quartet is unusual in Villa-Lobos's works in this medium for using genuine folk material, albeit in modified form . Over the course of the first movement the tempo changes many times, ranging from Lento to Presto. The long Lento section in b. 90 to 136 is characterised by lyrical melodic writing in the first violin accompanied by a complex rhythmic pattern in the other instruments .
Second movement (Scherzo, Fast) The Scherzo in ¾-beat, which "best still with the scherzo of the 'Fifth' family resemblance (also tonality equality) shows", differs from the otherwise usual orchestral scherzo of Bruckner's symphonies. A Ländlerthema, recited in the Second Violin, forms the actual core idea of the light-footed work, contrasted by a classical-playful dissociation of the First Violin. The middle section Bruckner calls "almost Andante" to take. A renewed slowdown almost brings it to a standstill until the original main idea once again gains central importance.
Born in the Himmelpfortgrund suburb of Vienna, Schubert's uncommon gifts for music were evident from an early age. His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities. In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music of Haydn, Mozart, and Beethoven. He left the Stadtkonvikt at the end of 1813, and returned home to live with his father, where he began studying to become a schoolteacher.
5 His father gave him his first violin lessons when he was eight years old, training him to the point where he could play easy duets proficiently.Duncan (1905), p. 3 Soon after, Schubert was given his first lessons outside the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental. Holzer would often assure Schubert's father, with tears in his eyes, that he had never had such a pupil as Schubert, and the lessons may have largely consisted of conversations and expressions of admiration.
Cluzeau Mortet, along with Alfonso Broqua, Eduardo Fabini and Vicente Ascone, a representative of the nationalist tendency that emerged in Uruguayan music in the 1910s and 20s. He played first violin for Ossodre (SODRE Symphony Orchestra) from 1931 until 1946 but had to step down due to a hearing affliction. As a composer, his most recognized work was for piano, song and piano and symphonic music. He wrote for the symphony orchestra several pieces of music, including, Rancherío, Poema Nativo, Llanuras, Soledad Campestre, La Siesta, Preludio y Danza and Sinfonía Artigas.
The principal theme of the concerto's first movement, shown here through the opening eight measures of the first violin part. The concerto is in three movements: The slow movement is a theme and variations. Martha Kingdon Ward has commented that the slow movement of this concerto contains one of the "most tranquil" of Mozart's flute solos, specifically in the G-major variation. M.S. Cole has noted Mozart's use of meter changes in the finale, starting at measure 171, from to in the winds, with the piano following at measure 179.
In December 1967, Ristenpart suffered a heart attack while on tour in Portugal with the chamber orchestra of the Gulbenkian Foundation and died in a Lisbon hospital on Christmas Eve. The Chamber Orchestra of the Saar was unable to survive long the dimming of its guiding light. After four years under the baton of the reputable cellist Antonio Janigro, and the death in a car accident of its core musicians, first- violin Georg Friedrich Hendel and his wife Betty Hindrichs-Hendel, first- cellist, it merged with the Saarbrücken Radio Symphony Orchestra in 1973.
Conni Ellisor (born September 25, 1953) is a contemporary American composer and violinist. She was trained at The Juilliard School and the University of Denver's University of Denver, Lamont School of Music, and rose to prominence as Composer-in-Residence of the Nashville Chamber Orchestra in the late 1990s. As a violinist, she has served as a member of the Denver Symphony, concertmaster of the Boulder Philharmonic, first violin in the Athena Quartet (now the Colorado Quartet), and is now a top-call studio musician and member of the Nashville String Machine.Nashville Studio Orchestra.
In an antiphonal section, the composer may have one group of instruments introduce a melodic idea (e.g., the first violins), and then have the woodwinds "answer" by restating this melodic idea, often with some type of variation. In the trio section of the minuet from his Symphony No. 41 (1788), the flute, bassoons and horn exchange phrases with the strings, with the first violin line doubled at the octave by the first oboe:Trio section of the Minuet from Mozart's Symphony No. 41. Trio section of the Minuet from Mozart's Symphony No. 41.
Capuçon was born in Chambéry on 27 January 1976. He entered the conservatory in his native city at the age of 4, and then the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) at the age of 14 where he studied under Gérard Poulet. Three years later he completed his studies there, winning first prize in both chamber music and violin. He then entered several international competitions and joined the European Union Youth Orchestra, and then the Gustav Mahler Youth Orchestra as first violin under the direction of Claudio Abbado.
In this context she accepted requests for songs from restaurant patrons, arranging to learn them for the following week if songs were requested with which she was unfamiliar. Her popularity steadily grew within the musical communities of Los Angeles. Nydia attended Los Altos High School in Hacienda Heights, California as well as Orange County High School of the Arts in Santa Ana, California. She was also involved with the Mariachi Heritage Society Program based in East Los Angeles, CA. Her first violin and guitar instructor was Laura Sobrino, a pioneer female mariachi musician.
The First Violin Concerto was composed during the post-war years in Soviet Russia (1947–48), a time of severe censorship. A new censorship decree had been issued in 1934 that required advance screenings of concerts, plays, and ballets at least ten days prior to their premieres, and seats in the concert halls were reserved for censors. Grounds for banning a work included anti-Soviet propaganda, lack of proper ideological perspective, and the lack of perceived artistic merit. In the 1950s, the focus of Soviet censorship shifted to literary works.
Kless began performing at an early age, attaining a world-wide reputation in his activities like soloist and chamber musician. His repertoire includes works from baroque period to compositions specially created for him. He studied with Israel Amidan and André Gertler at the Academy of Music in Tel-Aviv, and later at the Conservatory and the Musical Chapel Queen Elizabeth in Brussels. Kless belonged to the Baroque Musicians Israeli Group, and he was the first violin in the Sol-La-Re string quartet, the Tel Aviv piano quartet and the American New Art Trio.
Jacobsohn was instrumental in raising Chicago's profile as a musical center. Jacobsohn also toured the United States with pianist William H. Sherwood, his good friend. Many of the members of the Theodore Thomas Orchestra (Chicago), Boston Symphony Orchestra, New York Symphony Orchestra amid scores of private and conservatory teachers throughout the US were trained by Jacobsohn. The Jacobsohn Quartet which was here established contained the famous names of Simon E. Jacobsohn, first violin; Theodore Thomas, second violin; Carl Baetens, M. Dr., viola, and Adolf Hartdegan, cello (afterwards Michael Brandt, cello).
The theme cycles throughout the movement, constantly transforming itself, while the first violin plays a concertante descant, floating over the theme, sometimes capturing it, then leaving it again. The finale is a fugue with two subjects. The main subject is a standard fugal motif, used frequently in the Baroque (it appears, among other places, in Handel's Messiah). While constructing a fugue in the strict, learned style, Haydn imbues the movement with an intense dramatic structure; like other fugues in the set, the entire first two thirds of the fugue is sotto voce.
Noa Wildschut is the daughter of Arjan Wildschut, altviolist in the Radio Filharmonisch Orkest, and Liora Ish-Hurwitz, violin teacher, from whom she got her first violin lessons. At six years old, she played during the Kinderprinsengrachtconcert 2007. From 2008, Wildschut studied at the Sweelinckacademie for young talent of the Conservatorium van Amsterdam with Coosje Wijzenbeek, who let her perform as ensemble member and soloist with the youth orchestra Fancy Fiddlers. She also performed during several music festivals, where she played with pianists Paolo Giacometti (2009) and Jevgeni Kissin (2010).
The work falls into three distinct sections albeit in one movement. The opening section is marked Tranquillo, and begins quietly with the first violin sounding the note D which is joined by an upward moving line. By this means the vastness of space is evoked, and this whole first section develops slowly but purposefully in an organic way. Simpson likened the control of the music throughout this quartet to gravitation in space, particularly in regards to the open strings of the instruments, all of which are tuned in fifths.
A.M. (Alice Mangold) Diehl, Musical Memories, (London: Richard Bentley > & Son, 1897), pp 256-7. Their father Giuseppe, always soliciting optimal learning and artistic opportunities for the girls, placed Teresa during summer 1840 under the tutelage of François-Antoine Habeneck, the Director of the Société des Concerts du Conservatoire (the main orchestra in Bordeaux), and first violin in the orchestra and conductor of the Opera. Between October and December 1840, the young sisters performed with great success in 12 concerts in Bordeaux, and a further eight concerts in Orléans in February, 1841.
He attended UCSI University for his tertiary studies and graduated in 2006 with a B.A in Music under the Newcastle Australian Music Degree Programme, with a Double Major in Piano and Violin. At that time, Lau was also actively involved as a regular secessionist with the RTM Orchestra and the National Symphony Orchestra. He also held the first violin position for the Malaysian Philharmonic Orchestra (MPYO). During his second year, Lau was already frequently playing the violin in hotel lounges and took part in a bit of acting on the side.
Ziyu He was born in 1999 in Qingdao and began playing the violin at the age of 5. His first violin teacher was Professor Xiangrong Zhang. In 2010 he was introduced in Beijing to Professor Paul Roczek from the Mozarteum University Salzburg who recognised his exceptional talent and his great instrumental and artistic potential and invited him to study with him in Salzburg and to attend the International Summer Academy. Ziyu has lived in Salzburg since 2011 and studies Violin with Professor Paul Roczek and Viola with Professor Thomas Riebl, both at the Mozarteum University.
The order of the third and fourth movements was reversed so that the long andante became the central movement in the concerto grosso. The first two movements together have the form of a French overture. In the andante larghetto, e staccato the orchestral ritornellos with their dotted rhythms alternate with the virtuoso passages for upper strings and solo first violin. The following allegro is a short four- part fugue which concludes with the fugal subject replaced by an elaborated semiquaver version of the first two bars of the original subject.
He performed as a violinist at the Teatro Real of the galleries there and in 1882 he returned to Buenos Aires offering on arrival a concert at the Coliseum Theatre on 9 September of that year. He returned to Brussels for a while, but finally settled back in his native city, devoting himself to teaching music. He became first violin of the Teatro Colón and taught at the National Institute for the Blind. Among his students were told the teacher Juan José Castro (1895—1968), a leading composer and conductor.
He was for many years leader of the Halle orchestra in Manchester, and a familiar figure at the Popular Concerts in London. He was first violin in the Queen's Band. He retired, owing to ill health, in 1893, and from that time till his death, lived at Cambridge. His playing, whether of violin or viola, had very great qualities; he was perfect in ensemble, and his power of self-effacement was of a piece with his gentle disposition and with the pure love of art which distinguished him through life.
A stepwise-falling dotted rhythm, suggested at the very end of the introduction, leads into the main part of sonata form in D minor starting with exposition of first subject (Excerpt 3). Excerpt 4, played by cello during an energetic transition, will play an important role in the finale as the second cyclic theme. Excerpt 4 is also played by violin. The passionate climax is smoothly connected to the exposition of the second subject, in F major, which appeared in dialogue between the first violin and viola (Excerpt 5).
After leaving the Army, he continued playing in the first violin section of the San Francisco Symphony Orchestra, and in the San Francisco Opera and in the orchestra of the San Francisco Ballet. After he retired from the San Francisco Symphony, Khuner did one more stint, joining them for their 1972 tour of Russia. He retired from the San Francisco Opera, which did not have a mandatory retirement age, a few years later. In the 1970s, Khuner was an instructor in the music department of the University of California, teaching chamber music.
Arnold Steinhardt (born 1937 in Los Angeles, California), is an American violinist, best known as the first violinist of the Guarneri String Quartet. Steinhardt made his debut with the Los Angeles Philharmonic Orchestra at the age of 14. He studied at the Curtis Institute of Music in Philadelphia with Ivan Galamian and later in Switzerland with Joseph Szigeti and Toscha Seidel. In 1958 he won the Leventritt International Violin competition and consequently was invited by George Szell to take second chair in the Cleveland Orchestra's first violin section (next to concertmaster Josef Gingold).
After studying law, Achour studied music and violin at the Tunis Conservatory of Music in Tunis in 1967 where he obtained the diploma of Arabic music and the Presidential Award for violin. He continued his musical studies at the Schola Cantorum in Paris, where he received degrees in several specialties: harmony, counterpoint, conducting and orchestral writing. When he returned to Tunis in 1971, he joined the Tunisian Symphony Orchestra as first violin. In 1979, he became responsible for directing and administering and over the years worked with many international musicians.
The beginning was applauded still more, and "cheers of the audience accompanied every ... part of the concerto." Reviewers also had high praise. One for 'The Musical World' wrote "The greatest violinists hold this concerto in awe ... Young Joachim ... attacked it with the vigour and determination of the most accomplished artist ... no master could have read it better," and the two cadenzas, written by Joachim, were "tremendous feats ... ingeniously composed". Another reviewer, for the 'Illustrated London News', wrote that Joachim "is perhaps the first violin player, not only of his age, but of his siècle" [century].
Dukakis (left) in 1987 Dukakis was born Katharine Dickson in Cambridge, Massachusetts, the daughter of Jane (née Goldberg) and Harry Ellis Dickson. Her paternal grandparents were Russian Jews; her mother was born to an Irish Catholic father and a Hungarian Jewish mother, and had been adopted by a family of German Jewish descent. Dukakis' father was a member of the first violin section of the Boston Symphony Orchestra for 49 years and also served as Associate Conductor of the Boston Pops Orchestra. At age 19, she dropped out of college to marry John Chaffetz.
She explained that "when you are in a situation where you're not blood-related to your family, it does become extremely obvious that you're born with your personality".Guy Blackman, "Joan as Policewoman", The Age, September 18, 2006 Wasser began with piano lessons at age six and had her first violin lessons at age eight. She played violin in school and community orchestras before leaving Norwalk for her college studies. At the age of 18, Wasser began her music career during her studies at the College of Fine Arts, Boston University.
78–79 Solti (l) with the pianist Nikita Magaloff In addition to the Munich appointment Solti gained a recording contract in 1946. He signed for Decca Records, not as a conductor but as a piano accompanist.Culshaw (1967), p 30 He made his first recording in 1947, playing Brahms's First Violin Sonata with the violinist Georg Kulenkampff. He was insistent that he wanted to conduct, and Decca gave him his first recording sessions as a conductor later in the same year, with the Zurich Tonhalle Orchestra in Beethoven's Egmont overture.
As a child, Imbault studied with violinist Pierre Gaviniès. He made his debut aged 17 years in a concerto; the 1st of April 1770 issue of the Mercure de France saw him as full of promise, but ten years later the same magazine was less enthusiastic and spoke of his "significant timidity" (April 1781). Thereafter, his musical activity was limited to education and participation in various orchestras, notably the Concert Spirituel, the Concert Olympique and in 1810, the Chapelle impériale. Sometimes he was first violin and sometimes even a soloist.
Carrillo was admitted to the Leipzig Royal Conservatory, where he studied with Hans Becker (violin), Johann Merkel (piano), and Salomon Jadassohn (composition, harmony and counterpoint). He became first violin in two orchestras: the Conservatory's Orchestra, conducted by Hans Sitt; and the Gewandhaus Orchestra, conducted by Arthur Nikisch. Carrillo composed several works at Leipzig, including Sextet in G Major for two violins, two violas and two violoncellos (1900), and the First Symphony in D Major for Orchestra (1901). Carrillo conducted the Leipzig Royal Conservatory Orchestra in the premiere performance of his First Symphony.
Originally there were eight musicians: Orestes Aragon (double bass); Filiberto Depestre (first violin); Hilario René González (second violin); Rufino Roque (piano); Efraín Loyola (flute); Orestes Varona (timbales); Noelio Morejon (güiro); & Pablo Romay (vocals). With the illness of Aragón in 1949, Rafael Lay Apesteguía became leader, and the band entered its second phase. In 1950 the orchestra made its first journey to Havana, and in 1953 Lay changed the personnel to suit his own ideas. It was around this time that the danzón began to fade, and the cha-cha-cha to gain popularity.
She was known as a promoter of Max Reger's music and performed with him (in particular, performing his Violin Concerto with the Berlin Philharmonic conducted by the composer in 1910). She also performed as part of the piano trio with and Robert Emile Hansen and later as part of another trio with Ella Jonas-Stockhausen and Eugenia Stolz. In 1938–1939, she was the first violin in the Pastorie string quartet. Pálma von Pászthory reworked a number of keyboard compositions by Bach, Friederic Chopin and Tchaikovsky for violin or string quartet.
