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| ayke agus husband: Heifetz as I Knew Him Ayke Agus, 2005 For the last 15 years of Jascha Heifetz's life, Ayke Agus was his closest companion. She came to him as a violin student in his master class at the University of Southern California, but he singled her out when he heard her play the piano. She became his private accompanist and ultimately his assistant and confidante. A sensitive and astute observer, Agus takes up where previous biographers left off; her book is a loving yet unblinking portrait of an aging master by his disciple. |
| ayke agus husband: Heifetz as I Knew Him Ayke Agus, 2001 The aged Heifetz, the violinist of the century, had much to tell, and Ayke Agus, a young woman from Indonesia - Heifetz preferred from the jungles of Java - absorbed it all as they shared their stories about their lives and about music making. He imparted not only the legacy of his art but all his beliefs and idiosyncrasies, teaching her how he held audiences spellbound, how the pianist collaborates with the violinist, and finally how he crafted his transcriptions, the last of which they worked on together.--BOOK JACKET. |
| ayke agus husband: Accompanying Skills for Pianists Deon Nielsen Price, 2005 |
| ayke agus husband: American Record Guide , 1998 |
| ayke agus husband: The Anarchist David Mamet, 2012-06-12 A new play by the Pulitzer Prize-winning author of Glengarry Glen Ross. |
| ayke agus husband: Pied Piper James Gollin, 2001 In 1952, he put together an ensemble of engaging young singers and instrumentalists, who gave lively, expressive interpretations of medieval, Renaissance, and Baroque works. Their presentation of the liturgical drama The Play of Daniel won them international fame. Under Greenberg's leadership, they recorded extensively and toured Europe, the Soviet Union, and Latin America. At the height of his and Pro Musica's success, Noah Greenberg died at the age of 47. In Pied Piper, James Gollin not only relates Greenberg's tragically short, but highly colorful life story, but he sets the man in the rich context of America's rise to postwar political and cultural prominence.--Jacket. |
| ayke agus husband: Songs & Poems Robert Burns, 1913 |
| ayke agus husband: Bruno Walter Erik Ryding, Rebecca Pechefsky, 2008-10-01 div Bruno Walter, one of the greatest conductors in the twentieth century, lived a fascinating life in difficult times. This engrossing book is the first full-length biography of Walter to appear in English. Erik Ryding and Rebecca Pechefsky describe Walter’s early years in Germany, where his successes in provincial theaters led to positions at the Berlin State Opera and the Vienna State Opera. They then tell of his decade-long term as Bavarian music director and his romantic involvement with the soprano Delia Reinhardt; his other positions in the musical community until he was ousted from Germany when the Nazi Party came to power in 1933; and his return to Vienna, where he was artistic director of the Opera House until he was again forced out by the Nazis. Finally they trace his career in the United States, where he led the New York Philharmonic and other orchestras and in his last years made numerous recordings with the Columbia Symphony Orchestra, an ensemble created especially for him. Ryding and Pechefsky are the first biographers to make extensive use of the thousands of unpublished letters in the Bruno Walter Papers, now in the New York Public Library for the Performing Arts. In addition to interviewing more than sixty people who knew Walter, they examined countless reviews to assess the popular and critical impact he had on his times. Authoritative and even-handed, this biography sheds new light on Walter, one of the great formative influences in musical interpretation. /DIV |
| ayke agus husband: The Man with the Violin Kathy Stinson, 2016-03-20 With a postscript by Joshua Bell.--Cover. |
| ayke agus husband: Jascha Heifetz Through My Eyes Sherry Kloss, 2000 |
| ayke agus husband: Concerto No. 7 Louis Spohr, One of the leading composers of instrumental music of the early Romantic period, Louis Spohr was a violinist, composer, and conductor. In addition to symphonic works, string quartets, and other solo and chamber music, he composed operas, operettas, and songs. Of the fifteen violin concerti he composed, his Violin Concerto no. 7 in c minor was written in 1814. There has been a trend, starting in the late 20th century, to revive his instrumental works and songs. |
| ayke agus husband: Passacaglia for Violin and Cello Johan Halvorsen, 1998-04 (Music Sales America). Halvorsen's Passacaglia is based on a theme by Handel, and is arranged here as a rich and expressive duet for Violin and Cello. |
| ayke agus husband: Who Am I? And If So, How Many? Richard David Precht, 2011-03-28 The international bestseller that takes you on a journey through your mind and gives you the answers to the big philosophical questions There are many books about philosophy, but Who Am I? And If So, How Many? is different from the rest. Never before has anyone introduced readers so expertly and, at the same time, so lightheartedly and elegantly to the big philosophical questions. Drawing on neuroscience, psychology, history, and even pop culture, Richard David Precht deftly elucidates the questions at the heart of human existence — What is truth? Does life have meaning? Why should I be good? — and presents them in concise, witty, and engaging prose. The result is an exhilarating journey through the history of philosophy and a wonderfully accessible introduction to current research on the brain. Both instructive and entertaining, Who Am I? And If So, How Many? is an essential resource for how we think and live. |
| ayke agus husband: Book Review Index , 2001 Every 3rd issue is a quarterly cumulation. |
| ayke agus husband: Haydn's Oratorio, The Creation, (composed in the Years 1797 and 1798) Joseph Haydn, 1870 |
| ayke agus husband: Women Singers in Global Contexts Ruth Hellier, 2013-02-07 Exploring and celebrating individual lives in diverse situations, Women Singers in Global Contexts is a new departure in the study of women's worldwide music-making. Ten unique women constitute the heart of this volume: each one has engaged her singing voice as a central element in her life, experiencing various opportunities, tensions, and choices through her vocality. These biographical and poetic narratives demonstrate how the act of vocalizing embodies dynamics of representation, power, agency, activism, and risk-taking. Engaging with performance practice, politics, and constructions of gender through vocality and vocal aesthetics, this collection offers valuable insights into the experiences of specific women singers in a range of sociocultural contexts. Contributors trace themes and threads that include childhood, families, motherhood, migration, fame, training, transmission, technology, and the interface of private lives and public identities. |
| ayke agus husband: The Space of the Stage Jeffrey Masten, Wendy Wall, 1999 This text is an annual publication devoted to understanding drama as a central feature of Renaissance culture. The essays in each volume explore the relationship of Renaissance dramatic traditions to their precursors and successors, have an interdisciplinary orientation and examine the impact of new forms of interpretation on the study of Renaissance plays. A special issue entitled The Space of the Stage, Volume 28 of Renaissance Drama, includes essays that explore the centrality of notions of space to early modern theatrical literature and practice. These diverse essays provide a set of new critical frames and horizons in which to reevaluate questions on staging, versification, the global market, the female body, and even the Globe rebuilt in 20th-century Chicago. |
| ayke agus husband: Jascha Heifetz , 1937 Autographed photograph Lithuania/America Jascha Heifetz (February 2 [O.S. January 20] 1901 - December 10, 1987) was a violinist, born in Vilnius, Lithuania. He is widely regarded as arguably the greatest violinist of all time. On October 27, 1917, Heifetz played for the first time in the United States, at Carnegie Hall in New York, and became an immediate sensation. Fellow violinist Mischa Elman, in the audience, asked Do you think it's hot in here?, whereupon the pianist Leopold Godowsky, in the next seat, imperturbably replied, Not for pianists. The reviews by the New York critics were rapturous. Heifetz's technical command of his instrument - his physical ability to play the violin with stunning precision - is regarded by many critics as unequaled. That physical control enabled Heifetz to produce a distinctive tone quality, intense and shimmering, that came to be regarded as his trademark. Yet, from time to time his near-perfect technique and conservative stage demeanor caused some critics to accuse him of being overly mechanical, even cold. Virgil Thomson called Heifetz's style of playing silk underwear music, a term he did not intend as a compliment. Other critics argue that he infused his playing with feeling and reverence for the composers' intentions. His style of playing was highly influential in defining the way modern violinists approach the instrument. His use of rapid vibrato, emotionally charged portamento, fast tempos, and superb bow control coalesced to create a highly distinctive sound that make Heifetz's playing instantly recognizable to aficionados. The violinist Itzhak Perlman, who himself is noted for his rich warm tone and expressive use of portamento, describes Heifetz's tone as like a tornado because of its emotional intensity. Perlman also said that Heifetz preferred to be recorded relatively close to the microphone; as a result, one would perceive a somewhat different tone quality when listening to Heifetz during a concert hall performance as opposed to a recording. In creating his sound, Heifetz was very particular about his choice of strings. He used a silver wound Tricolore gut G string, plain gut unvarnished D and A strings, and a Goldbrokat steel E string medium including clear Hill brand rosin sparingly. Heifetz believed that playing on gut strings was important in rendering an individual sound. |