The album was recorded with the London Symphony Orchestra with Keith Lockhart conducting. Meyers performed the posthumous world premiere of Fantasia by Einojuhani Rautavaara, written for her, with the Kansas City Symphony conducted by Michael Stern in March 2017. Meyers met Rautavaara at his home in December 2015 to play the work for him. He died in July 2016 before its first public performance nearly a year later. Adam Schoenberg’s first violin concerto, Orchard in Fog, written for Meyers, was premiered by her with the San Diego Symphony and conductor Sameer Patel in February 2018.
Kristian Bush was born in Knoxville, Tennessee. He is the great grandson of A.J. Bush, founder of Bush Brothers and Company; his part of the family sold their shares in the company when Bush was a child, although Kristian's cousin, Jay Bush, continues as company spokesman. Bush was raised outside of Knoxville in Sevierville, Tennessee, a small town at the base of the Smoky Mountains that was also the hometown of Dolly Parton. He was exposed to instruments from an early age, and picked up his first violin at the age of four years.
Mokranjac's father, a prosperous restaurant owner who in 1850 had built the house in which the Stojanović family lived, died two days before his son's birth. Growing up with his mother and three siblings, Mokranjac received his first violin at the age of ten. He spent most of his youth in Negotin, Zaječar and Belgrade. In his twenties, he was subjected to conservative musical training and first studied in Belgrade. He went on to study in Munich with Josef Rheinberger from 1880 to 1883, and in Rome with Alessandro Parisotti in 1884–1885.
The cantata is scored like chamber music, especially compared to the chorale cantatas on the same chorale with a melody by Severus Gastorius. In the opening chorus, the mostly homophonic setting of the voices, with the oboes playing colla parte, is complemented by strings dominated by the first violin as an obbligato instrument rather than an independent orchestral concerto. The final line is in free polyphony, extended even during the long last note of the tune. All voices have extended melismas on the word "" (govern), stressing that God is "ultimately in control".
A fantasia written in the key of B major (without a key signature) in time. According to Keller, author of The Great Haydn Quartets, the composer quotes in a different key his own second movement from Op. 76, no. 4 "Sunrise" Quartet. Indeed, the two basic motifs are identical aside from the difference in key signature: the first violin begins on the note of the key in each, goes down a half step, and returns to the original note in both movements, all under a slur in time.
Life was becoming increasingly difficult for Jewish musicians under Nazi Germany. In Germany itself, Kroyt could only play for Jewish organizations and he would need to concentrate on foreign engagements to support his family. In May 1936 he accepted an offer to play in an orchestra in Tel Aviv that was being formed by William Steinberg and Bronisław Huberman. However, later that month his old friend Josef Roisman (1900–1974), who was the First Violin for the Budapest String Quartet, asked him to replace their recently resigned violist .
Darryl is a member of the New Jersey Symphony Orchestra’s first violin section, and former principal second violinist of the Brooklyn Philharmonic Orchestra. A jazz musician and improvisor, he has performed with trumpeter Randy Brecker in a Charlie Parker program entitled “Bird Lives!” and has arranged and performed Ellington’s “Sacred Songs” in collaboration with the Jazz Studies Program at Rutgers University. Kubian has performed and improvised with Nigel Kennedy, Al Jarreau, Rufus Reid, Bobby Short and Renée Fleming. He has recorded with Trevor Pinnock, Malcolm Bilson, Meredith Monk, Bruno Weil, Zdenek Macal and Phillip Glass.
The main theme is played by the first violin part, which the harpsichord doubles in the right hand while playing the continuo bass in the left hand. 700px The florid style of the four-bar Vordersatz or "motto" of the ritornello is noteworthy for its flurries of rapid semidemiquaver scales. The Vordersatz is answered by a four bar phrase of semiquaver motifs in sequence. The remainder of the ritornello repeats this material until the concluding Epilog (bars 20–24) which has a sequence of one-bar figures in dotted rhythm incorporating joyful dactyls.
Stefan-Peter Greiner (born 1966 in Stuttgart) is a German luthier. He built his first violin at the age of 14. He completed his training in Bonn, where he currently resides. His goal is to build instruments which come close to the singing voice, which means focusing on the range from 2000 to 4000 Hz. During a longstanding partnership with the Remagner physicist Heinrich Dünnwald, who has acoustically analysed over 1300 violins, Greiner has succeeded in coming closer and closer to the antique sound of Guarneri and Stradivari.
The young man awoke and looked at the wall his broken and neglected > viol used to hang on and could barely believe his eyes: there, instead of > the viol, was a new instrument of beautiful proportions. He put it against > his shoulder and drew the bow over the strings, producing sounds that were > truly divine. The violin sang in a heartwarming tone: it rejoiced and wept > for happiness – and so did the musician. Thus, goes the legend, came the > first violin to the Ardennes and to the Ysaÿe family.
In October 1885, though barely 20 years old, he was engaged by conductor Wilhelm Gericke as concertmaster of the Boston Symphony Orchestra. For the next 20 years he was concertmaster and assistant conductor, appearing as soloist in many violin concertos and giving the first American performances of the concertos by Brahms and Carl Goldmark, as well as the première of the First Violin Concerto of Gustav Strube. As assistant conductor, he led the BSO in its performances at the Columbian Exposition in Chicago in 1893. Shortly after his arrival in Boston, he formed and led the Kneisel Quartet with other BSO string players.
Szilvay was born in Budapest, Hungary in 1943, studied the violin at the Béla Bartók Conservatory and Pedagogics at the Budapest Music Academy where he graduated in 1966. He also studied law and political science at the ELTE University in Budapest and took his doctor’s degree in 1970. In the 1960s, he played violin in the Budapest Symphony Orchestra and the first violin in the Szilvay family quartet, which was a well-known ensemble at the time in Hungary. He also taught and conducted the Children and Youth Orchestra of the Hungarian State Radio and Television.
Born in Bayeux, the son of a doctor, Le Cieux found in his father's home the greatest facilities to satisfy a vocation, which had been announced early in his life. His first violin master was an artist from Bayeux, named Trébutien, who made him begin at the age of thirteen, in one of the concerts of the local philharmonic society. Received with enthusiasm by his fellow citizens, Le Cieux continued to work with ardour and, in December 1844, he was admitted to the Conservatoire de Paris. Although over the age limit, he entered Habeneck's class where he remained until June 1846.
The work is split into six separate dances: # Starodávný ("the Ancient One"), which starts with a bright 3/4 feel that moves quickly to introduce the first melody, played by the first violin. In this movement, the melodies are based around two Lachian dances, the "real dance" and the "ribbon" or "club dance". After the opening melody, the piece finds itself in a 2/4 allegro for the second half of the ribbon dance that is a common feature of Moravian music. This effect is repeated a number of times before drawing the dance to a close.
Born in Yerevan into a family of musicians in 1987, Sergey Smbatyan showed exceptional musical promise at an early age. He received his first violin lessons from his grandmother, the violinist and renowned pedagogue Tatiana Hayrapetyan, continued his studies at the Komitas State Conservatory of Yerevan and Moscow Tchaikovsky Conservatory and received advanced lessons from Bagrat Vardanyan and Zakhar Bron. His innate leadership skills and entrepreneurial spirit were already apparent in 2005 when he established the State Youth Orchestra of Armenia; following his graduation four years later, he worked tirelessly to build his ensemble of young musicians into the Armenian State Symphony Orchestra.
After his studies in Paris, Guelbenzu became a respected pianist who had befriended Chopin, Liszt, Giacomo Meyerbeer, and Sigismund Thalberg. The inclusion of Guelbenzu to this organization expanded their repertoire possibilities to include solo and chamber works for piano. The long history of society can be distinguish in two periods: First period (1863-1884): The society offers its concert seasons in a rehearsal room of the Madrid Conservatory. The society was officially formed by Jesús de Monasterio (first violin), Rafael Pérez (second violin), Tomás Lestán (violist), Ramón Rodriguez Castellanos (cellist), Juan María Guelbenzu (pianist) and Basilio Montoya (treasurer).
The composer indicated that the work was finished on 29 September 1789.Quintett in A KV 581: Score, Neue Mozart-Ausgabe It received its premiere on 22 December of the same year, in one of the four annual Vienna performances of the Tonkünstler-Societät, an organization that existed to fund pensions for widows and orphans of musicians. The main item on the program was a cantata, Il natale d'Apollo, by Vincenzo Righini; Mozart's work was performed between the two halves of this work. The solo clarinet part was taken by Stadler, the first violin part by Joseph Zistler (1744–1794).
The second movement opens with a six-bar transition in place of a central development section, which opposes a first section consisting mostly of a clarinet melody over muted strings against a second group of themes in which – as in the first movement – several upward runs of scales are given to the first violin, alternating with brief phrases of clarinet melody. These scales are given to the clarinet in the recapitulation (bar 51). In the last few bars of the movement, more chromatic than the rest, the scales turn into triplet arpeggios traded between the strings under the closing clarinet phrases.
Hanson was born in London and was educated at Theale Green Community School and the School of St Helen and St Katharine in Abingdon, Oxfordshire. She started learning the violin aged 12 and at 16 won a place as first violin with the National Youth Orchestra of Great Britain with whom she has toured the UK and played live at the BBC Proms. Previously she had recorded solos with the London Symphony Orchestra, The Royal Liverpool Philharmonic and the City of Prague Philharmonia. Elspeth is studying towards a Masters at the Royal Academy of Music with Richard Deakin.
Several live music venues offer local independent bands and artists performing on a regular basis. These venues include the Music Man Megastore, the Gold Dust Lounge at the Hotel Shamrock, and the Golden Vine hotel, also the Bendigo Blues Club. Also, several adult choirs and the Bendigo Youth Choir often perform overseas; the Bendigo Symphony Orchestra, the Bendigo Symphonic Band, the Bendigo and District Concert Band, several brass bands and three pipe bands perform, as well. Musicians originally from Bendigo include Patrick Savage – film composer and former principal first violin of the Royal Philharmonic Orchestra in London.
Alla Tarán has worked in Cuba as violin professor in several schools in the provinces of Santa Clara and Cienfuegos, as well as an assistant Concertino at the Havana Symphony Orchestra. Since 1978 she lives in Havana, where she has developed an outstanding effort as professor of violin at the National School of Arts, the Manuel Saumell Conservatory, the Amadeo Roldán Conservatory and the Instituto Superior de Arte (ISA). Alla Tarán founded the first Children's Symphony Orchestra and the first Violin Ensemble in Cuba, which is still active. She received the Pedagogic Merit Medal and other important recognitions for her labor.
Princess Beatrix, Prince Claus and the conductor during a gala concert Verhey received her first violin lesson from her father when she was seven. Within a year, she played the Violin Concerto in A minor and the Concerto for Two Violins by Johann Sebastian Bach. Recognized as a child prodigy, she went to study at age 8 with the Austrian- born violin teacher Oskar Back. Later she studied with Herman Krebbers, Bela Dekany, Wolfgang Schneiderhan in Lucerne and David Oistrakh in Moscow. At the age of 17, she was the youngest prize winning finalist at the 1966 International Tchaikovsky Competition in Moscow.
The Concerto for Violin and Orchestra "Eleven Eleven" is the first violin concerto written by American composer Danny Elfman. Co-commissioned by the Czech National Symphony Orchestra, Stanford Live at Stanford University, and the Royal Scottish National Orchestra, the piece premiered at Smetana Hall in Prague, on June 21, 2017, with Sandy Cameron on violin and John Mauceri conducting the Czech National Symphony Orchestra. In 2019, the premiere recording of the concerto featured Cameron with Mauceri conducting the Royal Scottish National Orchestra. The title "Eleven Eleven" comes from the fact that the piece has 1,111 bars of music.
The moments Arnold rests are always at the moments when the second theme of the movement plays. Right before and while Konstantin seduces the 18-year-old pupil, we hear the opening minutes of the finale of Niccolò Paganini's first violin concerto. This could be seen as an ironic reference to rumors about Paganini being a womanizer. Beethoven's ninth symphony is used multiple times: As Konstantin shows Arnold how not to care about other people (by insulting and beating them), the happy march from the symphony's finale and the following chorus-section are played in an ironic way.
Sergey Khachatryan (also spelled Sergei Khachatryan; ) (born 5 April 1985 in Yerevan) is an Armenian violinist. Since 1993 he has lived in Germany where he gave his first orchestral concert at the age of nine in the Kurhaus, Wiesbaden. He made his New York City debut on 4 August 2006, playing the Beethoven Violin Concerto in Avery Fisher Hall under the baton of Osmo Vänskä."At Mostly Mozart, a Tousle-Haired Newcomer Joins a Returning Hero " by Steve Smith, The New York Times, August 7, 2006] In June 2013, he played Shostakovich's first Violin Concerto with the Seattle Symphony and Ludovic Morlot conducting.
She also studied in Warsaw under , who helped her prepare for the Henryk Wieniawski Violin Competition in Poznań in December 1952, where she played Karol Szymanowski's Concerto No. 1 for the first time (it became a favourite of hers). She shared second prize with Julian Sitkovetsky; the first prize winner was Igor Oistrakh. In 1953, she was awarded the Polish State Award for music in recognition of her "eminent violin artistry". In 1955, Wanda Wiłkomirska performed at the inauguration of the rebuilt Warsaw Philharmonic Concert Hall, with the Warsaw National Philharmonic Orchestra, playing Karol Szymanowski's First Violin Concerto under Witold Rowicki.
As a soloist, Kang has performed with orchestras throughout Canada (including the Montreal Symphony Orchestra, the Vancouver Symphony Orchestra, and the Toronto Symphony Orchestra) and the United States (including the Indianapolis Symphony Orchestra, the Baltimore Symphony Orchestra, and the San Francisco Symphony). She has also performed internationally with the Orchestre National de France, the Vienna Chamber Orchestra, and the Hong Kong Philharmonic Orchestra. In 1999, Kang joined the Kennedy Center Opera Orchestra as principal second violin. She then held a first violin position with the Metropolitan Opera Orchestra from 2001 to 2003, then was assistant concertmaster of the Boston Symphony Orchestra from 2003.
After World War 2, Henryk continued violin classes with priest Sobieraj, and soon he got a scholarship of the State of Poland to study in Conservatory of the State School of Music of Kraków where he initiated classes with the concertmaster of the Radio and Televisión Orchestra of Poland in Kraków, the master Adam Wiernik. In 1953 he began to play as first violin in the Radio and Televisión Orchestra of Poland where he worked by 11 years. In 1954 he was heard by the known professor Zenon Felinski, who accepted him as his student. Henryk had 7 years of classes with him.
In 1961 Feliński got sick and Henryk continued his studies for two years more with Eugenia Umińska in the same Conservatory. In 1963, he graduated performing the violin concert of Aleksandr Glazunov with the Kraków Philharmonic Orchestra, receiving his Diploma of Honor with maximum distinction "Cum Laude". In 1963, he played in the Quartet of Kraków, and received the nomination of professor of the Academy of Music in Kraków. In 1964 he married with María Millak in the Basilica of Santa María (Kraków) and they moved to Warsaw where Henryk integrated the Warsaw National Philharmonic Orchestra as first violin for four years.
He was considered an outstanding teacher.Grove's Dictionary of Music and Musicians, 5th ed., 1954 His students included Iosif Kotek, Reinhold Glière, who dedicated his Octet for Strings, Op. 5, to his teacher; Paul Juon; Vladimir Bakaleinikov; Arcady Dubensky; Stanisław Barcewicz, Pyotr Stolyarsky (the teacher of David Oistrakh, Nathan Milstein, and many others); Nikolai Roslavets; Konstantin Saradzhev; Alexander Petschnikoff, Mikhail Press, Alexander Schmuller; and possibly Mitrofan Vasiliev, the first violin teacher of Jean Sibelius. He published a number of technical exercises and studies, some of which were valued by Jascha Heifetz, and he died in Moscow in 1915.
The Nazi invasion of Holland on 10 May 1940, and the subsequent restrictions on Jews around the country affected Swaap's career as a musician. He was given fewer and fewer opportunities to perform with the Residence Orchestra and some documents point out that "his chair was pulled back", meaning he could no longer sit in the front of the first violin section. Early in 1941 he was dismissed from the orchestra. He was then fired, as were many other Jewish musicians who had lost their jobs, to the "Jewish Orchestra" (Joods Orkest) which was active from November 1941 to July 1942.
At first he refused the offer, but then later accepted; this change of mind was seemingly a result of a quarrel with his publisher Simrock over payment for his Eighth Symphony. Dvořák's Requiem was premiered later that year in Birmingham at the Triennial Music Festival. In 1891 the Bohemian String Quartet, later called the Czech Quartet, was founded, with Karel Hoffmann, first violin, Josef Suk, second violin, Oskar Nedbal, viola, and Otakar Berger, cello. It is said that Nedbal and Suk had been two of Dvořák's "most promising" students at the Conservatory and took the initiative in founding the Quartet.
There are four movements: This work, sandwiched between the six quartets he dedicated to Joseph Haydn (1782-5) and the following three Prussian Quartets (1789-90), intended to be dedicated to King Frederick William II of Prussia , is often polyphonic in a way uncharacteristic of the earlier part of the classical music era. The menuetto and its trio give good examples of this in brief, with the brief irregular near-canon between first violin and viola in the second half of the main portion of the minuet, and the double imitations going on in the trio.
Branzoli playing a mandolone (bass mandolin) during a concert at Palazzo Doria-Pamphili of Rome, 24 May 1889 Giuseppe Branzoli (Cento 1835 –; Rome 21 January 1909) was a violinist, mandolinist, composer, author, educator at the Liceo Musicale di St. Cecilia in Rome, and the founder of the periodical IL mandolin Romano. His compositions were for violin, mandolin, flute and cello, as well as church music.Philip J. Bone, The Guitar and Mandolin, biographies of celebrated players and composers for these instruments, London: Schott and Co., 1914. He taught at Cento and Bologna and played first violin at the Theatre of Apollo Orchestra in Rome.
Her father died in 1883, and her mother moved the family to Wiesbaden, Germany, where she received her first violin lessons at the age of six. Against the wishes of her family, she moved to London around 1897–98, where she briefly studied with composer Samuel Coleridge-Taylor at the Croydon Conservatory of Music and performed his Gypsy Suite, Op. 20 (1898). She may also have studied composition with him, and he dedicated at least one of his subsequent works to her. On returning to Dublin, she worked briefly as an assistant at the Royal Irish Academy of Music.
Its members changed over time. Rosé was first violin throughout. Julius Egghard Jr. played the second violin at first; then it was Albert Bachrich, until 1905 when Paul Fischer joined. Violist was initially Anton Loh, then Hugo von Steiner until 1901 when Anton Ruzitska came on; after 1920, Max Handl played the viola. Eduard Rosé, Arnold’s brother, had been a founding member of the ensemble playing the cello, but left after one season to get married and was replaced by Reinhold Hummer, who was in turn replaced by Friedrich Buxbaum; cellist Anton Walter joined in 1921, but later on Buxbaum rejoined.
François Duval (born 21 May 1743, Paris), known as Malter, was a French dancer. The son of Antoine Duval, a dance master in Paris, and of Henriette Brigitte Malter, two of his elder brothers were also involved in the theatre world - Antoine Jean François Duval (1732–?) left Paris in 1755 and worked as a dance master in Rochefort/Mer, whilst Jean Charles Duval (1741–?) was first violin at the Comédie de Lyon. François Duval was thus part of the Malter family, an 18th-century dynasty of dancers and dance-teachers, and married Marie-Anne Hamoir, also from a family of dancers.
Caroline B. Nichols (1864-1939) was an American violinist, conductor and founder of the Fadette Ladies Orchestra (known as the Fadettes of Boston). Along with Emma Roberto Steiner, she is credited as one of the first women in the United States to make a successful career out of conducting musical performances. Nichols was a founding member of Marion Osgood's Ladies Orchestra, however about four years later she was a founding member of the Fadettes of Boston in 1888, a sextet, including Ethel Atwood. She quickly rose from first violin to conductor as the small group became a chamber orchestra, assuming leadership in 1890.
It was established in 1895 in Manchester, after Brodsky left New York and came to the English city to teach at the Royal Manchester College of Music and direct the Hallé Orchestra. Brodsky played first violin, Rawdon Briggs played second violin, Simon Speelman played the viola, and Carl Fuchs played the cello. After the First World War the membership changed several times, with Brodsky the only original member. Brodsky and Fuchs, who both admired Edward Elgar, met him in February 1900, when Hans Richter introduced them following a performance of the Enigma Variations Richter conducted in Manchester.
Ordonez also performed regularly in the houses of the nobility. Dr Charles Burney heard him play at a musical dinner party in 1772 held in the residence of the British Ambassador in Vienna, Lord Stormont: > Between the vocal parts of this delightful concert, we had some exquisite > quartets, by Haydn, executed in the utmost perfection; the first violin by > M. Startzler (J. Starzer), who played the Adagios with uncommon feeling and > expression; the second violin by M. Ordonetz; Count Bruehl played the tenor, > and M. Weigel (F.J. Weigl), an excellent performer on the violoncello, the > base.
The hymn printed in the Erfurt Enchiridion, 1524 The closing chorale is "" ("Kill us through your goodness" or "Us mortify through kindness"), the fifth stanza of Elisabeth Cruciger's "". Its melody is based on one from Wolflein Lochamer's Lochamer-Liederbuch, printed in Nürnberg around 1455. It first appears as a sacred tune in Johann Walter's Wittenberg hymnal (1524). The usual four-part setting of the voices is brightened by continuous runs of the oboe and violin I. Isoyama thinks that Bach may have intentionally imitated the style of his predecessor Johann Kuhnau in the "elegantly flowing obbligato for oboe and first violin".
Jang was born to South Korean parents in Grenoble where by the age of five he began his first violin lessons with Flora Elphege and then continued it with Gerard Poulet at the Conservatoire de Paris. He was fascinated with Detroit and Argentinian music especially Astor Piazzolla and his tangos. Currently he is a concertmaster of both the Britt Festival and Honolulu Symphony Orchestra as well as a teacher at the University of Hawai'i at Manoa. In 1989 he became a prize winner at both the Rodolfo Lipizer and Lion's Club's violin competitions and Eastern Music Festival.
Born in Zagreb in 1914, Šulek began his music study very early by learning piano, violin, and composition. In 1936 he received his diploma from the Zagreb Academy of Music, where he studied violin with Vaclav Huml (1880–1953) and composition with Blagoje Bersa (1873–1934), the founder of Croatian modern music movements. Until 1952 Šulek was an active soloist who gave numerous recitals. He was also an active chamber music performer of the highest level, as he was the first violin of the Zagreb String Quartet from 1936–38 and was a member of the Maček-Šulek- Janigro Trio from 1939–45.
By 1927 the membership of the ensemble had settled: Kolisch played first violin, Felix Khuner played second violin, Eugene Lehner played viola and Benar Heifetz played cello; this group became known as the Kolisch Quartet. Numerous works were written for them by composers including Alban Berg, Anton Webern, Arnold Schoenberg, and Béla Bartók. The Quartet's tours extended eventually to include all European countries including Scandinavia, and also (by the mid-1930s) North and South America. One notable aspect of the Quartet was that they generally performed from memory, including difficult modern works such as the Lyric Suite of Berg.
Peter Zauner was the son of a Burgenland winegrower, master shoemaker and musician, who was a member of the Carl Michael Ziehrer musical ensemble, where he rose to play the lead violin. His son Peter received his first violin lessons at the age of five. During his military service in Vienna, beginning in 1903 he received further music lessons and joined the military music corps of the Infantry Regiment 71 in Trenčín and worked from 1908 as a conductor in Pöttsching and Wiener Neustadt. During the First World War he served as a Combat medic at the rank of a Sergeant.
The Clarinet Concerto No. 1 in C minor, Op. 26, was composed by Louis Spohr between fall of 1808 and early 1809, and published in 1812. The concerto was the first of four that Spohr would compose in his lifetime, all of which were dedicated to the German clarinet virtuoso Johann Simon Hermstedt. Spohr was inspired to write the concerto after meeting Hermstedt in Sondershausen and performing the Mozart Clarinet Quintet with him, with Spohr playing the first violin part. Spohr began work on the Concerto No. 1 soon after, and finished it in January 1809.
In his orchestra William Herschel, the astronomer, played first violin. Shortly afterwards he succeeded to a fellowship at King's and was appointed college tutor. The attention of Lord Sandwich, the first lord of the admiralty, whose second son was a pupil of Bates, was at this time attracted to his wonderful musical and general talents, and he made him his private secretary, and procured for him a small post in the post-office worth 100 pounds a year. He was a commissioner of the Sixpenny Office, 1772–6, and of Greenwich Hospital from 1775 till his death.
The International String Quartet Competition "Premio Paolo Borciani" was created in 1987 in Reggio Emilia, Italy, and is dedicated to their famous fellow citizen, founder and first violin of the Quartetto Italiano. Twenty years later, the Premio has now become one of the most prestigious competitions of the world, thanks also to the precious support of MaxMara. Promoter and organiser is Fondazione I Teatri in Reggio Emilia; artistic director is Paolo Cantù; founder was pianist Guido Alberto Borciani, Paolo Borciani’s brother. The Competition has been a member of the World Federation of International Music Competitions since 1991.
Antonio Ximénez Brufal (December 23, 1751 - March 10, 1826) was a Spanish composer and violinist from Alicante. Born into a family of musicians, Ximénez became a violinist at the chapel of the Colegiata de San Nicolás de Alicante at the age of eighteen. In 1776 he took a position as first violin in the Italian opera troupe of Teresa Taveggia, which was touring Spain at the time. The company suffered a number of setbacks thanks to ecclesiastical authorities, but even so Ximénez was so well-regarded that Carlos III invited him to spend a year at the royal court.
While residing in London, England, between 1871 and 1872, Gounod started to write a suite for piano called Suite burlesque. After completing this piece, Gounod abandoned the rest of the suite.enpmusic; retrieved 16 August 2013 The piece was dedicated to Madame Viguier, a pianist and the wife of Alfred Viguier, the first violin in the Orchestre de la Société des Concerts du Conservatoire. In 1879, he orchestrated the piece with piccolo, flute, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D, 2 trumpets in A, 3 trombones, ophicleide, timpani, bass drum, cymbals, triangle, and strings.
In a 1983 concert, he played the Proms premiere of Alfred Schnittke's Violin Concerto No. 3, conducted by Edward Downes. He was Concertmaster of the Stockholm Philharmonic Orchestra from 1955, the London Symphony Orchestra from 1962 to 1965, and the Royal Philharmonic Orchestra from 1972 to 1975. In addition, he was first violin with the London String Quartet (a later ensemble than the London Quartet), and he played chamber music on numerous occasions. Gruenberg taught at the Guildhall School of Music and Drama from 1982 and at the Royal Academy of Music in London from 1989, continuing to teach to age 95.
After her two first violin and piano albums - which included virtuoso and romantic masterpieces ("Marie Cantagrill - Romantic and virtuoso" boutique.mariecantagrill.fr and "Récital Slave" (with Véronique Bracco, piano) as well as a "Tchaikovsky Violin Concertoboutique.mariecantagrill.fr and Rimsky-Korsakov Fantasy on Russian Themes Album" - recorded at the Hungarian Radio Studios in Budapest, with the Budapest Concert Orchestra - cond. Tàmàs Gal, Marie Cantagrill is releasing in November 2009 a New Album : "Bach - Partitas n°2 & 3 for solo violin"(Sonatas and partitas for solo violin)cantagrill A "SINGLE" with "Bach - Sarabanda in d-minor from the Partita n°2".
He went on to win prizes at the Hannover International Violin Competition, Queen Elisabeth Competition, and Yehudi Menuhin International Competition for Young Violinists, and was First Prize winner of the 2005 Michael Hill International Violin Competition (New Zealand). In 2006 he was awarded first prize in the Paganini Competition. In 2012, he founded the Dragon Quartet, in which he plays first violin, and he performs regularly with this ensemble, as well as with major local and international orchestras. Ning Feng plays a 1721 Stradivarius violin, known as the "MacMillan", on private loan, kindly arranged by Premiere Performances of Hong Kong.
This leads back to a restatement of the meno mosso e moderato section. This time, though, instead of a silky pianissimo, the fugato is played forte, heavily accented (Beethoven writes on every sixteenth-note group), march-like. Analysts who see the fugue as a variation of sonata-allegro form consider this to be part of the recapitulation section. In this section, Beethoven uses another complex contrapuntal device: the second violin plays the theme, the first violin plays the main subject in a high register, and the viola plays the main subject in inversion – that is, upside down.
Music standards grew, along with student numbers, elevating the general status of music in the School even more. In 1932 the first MLC School Orchestra performed folk dances on senior play day. The Orchestra consisted of one first violin, four second violins, a cello, piano, two drums, four triangles, two cymbals and one tambourine. The first MLC School concert was held in 1933 and featured items by the Senior and Junior Choirs as well as instrumental and recitation solos. The School magazine ‘Excelsior’ published a School music column from 1930 which featured competition results and reported on musical functions including lunchtime recitals, visitors’ recitals and gramophone lecture recitals.
Before Shostakovich used the motif, it was used by Mozart in measures 16 and 18 of his String Quartet no. 19 in C major, K. 465 in the first violin part. Many homages to Shostakovich (such as Schnittke's Prelude in memory of Dmitri Shostakovich or Tsintsadze's 9th String Quartet) make extensive use of the motif. The British composer Ronald Stevenson composed a large Passacaglia on it. Also Edison Denisov dedicated some works (1969 DSCH for clarinet, trombone, cello and piano, and his 1970 saxophone sonata) to Shostakovich, by quoting the motif several times and using it as the first four notes of a twelve-tone series.
Go away and > once and for all play the other concertos, which are just as good, if not > better.” In 1903 Bruch visited Naples, and local violinists gathered near where he was staying to salute him. Bruch complained: > “On the corner of the Via Toledo they stand there, ready to break out with > my first violin concerto as soon as I allow myself to be seen. (They can all > go to the devil! As if I had not written other equally good concertos!)” In 1996, it was voted the number one work in the Classic FM (UK) Hall of Fame by the station's listeners.
Rae Jenkins , born Henry Horatio Jenkins (19 April 1903 – 29 March 1985) was a Welsh violinist and later conductor of light music, notably with the BBC Midland Light Orchestra (1942–1946), the BBC Variety Orchestra (from 1946), and as principal conductor of the BBC Welsh Orchestra (1950–1965). In 1955 Hubert Clifford, Head of Light Music at the BBC, called Jenkins "the most gifted and experienced conductor of light music in the country". Jenkins was born at Ammanford in 1903, the son of a coal miner. Given a violin when four years old, he was first violin in his local theatre orchestra by the age of eleven.
Following the Russian Revolution , Goldovsky and Luboshutz decided to emigrate and she departed, first going to Germany on a concert tour in 1921 with her 13-year-old son Boris serving as her accompanist, never to return. Onissim Goldovsky died the next year, not having managed to leave the Soviet Union. Living as a single mother in Berlin and then in Paris, she toured throughout Europe and, under impresario Sol Hurok’s banner, throughout the United States. There she introduced many new works to American audiences including playing the New York premiere of the first violin concerto of Serge Prokofiev with Ernst von Dohnanyi conducting the orchestra.
At age 22 Genualdi won an audition to serve as associate concertmaster of the San Francisco Symphony; it was during this time that he became a founding member and first violinist of the Muir Quartet. Under the aegis of the Wardwell Fellowship at Yale University, the Muir captured international attention by winning first prize in 1980 at Le Concours d'Evian and also the 1981 Walter W. Naumburg Chamber Music Award. Their performance at the White House was featured on national television. With pianist Jean-Philippe Collard, the Muir Quartet (with Genualdi as first violin) won the Grand Prix du Disque for their recording of the César Franck piano quintet.
Sándor Végh, a pupil of Jenő Hubay and Zoltán Kodály at Budapest Academy, led the Hungarian Quartet from its foundation in 1935 until 1937, when he ceded the first violin desk to Zoltán Székely, and went to the second in the place of Péter Szervánsky: Denes Koromzay was the viola and Vilmos Palotai the 'cello. Székely was a friend of Béla Bartók, and the group became rapidly known by giving the premiere performance of the Bartók 5th Quartet, which it studied with the composer. By 1938, the group had been heard in every major city of Western Europe. In 1940 Végh left to found his own quartet.