| ayke agus husband: Our Saviour Has Arrived Elijah Muhammad, 1974 This title addresses the creation of God, the New World, and what's referred to as the metaphysical side of Elijah Muhammad's teaching. It eloquently delves into the subject of form and spirit in the simplest terms. The relationship of Jesus, Joseph and Mary is given a critical analysis as it relates to blacks in America. |
| ayke agus husband: Heifetz Herbert R. Axelrod, Todd M. Axelrod, 1990 An unauthorized pictoral biography of the private and professional life of the greatest violinist that ever lived. With Henry Roth's critical analysis, edited by Dr. Herbert R. Axelrod (Klappentext) |
| ayke agus husband: Companion to Contemporary Musical Thought John Paynter, 1992 |
| ayke agus husband: Bob Marley: 1945-1981 (PVG) Wise Publications, 2014-06-24 With sales of over 75 million albums and singles, Bob Marley is one of the world’s best-selling artists of all time; a pioneer of the reggae sound, his work formed a corpus which saw him elevated to an icon of peace, love and soul. This songbook contains twelve of Marley’s greatest hits, including Jamming, Could You Be Loved and Three Little Birds, all arranged for Piano, Voice and Guitar. Songlist: - Buffalo Soldier - Could You Be Loved - Exodus - Get Up, Stand Up - I Shot The Sheriff - Is This Love - Jamming - Lively Up Yourself - No Woman, No Cry - Roots, Rock, Reggae - Three Little Birds - Waiting In Vain |
| ayke agus husband: In Her Own Words Jennifer Kelly, 2013-06-01 This collection of new interviews with twenty-five accomplished female composers substantially advances our knowledge of the work, experiences, compositional approaches, and musical intentions of a diverse group of creative individuals. With personal anecdotes and sometimes surprising intimacy and humor, these wide-ranging conversations represent the diversity of women composing music in the United States from the mid-twentieth century into the twenty-first. The composers work in a variety of genres including classical, jazz, multimedia, or collaborative forms for the stage, film, and video games. Their interviews illuminate questions about the status of women composers in America, the role of women in musical performance and education, the creative process and inspiration, the experiences and qualities that contemporary composers bring to their craft, and balancing creative and personal lives. Candidly sharing their experiences, advice, and views, these vibrant, thoughtful, and creative women open new perspectives on the prospects and possibilities of making music in a changing world. |
| ayke agus husband: Loading the Silence: Australian Sound Art in the Post-Digital Age Linda Ioanna Kouvaras, 2016-05-13 The experimentalist phenomenon of 'noise' as constituting 'art' in much twentieth-century music (paradoxically) reached its zenith in Cage’s (’silent’ piece) 4’33 . But much post-1970s musical endeavour with an experimentalist telos, collectively known as 'sound art', has displayed a postmodern need to ’load’ modernism’s ’degree zero’. After contextualizing experimentalism from its inception in the early twentieth century, Dr Linda Kouvaras’s Loading the Silence: Australian Sound Art in the Post-Digital Age explores the ways in which selected sound art works demonstrate creatively how sound is embedded within local, national, gendered and historical environments. Taking Australian music as its primary - but not sole - focus, the book not only covers discussions of technological advancement, but also engages with aesthetic standpoints, through numerous interviews, theoretical developments, analysis and cultural milieux for a contemporary Australian, and wider postmodern, context. Developing new methodologies for synergies between musicology and cultural studies, the book uncovers a new post-postmodern aesthetic trajectory, which Kouvaras locates as developing over the past two decades - the altermodern. Australian sound art is here put firmly on the map of international debates about contemporary music, providing a standard reference and valuable resource for practitioners in the artform, music critics, scholars and educators. |