Vasily Pashkevich entered court service in 1756 becoming a court composer to Tsar Peter III of Russia and later to his widow, Catherine the Great. He also played violin, and taught singing in the Academy of Arts 1773-1774 and later in the court capella. Between 1780 and 1783 he managed the Karl Kniper Theatre and in 1789 he became the first violin of the court orchestra, remaining in charge of imperial ballroom music until his death. Pashkevich wrote important comic operas, often re-working them at length, like Saint-Petersburg's Trade Stalls, begun in 1782 and revised in 1792, and also As you live you will be judged.
From the age of sixteen he played in the orchestras of the Booth Theatre, where his uncle led the orchestra, that of Theodore Thomas at Central Park Garden, and the Damrosch Orchestra, where he also played piano. He left New York City for Boston where he played at the Bijou Opera House. He played first violin in the Boston Symphony Orchestra from 1884 to 1888. He turned to conducting and led the Germania Orchestra for several years and then led several annual tours as head of the Boston Festival Orchestra, leading concerts with such notable soloists as Emma Calvé, Nellie Melba, and Eugène Ysaÿe.
In addition, Lisyansky often violated instruction of the "Admiralty college" and acted separately from Nadezhda. Lieutenants Ratmanov and Romberg were not alien to culture, knew the French language and even corresponded with Nikolay Karamzin. When playing music in the mess, Romberg was the first violin in the ship's orchestra, while Ratmanov was reading books on travels and on philosophy even during shifts, and got annoyed if others distracted him. Johann Caspar Horner "Lithography of Engelman" Even though the RAC did not have any scientific aims, Krusenstern addressed the Russian Academy of Science (where he was elected as a corresponding member on April 25, 1803) and created the "scientific committee".
Dalley was a regular participant at the Marlboro Music Festival in Vermont. In summer 1963, the ensemble was brought together partly at the instigation of Rudolf Serkin, conductor, and Alexander Schneider, violinist of the Budapest String Quartet, who had begun summer teaching at the Marlboro Music School and Marlboro Music Festival. The four men, who had performed with each other before on various occasions, came together to found the Guarneri Quartet, comprising Arnold Steinhardt (first violin), Dalley (second violin), Michael Tree (Michael Applebaum)Arnold Steinhardt, Indivisible by Four: A String Quartet in Pursuit of Harmony, Farrar Straus and Giroux, New York, 1998, 2000. (viola), and David Soyer (cello).
Guide to Chamber Music, p 428-430 Mineola, NY: Dover Publications (2001). . and its public premiere took place on 29 March 1879, performed by Ferdinand Lachner, Jan Pelikán, Josef Krehan and Alois Neruda. The work is semi-autobiographical and consists of sketches of periods from Smetana's life, as is suggested by its subtitle Z mého života ("From My Life"). Its notable features include a prominent viola solo at the very beginning of the first movement, and a high, sustained harmonic E on the first violin in the last movement, which represents the ringing in his ears that presaged Smetana's deafness, although the actual ringing was a chord in A-flat major.
The finale demonstrates Borodin's mastery of counterpoint. Written in a conventional sonata form, it opens with an introduction, which introduces the principal theme, broken into two elements: a dialogue between two violins, answered by a viola and cello. These "question-answer" motifs (one possibly being an imprecise retrograde inversion of another) combine into the principal theme of the movement (beginning with measure 20), where the "answer" makes an accompaniment, and the "question" makes for the upper voice. The principal theme is stated as a canon, with viola, second violin, and first violin stating the theme, which modulates into a dominant, and lead into the subordinate theme in measure 90.
Puente was born in Santiago de Cuba in 1961, during the Cuban revolution, to a mother who was a nurse and a father who was a doctor. He began learning the violin when he was five years old and studied at the Esteban Salas music school in Santiago. At the age of 12 he took up a scholarship to study classical music at the Escuela Nacional de Arte in Havana for six years. He went on to make a career as a classical musician, completing his formal higher education at the Instituto Superior de Arte, then joining the National Symphony Orchestra of Cuba (NSOC), in which he became first violin.
In 1958, an orchestra was recorded for the 31st Academy Awards ceremony with Jack Benny on first violin, Mansfield on violin, Dick Powell on trumpet, Robert Mitchum on woodwind, Fred Astaire on drums and Jerry Lewis as conductor; however, the performance was canceled. She sang "Too Marvelous for Words" for The Jack Benny Program ("Jack Takes Boat to Hawaii"; Episode 9, Season 14; November 26, 1963). Her club performances regularly featured songs like Call Me, A Little Brains, A Little Talent ("This Queen has her aces in all the right places"), Plain Jane, Quando-Quando, Besame Mucho, and the song made famous by Marilyn Monroe — Diamonds Are a Girl's Best Friend.
At the time of its composition Saint-Saëns was preparing new editions of the works of baroque composers including Rameau and Lully. In Ratner's view, the most important of Saint-Saëns's chamber works are the sonatas: two for violin, two for cello, and one each for oboe, clarinet and bassoon, all seven with piano accompaniment. The First Violin Sonata dates from 1885, and is rated by Grove's Dictionary as one of the composer's best and most characteristic compositions. The Second (1896) signals a stylistic change in Saint-Saëns's work, with a lighter, clearer sound for the piano, characteristic of his music from then onwards.
The first movement is in sonata form and, without introduction, presents a rather violent yet melodic first theme in D minor. The second theme, in the dominant major key of A major, is much calmer; it flows from the first theme almost effortlessly and then proceeds into the development and recapitulation, which concludes with a quick coda. The slow movement, in D major, has a very innocent, romantic theme initially stated by the first violin with pizzicato accompaniment before being taken up by the cello. Following interruption by an interlude for all of the instruments, the theme returns for a repeat of the first section.
The opening of the second quartet is essentially contrapuntal, with the viola and the second violins playing countersubjects to the cello's principal melodic line. Haydn also uses more obscure techniques; in the adagio movement of the fifth quartet, for example, he writes at one point "per figuram retardationis", meaning that the melodic line in the first violin lags behind the harmonic changes in the accompaniment. "Enormous importance lies in these fugues", writes Tovey. "Besides achieving in themselves the violent reconquest of the ancient kingdom of polyphony for the string quartet, they effectively establish fugue texture from henceforth as a normal resource of sonata style".
In the first movement, Haydn indeed proceeds to the dominant key of E major, but then shifts to E minor for the second theme. But he stays in that key only half a measure, modulating to C major, then to D major, and on, shifting keys relentlessly until he comes back to the dominant E major. The second movement, marked Adagio, is a variation on sonata form, modeled after a form developed by Haydn's contemporary, Carl Philipp Emanuel Bach. The violins dominate, with the first violin playing the melody over rippling sixteenth notes in the second, or the second carrying the melody, with the first playing embellishments.
Wilkanowski was born on November 15, 1886 as listed on his grave and on his draft card, and the year 1886 indicated as estimated in several census records of New York. His obituary states his age to be 69 in December 1954, which would then indicate the birth year as 1885. The draft card of 1942 reveals his birth place to be Działyń, but it is unclear, which of the 4 places of this name in Poland it could have been. According to Fairfield's book, William built his first violin already at age 9 (in 1895), which would indicate that he came from a luthier or a musical family.
Mannelli spent the major part of his life in Rome where he also worked during the opera performances and religious events. As a violinist nicknamed Carlo del Violino and Carluccio di Pamfili, he played the first violin in the most famous Roman musical ensemble of the period. Arcangelo Corelli, who often played under Mannelli and who gradually replaced him between 1682 and 1690 as the first concertino violinist, described him as one of his most influential teachers. Additionally, he counted him with Carlo Ambrogio Lonati and Lelio Colista among the "più valorosi professori musici di Roma", as cited in the preface of his Opus 1.
At the request of his publisher, Artaria, the composer in 1787 produced a reduced version for string quartet: Haydn's Opus 51. This is the form in which the music is most often heard today: a group of seven works (Hoboken-Verzeichnis III/50–56), with the Introduction abutting Sonata I and Sonata VII joined by the Earthquake. The first violin part includes the Latin text directly under the notes, which "speak" the words musically. This version has come under suspicion of authenticity due to an occasionally careless manner of transcription, with crucial wind passages left out and only the accompanimental figures in the strings retained.
His letter to Amati stated the instrument was to be "made of the highest quality materials like that of a lute, but simple to play". What became of this first violin is not known. A number of his instruments survived for some time, dating between 1538 (Amati made the first Cello called "The King" in 1538 [1]) and 1574. The largest number these are from 1560, a set for an entire orchestra of 38 ordered by Catherine de Médicis the regent queen of France and bore hand painted royal French decorations in gold including the motto and coat of arms of her son Charles IX of France.
His only purely instrumental orchestral works were a serenade Aus der Jugendzeit ("From Youth") (1890) and a Konzertstück for piano and orchestra in E-flat minor, Op. 74 (1920). Kahn was often commissioned to create works for some of the finest musicians of the early decades of the 20th century up to the young Adolf Busch with whom Kahn gave the first performance of his Suite op.69 for Violin and Piano. His first Violin Sonata in G minor was dedicated to Joseph Joachim who asked to perform it when Kahn was still a young student in Berlin, and even Clara Schumann mentioned this Sonata in her diary.
Faust received her first violin lessons at the age of five. Her father, then a 31 year old secondary school teacher, decided to learn the violin. He took his young daughter along: the father's talent was not especially stellar, but his infant daughter was able to learn the technical fundamentals of violin playing correctly and at an unusually early age, quickly herself becoming the star pupil. Shortly after that her brother also began to take lessons and when Isabelle was 11 the parents created a family string quartet for which several masterclasses were later organised with some of the leading string players of the time.
The conductor unifies the orchestra, sets the tempo and shapes the sound of the ensemble. The conductor also prepares the orchestra by leading rehearsals before the public concert, in which the conductor provides instructions to the musicians on their interpretation of the music being performed. The leader of the first violin section, commonly called the concertmaster, also plays an important role in leading the musicians. In the Baroque music era (1600–1750), orchestras were often led by the concertmaster or by a chord-playing musician performing the basso continuo parts on a harpsichord or pipe organ, a tradition that some 20th-century and 21st-century early music ensembles continue.
He then toured the United States performing violin recitals. During this time Thomas served as his own manager, ticket sales, and press agent. He reached as far south as Mississippi. Thomas returned to New York in 1850, with the intent of returning to Germany for advanced musical education; instead, he began his studies conducting in New York with Karl Eckert and Louis Antoine Jullien. He became first violin in the orchestra that accompanied Jenny Lind in that year, Henrietta Sontag in 1852, and Giulia Grisi and Giuseppe Mario in 1854. Also in 1854, at the age of nineteen, he was invited to play with the Philharmonic Society's orchestra.
11 for wind quartet (1965) are based on twelve-tone scales, as is his first opera, Das Mädchen, der Matrose und der Student (The Girl, the Sailor and the Student, 1960). He began composing his second opera Die Seidenraupen (The Silkworms) in 1964 and completed it in 1968, when it was successfully premiered during the Wiener Festwochen at the Theater an der Wien with singers Jeannette Pilou and Oskar Czerwenka. The composer describes the work as being based on three scales, for the three main characters, which are derived from each other and sometimes combined in a way leading to tonality. His first violin sonata, op.
In 1936 Barylli gave his first public performance as a soloist in Munich, and made his first gramophone recordings in Berlin. Over the next two years he made an international career as a soloist. F. Mairecker advised him that in autumn 1938 a first violin desk would become available with the Vienna Philharmonic. Travelling to the audition at Vienna by train from Stuttgart on 12 March 1938 he became aware of the preparations for the invasion of Austria and realised he must make his career with an orchestra rather than as a travelling soloist: he won the place and became a member of the VPO.
Petra Müllejans (born 1959 in Düsseldorf) is a German violinist, conductor and pedagogue, known especially for her work in historical performance practice and as a co-founder and performer with the Freiburger Barockorchester. Müllejans received her first violin lessons at the age of eight in Meerbusch. At age 12, she was accepted as a student at the Düsseldorf Academy of Music; among her teachers was the violin teacher, musicologist and Bach researcher Helga Thoene. At 21, she moved to the Hochschule für Musik Freiburg, where she studied with Rainer Kussmaul; it was during this period that she developed an interest in the Baroque violin.
The romances, scored for violin and piano, are written in three movements: #Andante molto #Allegretto #Leidenschaftlich schnell The first romance begins with hints of gypsy pathos, before a brief central theme with energetic arpeggios ensues. This is followed by a final section similar to the first, in which Clara Schumann charmingly refers to the main theme from her husband Robert Schumann's first violin sonata. The second romance is more wistful, with many embellishments. It is sometimes considered as representative of all three, beginning with a plaintive appetizer to its energetic, extroverted leaps and arpeggios, followed by a more developed section with the first theme present.
It has the form ABABA: the A section is a sprightly, somewhat quirky tune, full of off-beats and cross-rhythms. High in the first violin there appears the song of a bird the composer believed to be a scarlet tanager; however, the song was likely not that of the tanager. Second section of the scherzo The B section is actually a variation of the main scherzo theme, played in minor, at half tempo, and more lyrical. In its first appearance it is a legato line, while in the second appearance the lyrical theme is played in triplets, giving it a more pulsing character.
Kränzlein grew up in Puchheim near Munich and made first musical experiences aged five when she autodidactically learned to play the recorder. Within the next ten years she expanded her repertoire with the western concert flute whereby she won the Bavarian state level awards of Jugend musiziert two times.Bayerischer Rundfunk At age eight she received her first violin lesson by Simone Burger-Michielsen, who kindled Kränzlein's love for classical music. From age twelve on, she played with the newly founded Puchheim Youth Chamber Orchestra and was concertmaster under Peter Michielsen from 1997 on who also used to be her violin teacher for several years.
The final movement, "A Fidler," Gilmore's work is a humorous and playful Yiddish tune depicting a young musician's first violin lesson and his mother's dream of him becoming a great virtuoso. According to the program notes in the conductor's score, "it was inspired by folk recordings of Theodore Bikel and groups like The Limelighters." To prevent the voice from being overpowered by the band, much of the craft of Gilmore's work lies in his judicious balance of voice and instruments.Humboldt State University Department of Music, Paul Cummings: Director's Notes for Symphonic Band Rarely are all musicians performing at once, yet there is sufficient variety of dynamics and textures to create interest.
Paunović was educated in the Serbian Grammar School in Novi Sad (1900–1908) where he attended his first violin classes. As a final year violin student, he learned at the Conservatory in Prague in 1909. He studied composition with Max Reger at the Conservatory in Leipzig (1909–1911) and simultaneously attended Hugo Riemann’s lectures at the University in the same town. He was a choir leader in Ruma and Novi Sad (1913) and in the Academic Singing Society Obilić in Belgrade (1923), a teacher of music in the Male Teaching College in Jagodina (1914; 1918–1920) and a professor of the Musical School Stanković (1921–1922).
In 1883 he was appointed University of Adelaide Examiner in Music with Cecil Sharp and Charles H. Compton, a board which, inter alia, selected Otto Fischer as recipient of an Elder Overseas Scholarship in Music. He performed in 1881 and 1882 with the Adelaide String Quartet whose makeup varied, but revolved around John Hall (first violin and leader); C. Barton or Chapman (2nd violin); Frank Hailes or Hermann Schrader, (viola); Frank K. M. Winterbottom, ('cello). with Hermann Schrader, Heuzenroeder, Jules Meilhan ( –1882) or W. R. Pybus on piano. In February 1884 he left again on the Orient for continued studies in Leipzig returning in 1886.
In May 2004, at the age of 16, Benedetti won the BBC Young Musician of the Year competition, performing Karol Szymanowski's First Violin Concerto in the final at the Usher Hall in Edinburgh, with the BBC Scottish Symphony Orchestra. As a result of gaining the award, she came first in the music section of the Top Scot award in December 2005. Despite winning the competition, The Times reported that Benedetti was snubbed by Jack McConnell, the then First Minister of Scotland, who thought that there was insufficient public interest to merit a personal message of congratulations. Following a public and political outcry, McConnell telephoned Benedetti to acknowledge her success.
Marinov was born in Sofia, Bulgaria and was adopted by one of Marinovi family, a well-known tobacco company owners, used as a prototype of the Dimitar Dimov's best-selling novel Tobacco.Димитър Маринов така разсмял с "гаден поглед" Виго Мортенсен, че спрели снимките на "Зелена книга" At the age of 11, he became first violin in a youth symphony orchestra and traveled all over Western and Eastern Europe, the US and the Middle East. Following the completion of an associate degree in Classical Music, he discovered his passion for acting. At the age of 18, Marinov was drafted into the Bulgarian Army which was mandatory during the Communist era.
As chamber musician, she participates as a guest in the ensemblme (Rameau, Antoine Dauvergne) and founds and directs Les Veilleurs de nuit; She is also a member of the Anpapié string trio (with Fanny Paccoud, viola and Elena Andreyev, cello) since its foundation in 2002 and plays in duet with the piano-fortist Aline Zylberajch. In 2002, she recorded Heinrich Biber's Rosary Sonatas for the Alpha label, a disc which won a Diapason d'or of the year 2003. In 2004, she entered as first violin in Hervé Niquet's ' ensemble and is a soloist at ' directed by Martin Gester. Piérot teaches the Baroque violin and an orchestra class at the Aix-en-Provence conservatory.
Harding was invited in 1972 to study conducting with David Zinman in the United States whilst continuing his violin studies with Joseph Silverstein. He was assistant concertmaster of the Rochester Philharmonic (1974–1976). He was awarded the Albert Spalding Prize for the most outstanding instrumentalist at Tanglewood in 1975. He then gained a position as first violin with the New York Metropolitan Opera Orchestra and studied conducting with James Levine (1976–1978). He was artistic director of the Australian Chamber Orchestra (1979–1982). In 1980 he was a foundation member of the University of New South Wales Ensemble (later called the Australia Ensemble), an Australian chamber music group. Harding was replaced by Dene Olding in 1982.Peter McCallum.
He began conducting with the Birmingham Philharmonic Orchestra in 1996 and later conducted the CBSO as well as playing in its first violin section. Several times he stepped in to conduct the CBSO on very short notice. In 2004 he substituted Sakari Oramo to conduct the world premiere of Richard Causton's Between Two Waves of the Sea. In 2011 he substituted Ilan Volkov in a concert of Scandinavian music. Seal was appointed Assistant Conductor of the CBSO in 2005 and Associate Conductor in 2011. He relinquished his post in the CBSO's violin section in 2014 to devote himself full-time to conducting.Stinchcombe, Norman (4 July 2014). "Review: Duke Bluebeard's Castle, CBSO at Symphony Hall".
In 1917 Roldán received the Sarasate violin award and began working in the Madrid Symphony Orchestra as a violinist. He also offered concerts in several Spanish cities. In 1919 Roldán travelled to Cuba, where began working as a professor, and subsequently, in 1922, he joined the Havana Symphony Orchestra, conducted by Pedro Sanjuán. In 1926, he organized together with Alejo Carpentier a series of concerts of contemporary Cuban music, and next year participated as first violin in the Havana String Quartet, along with famous composer Joaquín Turina. In 1931, he founded with the pianist César Pérez Sentenat the Havana “Escuela Normal de Música” and was named conductor of the Philharmonic Orchetra of Havana.
Born in Poland to Ukrainian parents, Chumachenco grew and started his musical training in Argentina. Nicolas left Argentina to study in the United States at the University of Southern California with Jascha Heifetz and later at the Curtis Institute in Philadelphia with Efrem Zimbalist and won awards at the International Tchaikovsky Competition and the Queen Elisabeth Music Competition. Nicolas has appeared as soloist with many important orchestras conducted by artist such as Zubin Mehta, Wolfgang Sawallisch, Peter Maag and Rudolf Kempe. Chumachenco has been first violin of the Zurich Quartet, professor of violin at the Hochschule für Musik Freiburg and serves as leader and music director of the Queen Sofía Chamber Orchestra in Madrid.
In addition he teaches at several summer academies, including Pro Quartet Paris, Accademia Chighiana Siena and the Misqua Montreal. Many of his students received international prizes, have become concert masters in important orchestras, or made a name for themselves with solo careers. Also among his students are musicians from many chamber music ensembles such as the Artemis, Aron, Belcea, Casals, Fauré, Eliot quartets, the Trio con brio, das Atos-, Eggner-, Morgenstern trios and up and coming ensembles such as the Acies, Amaryllis, Cavaleri, Finzi, Piatti, Minetti, Schumann, Voce and van Kuijk quartet. In 1970 Günter Pichler founded the Alban Berg Quartett and was the first violin of this world famous string quartet until it disbanded in 2008.
Making his North American debut in 2002 with the Atlanta Symphony orchestra performing Paganini's First Violin Concerto. This success was followed by touring engagements with the St. Louis Symphony Orchestra conducted by Robert Spano; Cincinnati Symphony Orchestra; Cincinnati Chamber Orchestra; the Odense Symphony Orchestra, Denmark, São Paulo Symphony, Brazil. He also completes a 5-city tour in China performing the Butterfly Concerto with Qingdao Symphony Orchestra, as part of the China-US cultural exchange initiated by Secretary of State of the US John Kerry, and chairman of the cultural department of China Mr. Luo . Yang Liu was honored to be featured in a documentary called “String of heart--Yang Liu” highlighting Yang's artistic life.
The tuning G-D-A-E is used for the great majority of all violin music. However, any number of other tunings are occasionally employed (for example, tuning the G string up to A), both in classical music, where the technique is known as scordatura, and in some folk styles where it is called "cross-tuning." Numerous such tunings exist, often being named for a prominent tune played in that tuning. A good example of scordatura in classical solo violin repertoire is Paganini's First Violin Concerto in E-flat major, where the violin part is written in D-major and the violinist is supposed to tune a half tone higher to match the orchestra's key of E-flat major.
On an invitation of Pinchas Zukerman, he took post-graduate studies with him in New York City, completing in 1998 with honours. He advanced chamber music playing with Jaime Laredo, Isidore Cohen and Walter Levin. Frühwirth made his debut at the Salzburg Festival in 2004, performing with pianist music of the 20th century, music from Korngold's opera Das Wunder der Heliane, the Sonata in D by Hans Gál, William Walton's Toccata (1922/23), Korngold's Suite from his incidental music to Much Ado About Nothing, Op. 11 (1916), and Ernst Krenek's first Violin Sonata, Op. 3 (1919). The duo performed some of these works for a recording titled Trails of Creativity, featuring music from the interwar period.
He moved to Berlin in 1869 to continue his studies first at the Julius Stern Conservatory, where he studied piano with Eduard Franck and composition with Friedrich Kiel, and then at Theodor Kullak's Neue Akademie der Tonkunst, where he studied composition with Richard Wüerst and orchestration with Heinrich Dorn. There he became close friends with the Scharwenka brothers, Xaver and Philipp. In 1871 he accepted Kullak's offer to become a teacher in his academy; as he was also a more than competent violinist, he sometimes played first violin in the orchestra. In 1873 Moszkowski made his first successful appearance as a pianist, and soon began touring the nearby cities in order to gain experience and establish his reputation.
The second movement features passacaglia with sixteen variations. Their order is defined by their individual textural complexity and by shifting the main theme in higher registers, from the first violin downward, ending the movement in the cello part. The historicist impetus, this time directed at J. S. Bach as a symbol of a Western European composition canon, is yet again underscored in this work by Predrag Milošević. Choosing to end his quartet with a fugue featuring the B-A- C-H motive, Milošević “aligned” himself not only with Bach but with a host of those who used the motive based on the same notes as a code among followers of this compositional and aesthetic doctrine.
Having been pushed by his father to become a violinist, Antoine Goléa entered the Conservatory of Bucharest at the age of nine, and studied violin under the guidance of Cecilia Nitzulescu, a brilliant and despotic "failed violinist", who initially believed in his talent. But, after nine years of study, they both have to face the facts: he was not made to be a virtuoso violinist, despite his undeniable gifts, in particular that of the "absolute pitch", and despite the first violin prize which crowned his long years of study. He was then eighteen years old. After three years at the French high school in Bucharest, his parents decided to send him to France to complete his secondary education.
It opens in C minor and ends in C major with a stately chorale tune. The four movements are clearly divided into two pairs, a practice Saint-Saëns used elsewhere, notably in the Fourth Piano Concerto (1875) and the First Violin Sonata (1885). The work is dedicated to the memory of Liszt, and uses a recurring motif treated in a Lisztian style of thematic transformation. Saint-Saëns modelled his symphonic poems on those of Liszt, seen here on a postcard inscribed to Fauré Saint-Saëns's four symphonic poems follow the model of those by Liszt, though, in Sackville-West's and Shawe- Taylor's view, without the "vulgar blatancy" to which the earlier composer was prone.
The mood is contemplative and enigmatic, with a defining feature being a mysterious rise and fall of a semitone in the accompaniment of the viola melody in XV and the first violin melody in XVI. This slow movement then gives way to what may be termed a little scherzo, made up by Variations XVII, XVIII and XIX. The dynamic level is ppp or pp throughout, the texture subdued and buzzing like insects. After a chromatic and ferocious Variation XX, there is another slow, mysterious Variation XXI in which the theme is distributed strangely around the instruments – this can be seen to act as a kind of trio that interrupts the fast scherzo movement.
After staying for a year in Alarcón's ensemble, Álvarez took an important step in his career when the renowned composer and conductor Florentín Giménez invited him to be first violin in his "Traditional and Modern" group, which in the mid-fifties had a reputation hard to match. Its 14 members included well-known figures such as Oscar Escobar, Carlos Centurion, Juan Carlos Miranda, and Jorge Alonso, and the group performed at the most important social events throughout Paraguay. His priorities for continuing his musical education included improvements in his violin playing and studies of theory and sight-reading. He studied under Alfredo Kamprad at the Normal School of Music, where in 1955 he was appointed senior teacher of violin.
It has been suggested that Bellison had actually composed them himself in the Jewish style . The other members of the ensemble were Jacob Mestechkin, first violin, G. Besrody, second violin, K. Moldavan, viola, Joseph Cherniavsky, cello, and Leo Berdichevsky, piano , although one source names the second violinist as Michael Rosenker, who was 19 years old at the time . It received its premiere at the Bohemian Club in New York, on 2 February 1920, with Prokofiev as guest pianist. Before they disbanded in 1922, the Zimro Ensemble performed it again at least twice at Carnegie Hall—with their own pianist, Berdichevsky, in 1921, and possibly with guest pianist Lara Cherniavsky in December 1920 .
The sixth and final quartet of the set, in D major, is numbered III/49 in the Hoboken-Verzeichnis catalogue. Its movements are: #Allegro #Poco adagio #Menuetto: Allegretto #Finale: Allegro con spirito Haydn's choice of D major for this quartet, with the second movement in D minor, optimises the use of open strings and allows for the work to be the loudest and most grandiose of the set. The first movement opens peculiarly: the first violin starts on an E, and proceeds to play a four-measure phrase that concludes with a D major chord. The use of a closing phrase to start the movement is the first of a number of unsettling incidents in the movement.
They married in the summer of 1941 at the headquarters of the Accademia Chigiana: the Palazzo Chigi Saracini chapel. Their marriage lasted almost 60 years, and three children were born. They formed a stable duo, which received notable acknowledgements during numerous concerts across Italy and abroad, and they recorded the entirety of the Mozart Sonatas for the Radio Televisione Italiana. In 1939 Count Chigi decided to create a new chamber music group called Quintetto Chigiano, which was formed by choosing some of the best students of the Accademia: Riccardo Brengola, first violin and Ferruccio Scaglia, second violin (later Mario Benvenuti and Angelo Stefanato); Giovanni Leone, viola; Lino Filippini, cello; Sergio Lorenzi, piano.
Südfriedhof in Leipzig Born in Diemarden near Göttingen, Schachtebeck attended the Höhere Bürgerschule in Göttingen and received his first violin lessons from Eduard Gustav Wolschke, the then chief conductor of the . He studied violin from 1904 to 1905 with Arno Hilf at the Leipzig Conservatory. Afterwards, he received private lessons from Walter Hansmann and took part in concerts with the Gewandhaus. In 1908 he became violinist in the Gewandhausorchester. In 1909 he became first concertmaster at the Theater Leipzig. From 1911 to 1914 he was concertmaster of the Philharmonic Winderstein Orchestra. He was also repeatedly appointed to the Bayreuth Festival orchestra (1911/12, 1914, 1931, 1933/34).Alfred Sous: Das Bayreuther Festspielorchester.
Vänskä was born to a Finnish family in the Kinki region of Japan, where she took her first violin lessons at the age of three. Her family moved back to Finland in 1989 and she continued her studies with Pertti Sutinen at the Lahti Conservatorium and the Sibelius Academy. At the age of 11 Vänskä was selected for the Kuhmo Violin School in Finland, a special institution for talented young violinists where she attended master classes with Ilya Grubert, Zinaida Gilels and Pavel Vernikov and had the opportunity to perform at the Kuhmo Chamber Music Festival with the Kuhmo Virtuosi Chamber Orchestra. In her teens Vänskä studied violin at Hochschule für Musik in Munich, Germany.
Ji-Hae Park was born in Germany. She took her first violin lesson from her mother, Lee Yeun-Hong, who is also a violinist. Park has been named Honorary Ambassador for the 2018 PyeongChang Winter Olympic Games highlighted by the Yonhapnews Agency, “Park, is a fan of winter sports and an accomplished skater. In July, Park posted a promotional video on her Web site in which she plays the violin while doing figure skating and competes against men playing hockey.” Ho, Jee. “Actors, musicians named honorary ambassadors for PyeongChang 2018” “Yonhapnews Agency”, November 6, 2017, retrieved November 8, 2017 She was recognized as The Respected Korean 2010 with Grand Prix and considered to be the youngest winner ever.
During the next 14 years, von Kunits was the Pittsburgh Symphony Orchestra's concertmaster, first violin, and assistant conductor to Frederic Archer (from 1896 to 1898), Victor Herbert (from 1898 to 1904), and finally Emil Pauer (from 1904 to 1910) when the orchestra came into financial difficulties and was dissolved. Also, it was in the United States that he first became aware of his Serbian roots. At Chicago's Columbian Exposition he witnessed Nikola Tesla's alternating current system running everything mechanical, not to mention the illumination of the entire exposition itself. In Pittsburgh he saw Serbian steelworkers forming one of the oldest Serbian fraternal organizations (the Serb National Federation) in 1901, and in 1907, merging with Michael I. Pupin's Sloga (Unity).
In a 1996 interview with Henry Louis Gates Jr., he speculated that his father, "Gene", may have been Jewish."Farrakhan claims his father may have been a Jew", The Jewish News of Northern California, April 26, 1996, accessed March 4, 2018 After the end of his parents' relationship, his mother moved in with Louis Walcott from Barbados, who became his stepfather. After his stepfather died in 1936, the Walcott family moved to Boston, Massachusetts, where they settled in the West Indian neighborhood of Roxbury. Walcott received his first violin at the age of five and by the time he was 12 years old, he had been on tour with the Boston College Orchestra.
"Unchained Melody" enters in figure H (measure 274) over a bass line of variation 9 of "Walsingham" that previously appeared in figure E. Schoenberg's String Quartet No. 2 is notable in two ways: first, it broke with convention by adding a part for a soprano vocalist, and second, it broke away from the tonal language standard and paved the way for modernist music. Nyman incorporates the Schoenberg material beginning in figure B, and it does not return until figure I. The material Nyman uses is an eight-note (two-measure) phrase for the cello transcribed by Nyman for first violin. Siôn notesp. 166 that Nyman compresses the nearly two-octave phrase into one octave.
Jens Peter Larsen suggests that "quartet playing was central to the contact between Haydn and Mozart", although the documentation of the occasions in which the two composers played or heard quartets or other chamber music together is slim. One report of such an occasion comes from the Reminiscences (1826) of the Irish tenor Michael Kelly, who premiered Mozart's most important operatic lyric tenor roles. > Storace gave a quartet party to his friends. The players were tolerable; not > one of them [except for Dittersdorf] excelled on the instrument he played, > but there was a little science among them, which I dare say will be > acknowledged when I name them: First Violin: Haydn > Second Violin: Baron Dittersdorf > Violoncello: Vanhal > Viola: Mozart.