| ayke agus husband: Selections from Porgy and Bess (Songbook) Jascha Heifitz, 1990-03-01 (Fretted). Long out of print, these virtuoso transcriptions by the legendary violinist Jascha Heifetz date from 1947, and have previously been available only separately. These showpieces capture the excitement of Gershwin's score in a unique and fascinating way. Includes: It Ain't Necessarily So * Summertime * A Woman Is a Sometime Thing * I Got Plenty O' Nuttin' * Bess, You Is My Woman * Tempo Di Blues. |
| ayke agus husband: Marga Richter Sharon Mirchandani, 2012-11-16 This is the first full-length introduction to the life and works of significant American composer Marga Richter (born 1926), who has written more than one hundred works for orchestra, chamber ensemble, dance, opera, voice, chorus, piano, organ, and harpsichord. Still actively composing in her eighties, Richter is particularly known for her large-scale works performed by ensembles such as the London Philharmonic Orchestra and the Civic Orchestra of Chicago and for other pieces performed by prominent artists including pianist Menahem Pressler, conductor Izler Solomon, and violinist Daniel Heifetz. Interspersing consideration of Richter's musical works with discussion of her life, her musical style, and the origins and performances of her works, Sharon Mirchandani documents a successful composer's professional and private life throughout the twentieth century. Covering Richter's formative years, her influences, and the phases of her career from the 1950s to the present, Mirchandani closely examines Richter's many interesting, attractive musical works that draw inspiration from distinctly American, Irish/English, and Asian sources. Drawing extensively on interviews with the composer, Mirchandani also provides detailed descriptions of Richter's scores and uses reviews and other secondary sources to provide contexts for her work, including their relationship to modern dance, to other musical styles, and to 1970s feminism. |
| ayke agus husband: Berio's Sequenzas Janet K. Halfyard, 2017-07-05 Between 1958 and 2002, Luciano Berio wrote fourteen pieces entitled Sequenza, along with several versions of the same work for different instruments, revisions of the original pieces and also the parallel Chemins series, where one of the Sequenzas is used as the basis for a new composition on a larger scale. The Sequenza series is one of the most remarkable achievements of the late twentieth century - a collection of virtuoso pieces that explores the capabilities of a solo instrument and its player, making extreme technical demands of the performer whilst developing the musical vocabulary of the instrument in compositions so assured and so distinctive that each piece both initiates and potentially exhausts the repertoire of a new genre. The Sequenzas have significantly influenced the development of composition for solo instruments and voice, and there is no comparable series of works in the output of any other composer. Series of pieces tend to be linked by the instruments for which the composer writes, but this is a series in which the pieces are linked instead by the variety of instruments for which Berio composed. The varied approaches taken by the contributors in discussing the pieces demonstrate the richness of this repertoire and the many levels on which Berio and these landmark compositions can be considered. Contributions are arranged under three main headings: Performance Issues; Berio's Compositional Process and Aesthetics; and Analytical Approaches. |
| ayke agus husband: Modern Music and After Paul Griffiths, 2011-02-16 Over three decades, Paul Griffiths's survey has remained the definitive study of music since the Second World War; this fully revised and updated edition re-establishes Modern Music and After as the preeminent introduction to the music of our time. The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical reformation of compositional technique and in John Cage's development of zen music; in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies; in Karlheinz Stockhausen's development of electronic music and in Luigi Nono's pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that haven't yet stopped unfolding. This constant expansion of musical thinking since 1945 has left us with no singular history of music; Griffiths's study accordingly follows several different paths, showing how and why they converge and diverge. This new edition of Modern Music and After discusses not only the music of the fifteen years that have passed since the previous edition, but also the recent explosion of scholarly interest in the latter half of the twentieth century. In particular, the book has been expanded to incorporate the variety of responses to the modernist impasse experienced by composers of the 1980s and 1990s. Griffiths then moves the book into the twenty-first century as he examines such highly influential composers as Helmut Lachenmann and Salvatore Sciarrino. For its breadth, wealth of detail, and characteristic wit and clarity, the third edition of Modern Music and After is required reading for the student and the enquiring listener. |