When the Singapore Symphony Orchestra was set up in 1979, she applied for a position with the group and came through as a full-time performer – the only full-time staff of the arts group. Two days before the inaugural concert, the Musical Director Choo Hoey approached her to be the concertmaster of the upcoming performance, leading the first violin section and taking charge of the technical aspects of the orchestra's music making for SSO's first concert. Seah won scholarships that included one to the National Music Camp at Interlochen, Michigan USA when she was twelve. She was also awarded the Outstanding Young Musicians Award for being the youngest member of the World Youth Orchestra.
Driscoll argues that Dickinson intended thereby to express his lasting gratitude to his brother, whom he deeply admired, just as Beethoven showed his admiration for Mozart in the depicted score. But such a reading equates Burgess with Mozart, the teacher, and Dickinson with Beethoven, his student, although, as Driscoll points out, it was Burgess who was called Beethoven by school mates, friends, and colleagues.Driscoll 1985, p. 73. A different reading, one that supports Driscoll's basic conclusion but identifies Burgess as Beethoven, turns on the question of why Dickinson chose to depict the second violin part to represent the quartet, given the fact that without the melody of the first violin something essential is missing.
Maestro Archila began musical studies in piano and violin at the age of four. At seven, he gave his first violin concert with the Guatemalan military band/orchestra (the only musical ensemble during the dictatorships of that time). During his childhood and adolescence, Andrés studied violin with the most prominent musicians in Guatemala, many of whom were Italian or German expatriates from the late 1800s, and assumed principal positions in the military band/orchestra and conservatory. Since the age of ten he performed and earned a sustainable living playing at church functions, weddings, assembling chamber players for private functions, and even assembling orchestra players for "pit" background music to silent movies at the "Teatro Lux".
The aggregate is partitioned in the opening of the Third String Quartet with C–D–D–E in the accompaniment (strings) while the remaining pitch classes are used in the melody (violin 1) and more often as 7–35 (diatonic or "white-key" collection) and 5–35 (pentatonic or "black-key" collection) such as in no. 6 of the Eight Improvisations. There, the primary theme is on the black keys in the left hand, while the right accompanies with triads from the white keys. In measures 50–51 in the third movement of the Fourth Quartet, the first violin and cello play black-key chords, while the second violin and viola play stepwise diatonic lines.
He was also the first concertino violin in the concerti grossi of Corelli, Handel and others. During this time, he was sub- leader of the English Chamber Orchestra from 1974 to 1978 and led the City of London Sinfonia (the successor of the Richard Hickox Orchestra) from 1980 to 1989. In 1981 he was a founder of the Salomon Quartet (with Micaela Comberti, violin II, Trevor Jones, viola, and Jennifer Ward Clarke, cello), a period- performance string quartet specialising in the classical repertory, performing and recording works by Mozart, Haydn, and lesser known composers. He played regularly with The Academy of Ancient Music throughout the 1980s, often as first violin, and recorded Vivaldi's op.
The introductory andante con moto section of the first movement is not directly related to the rest of the movement and serves a similar function to the introduction of his Op. 74 quartet. Thereafter, the movement's main thematic material is exposed and developed. The relation (or apparent lack thereof) between the slow, sombre and dissonant introduction and the bright allegro which follows, is similar to what is found in Mozart's "Dissonance" Quartet, also in the key of C. The quartet's second movement makes use of an augmented second in the descending scale first played by the first violin at the beginning of the movement. This interval, repeated through the movement, gives it an association with the Hungarian scale.
Unlike the other two opus 59 quartets, this one does not have an explicit "Theme Russe" in any of its movements. Nevertheless, it can be argued that this second movement with its sparse texture and comfortless melodies, evokes a Russian feel by bringing to mind the vast, barren and desolate landscape of the Siberian tundra. The quartet's third movement is a lighter menuetto which provides the motif that is subsequently turned upside down for the last movement, a fugal allegro molto that begins with the viola and adds the second violin, cello and first violin in that order. The movement is in alla breve time and is almost a perpetuum mobile in quavers.
Oliver Bendt, 1975 Oliver Bendt (born Jörg Knoch on 29 October 1946, in Potsdam) is a German singer and actor. Knoch grew up the son of an actress in Munich, where he played children's roles in several films, including Königswalzer (1955) and Weil du arm bist, musst du früher sterben (1956). He received his first violin, piano and guitar lessons and became a member of the Regensburg Cathedral Boys Choir, where he received vocal training, and completed his vocal studies at the Hochschule für Musik und Theater Hamburg. In 1967, he competed at the Ralf Arnie Musikverlag as a junior and came into a career as a singer under the name "George" in 1967 and 1968 with four single records.
The opening Adagio acts as an austere and brief introduction, moments of extreme tension contrasting with gently flowing counterpoint, with minor sevenths being particularly prominent. The opening goes headlong into the extended part of the work, a large scale Severo based on a variant of the quartet's opening theme. The intensity and severity is sustained for a considerable period of time until a hushed section emerges, building up to a harsh passage of sevenths piled on top of each other before subsiding to another buildup that gradually increases in volume. A climax is eventually reached, and a modified recapitulation of the opening of the Severo section is heard before it quickly dissipates into fragments, leaving a high C sustained on the first violin.
The young Joseph Haydn, taking up his first job as a music director in 1757 for the Morzin family, found that when the Morzin household was in Vienna, his own orchestra was only part of a lively and competitive musical scene, with multiple aristocrats sponsoring concerts with their own ensembles. LaRue, Bonds, Walsh, and Wilson's article traces the gradual expansion of the symphonic orchestra through the 18th century. At first, symphonies were string symphonies, written in just four parts: first violin, second violin, viola, and bass (the bass line was taken by cello(s), double bass(es) playing the part an octave below, and perhaps also a bassoon). Occasionally the early symphonists even dispensed with the viola part, thus creating three-part symphonies.
The quartet consists of six movements: #"Cantilena" (Andante) #"Brincadeira" (Allegretto scherzando) #"Canto lírico" (Moderato) #Cançoneta (Andantino quasi allegretto) #"Melancolia" (Lento) #"Saltando como um Saci" (Allegro) The six short movements of this quartet take the form of a suite, alternating cantabile and dance movements . The lively and humorous second movement, titled "Brincadeira" (Joke), features effects of pizzicato, battendo coll'arco (striking the strings with the back of the bow), and harmonics, both natural and artificial . Throughout the third movement the melodic material is confined entirely to the viola and first violin . The composer describes this movement as "a deliberate and elevated caricature of romantic arias, transcending the delicious idea of a romanza sung by a baritone accompanied by a small provincial orchestra" .
While the opening movement and the finale are in F major, the Scherzo in D minor and the trio in E flat major, the third movement (4/4 time) in G flat major (lower part of the Grosz to F major) increases, The main theme, recited by the First Violin, is set directly without preparation and flows widely. On the constant eighth pulse of Second Violin and Second Viola, a new thought sounds as a reversal of the main theme. In the lead-through section, a downward-pearling sixteenth-note figure is continually increased, until it comes to an increasing clumping of sound. After a fermata, an increase wave begins again, culminating in a treble in triple fortissimo followed by a delicate epilogue.
Son of the agriculturalist Józef Jarzynski of Skarżyce and of Marianna Marczyk of Bzow. Józef bought the "administrator's house", built in 1739, an ancient part of the Courthouse of Bzow, and after the wedding, the couplemoved to Bzów, where Henryk was born in 1931. In 1939 during the Nazi invasion, the young Henryk interrupted the Primary school and played trumpet in the symphonic band of the cement company of Zawiercie. At the age of ten his mother Marianna bought him a violin and Henryk travelled weekly to the village of Ogrodzieniec, to the "parochial Church of the Transfiguration of the Lord" where he received his first violin classes of the father Stanisław Sobieraj, who was an outstanding pupil of Professor Józef Jarzębski.
Among them were the Hendel Quartet, whose leader, Georg Friedrich Hendel, became the orchestra's first violin soloist. The ensuing collaboration with top French instrumental soloists was especially fruitful, leading to many tours, recordings and partnerships with soloists such as flautist Jean-Pierre Rampal and the members of his wind ensemble Le Quintette à vent Français. Some 170 LP-records featuring Ristenpart and his Saar Chamber Orchestra have been marketed under license by various record companies all over the world. These include two complete sets of the Brandenburg concertos, the Orchestral Suites and The Art of Fugue, several albums of Bach vocal cantatas, many Telemann, Vivaldi, many Mozart and Haydn works, but also award-winning records of Britten, Roussel and Hindemith pieces.
Throughout his career, Tigran Maytesian collaborated with a lot of prominent conductors such as Gevorg Adzhemian (Armenia), Yuri Alperten (Estonia), Alexander Yakupov, Andrey Krouzhkov, Igor Lerman, Andrey Karapishchenko (Russia), Vyacheslav Prilepin, Alexander Sosnovsky (Belarus), Jeannot Vaymerskirch (Luxemburg). Daniel Blumenthal (Belgium) is one of the pianists accompanying him on a regular basis. Among other pianists with whom he gave concerts in different countries are Elisabeth Ginsburg (Moscow, Russia), Irina Tsys, Konstantin Zenkin, Andrey Krouzhkov (Moscow, Russia), Marrit Gerets (Estonia), Luba Harutyunyan (Belgium), Luc De Vos (Belgium), Ruben Chakhmakhchyan (Armenia), and Joseph Ermin (Ukraine). He has founded the ″Mind Speller″ Chamber orchestra transformed from a String quartet, where, since its establishment in 2011, he has been acting as its conductor, soloist or the first violin at different concerts.
Self-portrait, 1857 Chevalier married Caroline Wilkie in 1855, a relative of Sir David Wilkie, who survived him. Chevalier was a man of much personal charm and spoke fluent French, English, Russian, German, Italian and Portuguese. He was a good amateur musician being second violinist in the Royal Amateur Orchestral Society which had been started by officers in the Galatea and in which the duke was first violin. The Museum of New Zealand Te Papa Tongarewa, the Dunedin Public Art Gallery (New Zealand), the Honolulu Museum of Art, the National Gallery of Victoria, the Ballarat Fine Art Gallery, Art Gallery of New South Wales and the National Library of Australia (Canberra) are among the public collections holding works by Nicholas Chevalier.
As is normal with Mozart's later quartets, it is in four movements: # Adagio-Allegro # Andante cantabile in F major # Menuetto. Allegro. (C major, trio in C minor) # Allegro molto The first movement opens with ominous quiet Cs in the cello, joined successively by the viola (on A moving to a G), the second violin (on E), and the first violin (on A), thus creating the "dissonance" itself and narrowly avoiding a greater one. This lack of harmony and fixed key continues throughout the slow introduction before resolving into the bright C major of the Allegro section of the first movement, which is in sonata form. Start of first movement Mozart goes on (11px Listen) to use chromatic and whole tone scales to outline fourths.
Born in franckfurt, Bassermann was the son of the music teacher Fritz Bassermann (1850-1926), who worked at the Hoch Conservatory in Frankfurt, and the pianist Florence Bassermann, née Rothschild (1863-1922), who was a student of Clara Schumann. He received his first violin lessons from his father and then from Ferdinand Küchler.Hans Bassermann at University of Hambourg After attending the humanistic grammar school and completing his military service in Bad Homburg vor der Höhe, he studied for two years at the Universität der Künste Berlin with Andreas Moser and Henri Marteau, among others, whom he later represented, as well as at the Stern Conservatory in Berlin, with Gustav Hollaender. At the age of 23 he was concertmaster of the Berlin Philharmonic for one year.
He has shattered and > then remade our chromatic scale, and we might be tempted to call him the > atom-splitter of music, except that the name gives no idea of the rich > emotional world he has opened. … This was a more startling revolution than > when Terpander, in Greece 26 centuries ago, added two notes to the Chinese > five-tone scale.Anon., "The Musical Revolution of Don Julián Carrillo", The > Times, issue 55659 (Tuesday, 26 March 1963): 15, col A. In 1964 Robert Gendre premiered Carrillo's First Violin Concerto in quarter- tones. That year, Carrillo wrote several works: three sonatas for viola in quarter-tones, a Sonata for violin in quarter-tones, the Second Violin Concerto in quarter-tones, and several atonal canons.
Marcello De Angelis, Firenze - Vienna. Un magico incontro, in Antonio Carlini (ed.), Accademie e Società Filarmoniche. Organizzazione, cultura e attività dei filarmonici nell'Italia dell'Ottocento. Atti del convegno di studi nel Bicentenario di fondazione della Società Filarmonica di Trento (Trento 1-3 dicembre 1995), Trento, Provincia di Trento/Società Filarmonica di Trento, 1998, pp. 439-446. In 1827, on the frontispiece of Tre trj di una difficoltà progressiva (dedicated to Paganini) he indicates «first violin of the court of the Grand Duke of Tuscany», and thanks to the support of the court (members to which Giorgetti dedicated numerous compositions), he began promoting instrumental music and cultured European musical language, an activity to which he dedicated all of his energy as a composer, teacher and orchestral conductor.
Born in 1987 in Konstanz into an Austrian-Hungarian family of musicians, Christoph Koncz received his first violin lesson at the age of four and entered the Vienna University of Music only two years later, studying with Eugenia Polatschek. He went on to study violin with Josef Hell, Igor Ozim and Boris Kuschnir at the Music Universities of Vienna, Salzburg and Graz as well as conducting with Mark Stringer in Vienna. Master classes with Daniel Barenboim and Daniel Harding further enriched his musical education. He made his North American debut as a soloist aged twelve with the Montreal Symphony Orchestra conducted by Charles Dutoit, leading to collaborations with conductors such as Sir Neville Marriner, Dmitry Sitkovetsky, Gábor Takács-Nagy and Marc Minkowski.
As a chamber musician, Kim has performed with musicians including Pinchas Zukerman, Jaime Laredo, Carter Brey, John Sharp, Marya Martin, and members of the Orion, Tokyo, and Guarneri string quartets. In Hong Kong, Kim was a founding member of Opus 3, a piano trio with Warren Lee and Richard Bamping. In Tampere, he performs often in the Tampere Philharmonic’s chamber music series, and performs an annual concert master’s recital. Kim regularly performs new music, especially through the Atlantic Music Festival. He performed the Hong Kong, Korean, Chinese, and Finnish premieres of Søren Nils Eichberg’s "Qilaatersorneq" for violin solo and orchestra. He has also performed Philip Glass' first violin concerto, Eli Marshall's "Music for a Film in a Romantic Style," and in November 2013 premiered Sheridan Seyfried’s violin concerto, commissioned by the Tampere Philharmonic Orchestra.
Vieuxtemps was born in Verviers, Belgium (then part of the United Kingdom of the Netherlands), son of a weaver and amateur violinist and violin-maker. He received his first violin instruction from his father and a local teacher and gave his first public performance at the age of six, playing a concerto by Pierre Rode. Soon he was giving concerts in various surrounding cities, including Liège and Brussels where he met the violinist Charles Auguste de Bériot, with whom he began studies. In 1829, Bériot took him to Paris where he made a successful concert debut, again with a concerto by Rode, but he had to return the next year because of the July Revolution and Bériot's marriage to his mistress Maria Malibran and departure on concert tour.
In the Weimar version, Bach scored the cantata four vocal soloists (soprano (S), alto (A), tenor (T) and bass) (B), a four-part choir, and an orchestra of three trumpets (Tr), timpani (Ti), recorder (Fl) or flauto traverso (Ft), oboe d'amore (Oa), two violins (Vl), two violas (Va), bassoon (Fg), cello (Vc), and basso continuo (Bc). It is a festive, rich instrumentation for the holiday, whereas the previous two cantatas in Weimar had not employed brass instruments. Bach used the French string orchestra with two viola parts, as in most cantatas until 1715, when he started to prefer the Italian scoring with one viola. In Weimar, a recorder or flauto traverso doubled the first violin an octave higher; in the first Leipzig performance it was a flauto traverso.
The Smetana Quartet arose from the Quartet of the Czech Conservatory, which was founded in 1943 (during the Nazi occupation) in Prague by Antonín Kohout, the cellist. With Jaroslav Rybenský and Lubomír Kostecký as first and second violins, and Václav Neumann as violist, the group gave its first performance as the Smetana Quartet on 6 November 1945, at the Municipal Library in Prague. Neumann left to pursue conducting in 1947, at which point Rybenský went to the viola desk and Jiří Novák (who shared first violin desk with Josef Vlach, founder of the Vlach Quartet, under Vaclav Talich in the Czech Chamber Orchestra) came in as first violin.A DVD incorporating a 1-hour documentary about the Smetana Quartet by Jaromil Jires has been issued by Supraphon, in 2004, item SU 7004.
By 1975, when the Schubert integral recordings were completed and issued, the Quartet also held a teaching post at the Stuttgart School of Music. By 1975 the group had built up a repertoire of 120 works, including the complete Beethoven, Schubert, Cherubini and Bartók quartets, and works by Haydn, Mozart, Brahms, Hugo Wolf, Pfitzner, Verdi, Donizetti, Debussy, Smetana, Kodály, Janáček, Hindemith, Alban Berg, Gian Francesco Malipiero, Witold Lutosławski, Milko Kelemen, Robert Wittinger and Josef Maria Horváth. They made a conscious decision to have a wide-ranging repertoire in order to avoid getting stuck to any particular period. For most of the Schubert recordings the instruments were a cello by Francesco Ruggieri (1682), a viola by Carlo Ferdinando Landolfi (18th century), first violin by Domenico Montagnana (1731) and second violin by Carlo Annibale Tononi (18th century).
Gustave Slapoffski Gustave Slapoffski (20 August 1862 - 3 August 1951) was a British-born musician who performed as a violinist and conductor in Britain for two decades, followed by a conducting and film scoring career in Australia over the next three decades. The son of a violinist, Slapoffski graduated the Royal Academy of Music in 1879 and began his own career as a violinist in the British provinces and then at London theatres, where he was eventually first violin in the orchestra at the Opera Comique and then with the Carl Rosa Opera Company. By the mid 1890s, he was assistant conductor for Carl Rosa and, in 1897, became principal conductor. In 1900, together with his second wife, Carl Rosa soprano Lillian Williams, he moved to Australia to conduct opera for George Musgrove.
Johann Baptist Wanhal was perhaps Dittersdorf's most eminent pupil. About 1785, Haydn, Dittersdorf, Mozart and Wanhal played string quartets together, Dittersdorf taking first violin, Haydn second violin, Mozart viola and Wanhal cello. Eminent Irish tenor Michael Kelly, for whom Mozart created the roles of Don Basilio and Don Curzio in his da Ponte opera Le nozze di Figaro noted of their performance of Stephen Storace's String Quartet that, although they played well, their performance as a whole was not outstanding; but the image of four of the greatest composers of their time joining in common music-making remains an unforgettable vignette of the Classical era (comprising the second half of the eighteenth century). In 1794, after twenty-four years at Johannesberg, Dittersdorf, after a serious clash with von Schaffgotsch, was expelled from his palace.
In 1975, four students at the Music Academy in Budapest, Gábor Takács-Nagy (first violin), Károly Schranz (second violin), Gábor Ormai (viola), and András Fejér (cello) formed The Takács Quartet. According to their own story, Takács-Nagy, Ormai and Fejér had been playing trios together for several months when they met Schranz during a pickup soccer game after classes. With the immediate addition of Károly to their group the trio became a quartet. They first received international attention in 1977, winning the First Prize and the Critics' Prize at the International String Quartet Competition in Évian-les-Bains, France. After that the quartet won the Gold Medal at the 1979 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981.
Joseph Mosenthal (30 November 1834 - 6 January 1896) was a German-American musician, born at Kassel. He studied under his father and Spohr and in 1853 went to America, where he played the organ in Calvary Church, New York City, from 1860 to 1887. He was conductor of the Mendelssohn Glee Club in New York City from 1867 to 1896, played a first violin in the Philharmonic Orchestra for 40 years, a second violin in the Mason and Thomas Quartet for 12, and composed much Church music, such as the psalm "The Earth is the Lord's", a setting of part of Psalm 145 (published in 1864see IMSLP - published as I Will Magnify Thee), and part songs for male voices, Thanatopsis, Blest Pair of Sirens, and Music of the Sea. He died in New York City.
String Quartet No. 3 (1990), commissioned by Alexander Balanescu, is based on Romanian folk music, along with material from his choral work Out of the Ruins, via a process Nyman describes as "translation." It affected much of Nyman's composition throughout the 1990s—riffs, in particular, a seven-note scalar ostinato, from it appear in À la folie, Carrington (in which it was used as a temp track and ultimately was transformed into a theme for Lytton Strachey), Practical Magic (not used in the finished film), The End of the Affair, and The Claim. The translation is not as simple as it may sound, as Pwyll ap Siôn notes,p.173 the first violin has new melodic material higher than the highest notes of the soprano melody, which is largely for the second violin.
Works written expressly for Meyers include the Somei Satoh Violin Concerto, recorded live with Tetsuji Honna and the Tokyo Metropolitan Symphony Orchestra in 2002 , and Angelfire by Joseph Schwantner, premiered live in 2002 at the Kennedy Center conducted by Marin Alsop and recorded in 2004 with Andrew Litton and the Dallas Symphony Orchestra. Meyers asked the jazz star Wynton Marsalis to write cadenzas for her in Mozart's Violin Concerto No. 3 in G Major, which she premiered with the Utah Symphony Orchestra in 2009. Meyers commissioned Mason Bates to write his first violin concerto, and she performed in the world premiere with Leonard Slatkin and the Pittsburgh Symphony Orchestra in December 2012. It was later recorded with the London Symphony Orchestra under Leonard Slatkin and released on Meyers’ 2014 album, The American Masters.
Oscar Shumsky started learning the violin at the age of three, and made his concert debut at the age of seven with the Philadelphia Orchestra under Leopold Stokowski, who declared him to be "the most astounding genius I have ever heard". Fritz Kreisler took a special interest in him, and he played Kreisler's own cadenzas to the Beethoven violin concerto to him after learning them by ear. He was a pupil of Leopold Auer from 1925 and studied at the Curtis Institute of Music from 1928 to 1936, continuing his studies with Efrem Zimbalist after Auer's death in 1930. His New York debut was in 1934 and his Vienna debut was in 1936. He played first violin in the Primrose Quartet from 1939, and the same year joined the NBC Symphony Orchestra under Arturo Toscanini.
Georg Wilhelm Rauchenecker was born in Munich on 8 March 1844; he was the first child of Jakob Rauchenecker (1815–1876), an official musician of the city, and Rosina Crescenz Rauchenecker, née Wening (1815–1876) and was baptised a Catholic two days later at St Peter's in Munich.Rauchenecker, Herbert (1978) 46 As a young boy he was sent by his father to his uncle, Georg Wening, who had been pastor of the parish of Thalheim (pop. 260) near Erding since 1855. It is possible that Rauchenecker was expected to follow the same career path as his uncle.Kempter (1959) 95 After this he attended the King Maximilian Grammar School in MunichJahres-Bericht (1855) 23, 25, 27 and here, at the age of eleven, he played first violin accompanying the church choir.
At the Paris Conservatoire he at first studied cello and began to play in orchestras, playing in the orchestra of the Théâtre du Vaudeville while his brother was first violin. Realising that he had attractive voice, he returned to the Conservatoire as a student of Panseron and Moreau-Sainti. After completion of his studies he went to America and was engaged in New Orleans in both Italian and French opera. After two years he returned to Europe and found success as a light tenor in Lille, Brussels, the Hague, Strasbourg and Bordeaux. In 1858 he was offered a 5-year contract at the Opéra-Comique for 40,000 francs per year. Montaubry made his debut at the Salle Favart on 16 December 1858 in Les trois Nicolas by Clapisson, playing Nicolas Dalayrac.
Even Schubert recognized this fact; in July 1824, he wrote to his brother Ferdinand of his earlier quartets, "it would be better if you stuck to other quartets than mine, for there is nothing in them..."quoted in There are several qualities that set these mature quartets apart from Schubert's earlier attempts. In the early quartets, it is primarily the first violin that carries the melody, with the other instruments playing supporting roles; in the later quartets, the part writing is much more advanced, and each instrument brings its own character and presence, for a more complex and integrated texture. Also, the later quartets are structurally much more integrated, with motifs, harmonies, and textures recurring in a way that ties the entire work together.For a discussion of the differences between the early and late quartets, see , and .
A short transition back to the tonic E major ushers in the recapitulation—notable for how it restates the second theme in the subdominant A minor (instead of the expected tonic parallel E minor) begun by the oboe and continued by the clarinet (vice versa to their roles in the exposition). The coda starts with a new theme that is simply an extension of the two-bar E major cadential figure that opens the movement. This gives way to the laconic triadic first-violin transition motto, which leads to a restatement of the first theme by the woodwinds in distant A major followed by the motto again leading back to the tonic E major for a final extended transformation of the first theme, leading in turn to a final extended version of the opening cadential figure that reappears to close.
Rather, he defended the French tradition that threatened to be engulfed by Wagnerian influences and created the environment that nourished his successors". Since the composer's death writers sympathetic to his music have expressed regret that he is known by the musical public for only a handful of his scores such as The Carnival of the Animals, the Second Piano Concerto, the Third Violin Concerto, the Organ Symphony, Samson et Dalila, Danse macabre and the Introduction and Rondo Capriccioso. Among his large output, Nicholas singles out the Requiem, the Christmas Oratorio, the ballet Javotte, the Piano Quartet, the Septet for trumpet, piano and strings, and the First Violin Sonata as neglected masterpieces. In 2004, the cellist Steven Isserlis said, "Saint-Saens is exactly the sort of composer who needs a festival to himself ... there are Masses, all of which are interesting.
The String Quartet No. 4 is based on Yamamoto Perpetuo, a solo violin work, and the basis of Strong on Oaks, Strong on the Causes of Oaks. The piece was written in 1994-5 for Camilli Quartet (headed by former Michael Nyman Band member Elisabeth Perry), who first performed it on April 21, 1995, and ultimately dedicated to the memory of Alan Bush, Nyman's composition teacher at the Royal Academy of Music after his death October 31 of that year. The main theme of the sixth movement became the basis for "Virgin on the Roof" in Nyman's score for Carrington, which in turn was based on the String Quartet No. 3 with which Christopher Hampton had created a temp track. Pwyll ap Siôn notes that the viola and second violin follow a different meter from that of the first violin.
Born in Bois-Colombes, Maillard had his first violin lessons during the Second World War with Charles Maillier, who was a violin teacher in Limoges. He was then a student of Arthur Hoérée and at the Conservatory of Versailles with Aimé Steck before he entered the Conservatoire de Paris where he won first prizes for harmony, counterpoint and fugue in the classes of Marcel Samuel-Rousseau and Noël Gallon. A student of Tony Aubin for musical composition, he was awarded a Second Grand Prix de Rome for his cantata Le rire de Gargantua by Randal LemoineRandal Lemoine on BNF (after Rabelais) in 1955 during his first competition. The piece, performed by the Orchestra of the Opéra Comique with singers René Bianco, Louis RiallandLouis Rialland and Jacqueline CauchardJacqueline Cauchard on BNF conducted by Jean Fournet, earned him the Second Grand Prix.
Samuel Kutcher early 1920s The Kutcher String Quartet was founded by its first violinist, Samuel Kutcher (1898-1984), and had by 1922 established himself as an accomplished solo artist and the previous year been a member of the Philharmonic String Quartet, playing second violin, along with Frederick Holding (first violin), E. Thomlinson (viola) and Giovanni Barbirolli (cello). There were plans for Samuel to join Albert Sammons and Lionel Tertis in a String Quartet to tour the UK, but it did not go ahead because the provinces could or would not pay the fees Sammons was asking. However, with encouragement from Albert Sammons and Giovanni Barbirolli,Biography of John Barbirolli by Charles Reid P40: Samuel went on to form his own Quartet. The Kutcher String Quartet's first public performance was in May 1922 at a concert at Wigmore Hall, London, where they accompanied the singer Edith Bartlett.
With Bach's appointment to concert master and his regular monthly cantata compositions, he achieved permission to hold rehearsals in the church, to ensure high performance standards: "the rehearsing of the pieces at the home [of the capellmeister] has been changed, and it is ordered that it must always take place at the [the music gallery in the palace church], and this is also to be observed by the ". The orchestra at his disposition consisted of the members of the court cappelle, three leaders, five singers and seven instrumentalists, augmented on demand by military musicians, town musicians and choristers from a gymnasium. Bach conducted the first performance of on 20 May 1714. His son Carl Philipp Emanuel Bach remembered that he often conducted and played first violin: "he played the violin cleanly and penetratingly, and thus kept the orchestra in better order than he could have done with the harpsichord".
The symphony is scored for flute, two oboes, two bassoons, two horns and strings and is in the typical four movements: #Allegro spiritoso #Adagio #Menuetto #Finale: Presto The first movement opens with a theme in the cellos accompanied by tremolos in the strings evoking a strong sense of Sturm und Drang. After the second theme provides a brief respite in the relative major, the music becomes turbulent as it transitions again. What follows is a very striking expositional coda which is a light, dancing theme featuring Lombard rhythms and scored for solo flute and first violin against a pizzicato bass. The development begins with a quirky coda theme in the remote key of D flat major and then slowly works it up the scale until it reaches A major followed by another grand pause and then the theme is repeated again in the relative major of F major.
From an early age, Dejan showed a remarkable inclination for music and began his studies at the "Isidor Bajić" school of music in his hometown, Novi Sad, one of the most prestigious cultural centres of the Ex-Yugoslavia (Vojvodina). At the "Baic" institute he was a pupil of two well-known teachers, Maestro R. Kovac and Maestro J. Furman and soon after he was accepted for the S.Z.M.T. (School for Gifted Children), the only one of its kind and under the patronage of the President of the Republic. As a soloist of this school and at only eleven years old, Dejan Bogdanovic performed in important concert halls in Yugoslavia and in Spain, France, Germany and England and during the forthcoming years won many times the "First Prize for Young Violinists". At seventeen years old he performed Paganini's first violin concerto and Felix Mendelssohn's E minor concerto with the Dubrovnik Symphony Orchestra.
Just as the > chimney begins to fall apart, the shot is broken off and the entire movie > follows, after which the shot of the chimney is resumed at the point it left > off, showing its disintegration in mid-air, and closing the film with its > collapse on the ground. A similar interrupted continuity is employed in this > quartet's starting with a cadenza for cello alone that is continued by the > first violin alone at the very end. On one level, I interpret Cocteau's idea > (and my own) as establishing the difference between external time (measured > by the falling chimney, or the cadenza) and internal dream time (the main > body of the work)—the dream time lasting but a moment of external time, but > from the dreamer's point of view, a long stretch.Elliott Carter, "String > Quartets Nos. 1, 1951, and 2, 1959," in Collected Essays and Lecture, > 1937–1995, ed.
The Lausanne Conservatory, where the quartet was premiered The dates of composition of the First String Quartet are known with unusual precision: Enescu began work on it at midnight of the (orthodox) Romanian New Year, 14 January 1916, at the Villa Copou in Iași. After interruptions resulting from the entry of Romania into the First World War, he resumed work on the quartet in 1918, only to break off again until the summer of 1920. He completed the score in Switzerland on 1 December 1920 at Le Châtelet, a house in Vers-chez-les-Blanc (Lausanne) owned by . The work was first performed on 5 February 1921 at the Lausanne Conservatory Hall by a quartet consisting of the composer on viola, , first violin, R. Radrizzani, second violin, and Jean Décosterd, cello, in a concert devoted to Enescu's chamber music which also included the Second Piano Suite played by Clara Haskill.
Posselt performed several world premieres in her career, including Walter Piston's First Violin Concerto, a piece which was written for her, in 1940.Boston Globe Calendar, album review, "James Buswell, National Symphony of Ukraine,; Theodore Kuchar; Walter Piston: Violin Concertos Nos. 1 and 2; Fantasia for Violin and Orchestra; Naxos," by Richard Dyer, December 24, 1998, page 8New York Times review, "World Premiere for Violin Work," by Howard Taubman, March 19, 1940 (Violin Concerto No. 1) She also premiered a violin concerto by Vladimir Dukelsky, a.k.a. Vernon Duke, with the Boston Symphony Orchestra and conductor Serge Koussevitsky in March 1943.New York Times review, "New Concerts Listed," October 16, 1943 Also with the Boston Symphony Orchestra, Posselt premiered violin concertos by composers Edward Burlingame Hill (Concerto for Violin, Opus 38), in 1939, and Samuel Barber (revised version of Concerto for Violin and Orchestra), in 1949, and played the New York premiere of Paul Hindemith's Violin Concerto in 1941.
Since 2012 the orchestra consists of 9 people (in the small version) or 19 (in the large version), as it played in New York at the Lincoln Center on 15 and 16 July 2016.Brochure for the concert in New York (PDF) The small orchestra consists of Muharem "Muki" Rexhepi (vocals, drums), Bokan Stanković (first trumpet), Dragić Velićović (second trumpet), Stojan Dimov (sax, clarinet), Aleksandar Rajković (first trombone, glockenspiel), Miloš Mihajlović (second trombone), female vocals Bulgarian singers Daniela Radkova-Aleksandrova and Lyudmila Radkova-Traykova, and Goran himself. The large orchestra includes also string quartet: Ivana Mateijć (first violin), Bojana Jovanović-Jotić (second violin), Saša Mirković (viola), and Tatjana Jovanović-Mirković, as well as sextet of male voices: Dejan Pesić (first tenor), Milan Panić and Ranko Jović (second tenors), Aleksandar Novaković (baritone), Dušan Ljubinković and Siniša Dutina (basses). In previous years, in the orchestra the following musicians have performed: Ogi Radivojević and Alen Ademović (vocals, drums), Dalibor Lukić (second trumpet), Dejan Manigodić (tuba), Vaska Jankovska (vocals).
Knorr was born August 29, 1945, in Richmond Hill, Queens. He did his undergraduate studies at Harvard University from 1963 to 1966 and stayed there for his Ph.D., which he received in 1973 under the supervision of John Emery Murdoch and G. E. L. Owen... After postdoctoral studies at Cambridge University, he taught at Brooklyn College, but lost his position when the college's Downtown Brooklyn campus was closed as part of New York's mid-1970s fiscal crisis. After taking a temporary position at the Institute for Advanced Study, he joined the Stanford faculty as an assistant professor in 1979, was tenured there in 1983, and was promoted to full professor in 1990. He died March 18, 1997 in Palo Alto, California, of melanoma... Knorr was a talented violinist, and played first violin in the Harvard Orchestra, but he gave up his music when he came to Stanford, as the pressures of the tenure process did not allow him adequate practice time.
He became the concertmaster (leader of the first-violin section) of the new Orquesta Sinfónica de la Habana in 1922. In the mid-1920s he was appointed concertmaster of the Orquesta Filarmónica of Havana (he would assume the position of conductor in 1932) and founded the Havana String Quartet. During this period, Roldán, one of the leaders of the Afrocubanismo movement, wrote the first symphonic pieces to incorporate Afro-Cuban percussion instruments. Roldán's best-known composition is the 1928 ballet La Rebambaramba, described by a critic of the era as "a multicolored musicorama ... depicting an Afro- Cuban fiesta in a gorgeous display of Caribbean melorhythms, with the participation of a multifarious fauna of native percussion effects, including a polydental glissando on the jawbone of an ass." Roldán's compositions included Overture on Cuban Themes (1925), three little poems: (Oriente, Pregón, Fiesta negra: 1926), and two ballets: La Rebambaramba (a ballet colonial in two parts: 1928) and El milagro de Anaquille (1929).
He has taught at Loyola School (New York City) and Adelphi University. In 2007, Di Vittorio gained considerable attention with the Chamber Orchestra of New York, when he was invited by Elsa and Gloria Pizzoli (Respighi's great nieces) and Potito Pedarra (Respighi archive curator and cataloger) to edit, orchestrate and complete several early works of Respighi including the first Violin Concerto (of 1903), for publication with Edizioni Panastudio and Casa Ricordi in Italy. He premiered and then recorded three of these critical editions, together with his own Overtura Respighiana and first two program symphonies, in 2010 with the Chamber Orchestra of New York for Naxos Records. These first recordings were released in 2011. Other notable restorations of historical interest include: Respighi's 1908 orchestration of Claudio Monteverdi's Lamento di Arianna (from the lost opera Arianna, 1608) edited in 2012, and Di Vittorio's completion of Respighi's orchestration of the Tre Liriche (Three Art Songs, 1913) edited for its centennial anniversary in 2013.
During war service he made concert tours for the Red Cross before teaching for a time at the Conservatory of Arad, Transylvannia. Garaguly moved to Sweden in 1923 and from that year until 1930 he was the leader of the Gothenburg Symphony Orchestra, and also first violin of the Gothenburg Quartet. Garaguly began his association with the Stockholm Concert Society (today the Royal Stockholm Philharmonic Orchestra) in 1930 as deputy leader, in which post he also performed solos in concert works by Mozart, Wieniawski, Pergament, Berwald, Mendelssohn and Hubay.Konserthuset archives , accessed 18 March 2013 He continued as deputy leader up until being appointed principal conductor of the orchestra from 1942 until 1953. Having studied conducting with Clemens Krauss he had made his debut as conductor in March 1940, having previously conducted two schools concerts. During his tenure he led nearly 300 concerts, as well 100 school or youth concerts. He conducted two concerts in London in 1952 during the orchestra's visit.
Comparison of extracts from Movement 1 (A) and Movement 2 (B) of Schumann's piano quintet The main theme (A) of this movement is a funeral march in C minor. It alternates with two contrasting episodes, one a lyrical theme (B) carried by the first violin and cello, the second (C), Agitato, carried by the piano with string accompaniment, which is a transformation of the principal theme disguised by changes in rhythm and tempo. The whole forms a seven-part rondo: :A (C minor) :B (C major) :A (C minor) :C (variant of A, F minor) :A′ (C minor) :B′ (F major) :A (C minor) The transition between the funeral march and the second (agitated) episode reuses the descending octaves in the piano (doubled by violin) from the second ending of the first movement exposition (see figure). This is one of several moments in the quintet where Schumann creates unity across movements by subtly reusing thematic material.
In 1731 Pergolesi's long years of study at the Conservatorio dei Poveri di Gesù Cristo in Naples were reaching their end. He had already begun to make a name for himself and was able to pay off his expenses by working as a performer in religious institutions and noble salons, first as a singer then as a violinist. In 1729–30 he had been "capoparanza" (first violin) in a group of instrumentalists and, according to a later witness, it was the Oratorian Fathers who made most regular use of his artistic services as well as those of other "mastricelli" (little maestros) from the Conservatorio.Hucke and Monson The first important commission Pergolesi received on leaving the school was linked to this religious order and on 19 March 1731 his oratorio ' ["The Phoenix on the Pyre, or The Death of Saint Joseph"] was performed in the atrium of the church today known as the Chiesa dei Girolamini, the home of the Congregazione di San Giuseppe.
In 1731 Pergolesi's long years of study at the Conservatorio dei Poveri di Gesù Cristo in Naples were drawing to a close. He had already begun to make a name for himself and was able to pay off his expenses by working as a performer in religious institutions and noble salons, first as a singer then as a violinist. In 1729-1730 he had been "capoparanza" (first violin) in a group of instrumentalists and, according to a later witness, it was the Oratorian Fathers who made most regular use of his artistic services as well as those of other "mastricelli" ("little maestros") from the Conservatorio.Hucke and Monson The first important commission Pergolesi received on leaving the school was linked to this religious order and on 19 March 1731 his oratorio ' ("The Phoenix on the Pyre, or The Death of Saint Joseph") was performed in the atrium of their church, today known as the Chiesa dei Girolamini, the home of the Congregazione di San Giuseppe.
Student card of L. Halleux at the Royal Conservatory of Brussels After having obtained the coveted Prix Vieuxtemps in 1912, Laurent Halleux (1897-1964), born in the Belgian city of Verviers where he studies at the local Conservatory, concludes his educational journey at the Royal Conservatory of Brussels with César Thomson and obtains the first violin prize in 1914. From 1912 onwards, aged only fifteen, he plays the second violin with his fellow students Alphonse Onnou, Germain Prévost and Fernand Quinet in the Pro Arte Quartet, that will receive, in 1932, thanks to its international popularity, the title of « Quartet to the Belgian Court ». Renowned for the interpretation of modernist and avant-garde works including those of Stravinsky, Milhaud, Honegger or Martinů, the quartet is also impassioned with the classic repertoire. On the eve of WWII, three of the four members of the quartet migrate to the United States,Not having been able to follow his fellow colleagues to the States for health reasons, Robert Maas, who had replaced Fernand Quinet in 1921, remains in Belgium.
He has served as concertmaster for several regional orchestras including the Antelope Valley Symphony Orchestra, Torrance Symphony, Opera a la Carte, Opera Nova, the Culver City Chamber Orchestra, the Disney-Grammy Collegiate Orchestra, the Eastman Opera and Studio Orchestras, and well as assistant concertmaster for the Orquesta de Baja California. He has served as principal second violin for the Golden State Pops Orchestra, Ventura Music Festival, Asian-American Philharmonic, Saint Matthews Chamber Orchestra, and El Paso Opera, and performed as a substitute first violin for West Bay Opera. He performs regularly with the symphonies and philharmonic orchestras of West L.A., Southeast L.A., Marina Del Rey, Brentwood, Burbank, Calabasas, Antelope Valley, San Bernardino, Redlands, and Riverside, and has performed with the Mozart Chamber Orchestra, Angeles Baroque Orchestra, the Henry Mancini Institute Orchestra, the dAKAH Hip Hop Orchestra, and others. In 2005, Bradley toured with the Orquesta de Baja California and world famous guitarist Angel Romero to New York City's Lincoln Center, and has visited nearly all of the contiguous United States in multiple tours with other leading orchestras.
The film was voted as one of the New York Daily News 10 top films of the year. Ivanir played Daniel Lerner, the first violin of the string quartet, whose other members are played by Philip Seymour Hoffman, Catherine Keener and Christopher Walken. Ivanir has had over 60 guest star and guest lead roles on television shows such as 24, Monk, CSI: NY, Law & Order, Fringe, CSI: Miami, Nikita and Royal Pains. In 2016 Ivanir had a recurring role on Homeland as Russian intelligence agent Ivan Krupin. The season was nominated for the SAG Awards and for the Emmy’s. In 2017, he played a Holocaust survivor in the critically acclaimed German-language film “Bye Bye Germany” and recurred on Amazon’s “Transparent”. As of August 2019, Amazon Prime is airing worldwide the Israeli hit show “The Beauty and the Baker”, with Ivanir playing the part of Zvika Granot. In 2018, he co-starred in the film Entebbe, directed by José Padilha, the creator of Narcos, and Bill Hader's HBO comedy Barry, in which he recurs as three Chechen brothers.
Memorial for Bruch and in the pedestrian zone of Bergisch Gladbach city centre In 1918, toward the end of his life, Bruch once more considered smaller ensembles with the composition of two string quintets, of which one served as the basis for a string octet, written in 1920 for four violins, two violas, cello, and a double bass. This octet is somewhat at odds with the innovative style of the decade. While composers such as Schönberg and Stravinsky were part of the forward-looking modern trend, Bruch and others tried to keep composing within the Romantic tradition, effectively glorifying a form of Late Romanticism and avoiding the revolutionary spirit that was engulfing the then- defeated Germany. All three of these late chamber works exhibit a 'concertante' style in which the first violin part is predominant and contains much of the musical interest. By the time they came to be performed professionally for the first time, in the 1930s, Bruch's reputation had deteriorated and he was known only for the famous Concerto.
The latter production was the first Shaw production to turn a profit. As a manager and producer of plays, Mansfield was known for his lavish staging. He often produced, starred in (often opposite his wife), and directed plays on Broadway, sometimes also writing under the pseudonym Meridan Phelps. His other Broadway roles in the 1890s included Napoleon Bonaparte (1894), the title role in The Story of Rodion, the Student (1895), Sir John Sombras in Castle Sombras (1896), Eugen Courvoisier in The First Violin (1898 and 1988), the title role in Cyrano de Bergerac (1898 and 1899)."Meridan Phelps (Also known as Richard Mansfield)", accessed 20 May 2012 He began the new century on Broadway in the title role in King Henry V (1900), followed by the title character in Monsieur Beaucaire, Brutus in Julius Caesar (1902), Karl Heinrich in Old Heidelberg (1903 and 1904), and roles in Ivan the Terrible (1904), A Parisian Romance (1904 and 1905), The Merchant of Venice (1905), Richard III (1905), Alceste in The Misanthrope (1905), The Scarlet Letter (1906) and Don Carlos (1906), among others.
Ruders has created a large body of music ranging from opera and orchestral works through chamber, vocal and solo music in a variety of styles, from the Vivaldi pastiche of his first violin concerto (1981) to the explosive modernism of Manhattan Abstraction (1982). Other works include the operas Tycho (1986), The Handmaid's Tale (1990, with libretto by Paul Bentley), Proces Kafka/Kafka's Trial (2005, again with libretto by Bentley), and Selma Ježková (2007, after Trier's ‘Dancer in the Dark’), five symphonies, four string quartets, Violin Concerto No. 1 (1981), Etude and Ricercare (1994) for guitar, for David Starobin, The Bells (songs) with Lucy Shelton, soprano, and the Christmas Gospel (1994) and two piano sonatas; Abysm (2000) for Birmingham Contemporary Music Group. Ruders has written several works for the American guitarist and promoter of new music David Starobin: Psalmodies (1989) and Paganini Variations for guitar and orchestra (1999–2000), and Psalmodies Suite (1990), Etude and Ricercare (1994) and Chaconne (1996) for solo guitar. Ruders has composed a Concerto in Pieces (1995), which is a set of variations on the "Witches' Chorus" from Purcell's opera Dido and Aeneas.
This culminates in two bars where the music is at its most intense: the upper and middle strings play a variant of the original uninverted ritornello theme; in the harpsichord a descending chromatic fourth in the left hand plays beneath sighing figures reprised from the first episode which descend to a closing cadence in B minor. At the cadence there is a full orchestral tutti—the lowest strings once more joining the ripieno section—in a version of the opening ritornello, but now with a rising chromatic fourth in the top notes of the first violin, as the key modulates to F minor. The harpsichord enters with a five bar episode formed by three phrases starting on sustained notes off the beat: the first three bars long with a falling chromatic fourth in the left hand of the hand harpsichord; the second and third, fragmentary one bar statements. These lead into a full recapitulation of the eight-bar Seitensatz, but now with darker colours: the harpsichord starts lower down in the key of D major and the left hand part is joined by the lowest strings.
Elfman's first piece of original concert music, Serenada Schizophrana, was commissioned by the American Composers Orchestra, who premiered the piece on February 23, 2005, at Carnegie Hall. Subsequent concert works include his first Violin Concerto "Eleven Eleven", co- commissioned by the Czech National Symphony Orchestra, Stanford Live at Stanford University, and the Royal Scottish National Orchestra, which premiered at Smetana Hall in Prague on June 21, 2017, with Sandy Cameron on violin and John Mauceri conducting the Czech National Symphony Orchestra; the Piano Quartet, co-commissioned by the Lied Center for Performing Arts University of Nebraska and the Berlin Philharmonic Piano Quartet, which premiered February 6, 2018, in Lincoln, Nebraska; and the Percussion Quartet, commissioned by Third Coast Percussion and premiered at the Philip Glass Days And Nights Festival in Big Sur on October 10, 2019. In 2008, Elfman accepted his first commission for the stage, composing the music for Twyla Tharp's Rabbit and Rogue ballet, co-commissioned by American Ballet Theatre and Orange County Performing Arts Center and premiering on June 3, 2008, at the Metropolitan Opera House, Lincoln Center. Other works for stage include the music for Cirque Du Soleil's Iris in 2011, and incidental music for the Broadway production of Taylor Mac's Gary: A Sequel to Titus Andronicus in 2019.

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