| ayke agus husband: Mrs. Byrne's Dictionary of Unusual, Obscure, and Preposterous Words Josefa Heifetz, 1974 |
| ayke agus husband: Concert Music, Rock, and Jazz Since 1945 Elizabeth West Marvin, 2002 Presents various interdisciplinary articles to bridge the gulf between classical and popular music. |
| ayke agus husband: The God Tribe of Shabazz – The True History Elijah Muhammad, Nasir Hakim, 2012-03-17 The history of the God Tribe of Shabazz is one of the most elusive subjects of the Supreme Wisdom as taught by Messenger Elijah Muhammad, partly because it is spread out over so much time, on so many lectures and in so many different articles. The Tribe of Shabazz is not simply the offspring of a group of people who were the product of a disgruntled scientist who went into Africa to prove that He could make a people that could withstand anything, but a continuum of a vein of expression characteristic of how we as black people, who, when in our natural mind did things that were still superior to the best minds of mankind today. We are so far from what is actually natural for the Blackman, that we think that the trial and error mode of operating of this civilization today is brilliance; when in fact, the incidental actions of the Original Blackman is considered SUPERNATUAL by today's standards. The Messenger of Allah, Elijah Muhammad, delves so far into the most profound depths of wisdom when sharing with us what our God, in person, Master Fard Muhammad, had revealed, it makes you wonder about who is out there dormant and simply waiting to hear that particular word, sentence, paragraph or perspective that will make the light in or above their heads illuminate with Allah's voice communicating with them. In other words, it's not necessary to be mining Facebook, Twitter or Google+, etc, for revelation. It's being handed to you here. |
| ayke agus husband: Violin Playing as I Teach It Leopold Auer, 2003 |
| ayke agus husband: I Know what I'm Worth Vicki Baum, 1964 |
| ayke agus husband: Unsung Voices Carolyn Abbate, 1996-04-21 This work looks at the voices that speak to us through 19th-century classical music and opera. It proposes interpretive strategies that seek the polyphony and dialogism of music, celebrating musical gestures often marginalized by conventional musical analysis. |
| ayke agus husband: Contemplating Music Joseph Kerman, 2009-06-01 Contemplating Music is a book for all serious music lovers. Here is the first full-scale of ideas and ideologies in music over the past forty years; a period during which virtually every aspect of music was transformed. With this book, Joesph Kerman establishes the place of music study firmly in the mainstream of modern intellectual history. He treats not only the study of the history of Western art music--with which musicology is tradtionally equated--but also sometimes vexed relations between music history and other fields: music theory and analysis, ethnomusicology, and music criticism. Kerman sees and applauds a change in the study of music towarda critical orientation, As examples, he presents a fascinating vignettes of Bach research in the 1950's and Beethoven studies in the 1960's. He sketched the work of prominent scholars and theorists: Thurston Dart, Charles Rosen, Leonard B. Meyer, Heinrich Schenker, Miltion Babbit, and many others. And he comments on such various subjects as the amazing absorption of Stephen Foster's songs into the cannons of black music, the new intensity of Verdi research, controversies about performance on historical instruments, and the merits and demerits of The New Grove Dictionary of Music and Musicians. Comtemplating Music is fulled with wisdom and trenchant commmentary. It will spark controversy among musicologists of all stripes and will give many musicians and amateurs an entirely new perspective on the world of music. |
| ayke agus husband: Women Making Music Jane M. Bowers, Judith Tick, 1986 Do look after my music! Irene Wienawska Polowski exclaimed before her death in 1932. And from the urgency of that sentiment the authors here have taken their cue to reveal and look after the previously neglected contributions of women throughout the history of Western art music. The first work of its kind, Women Making Music presents biographies of outstanding performers and composers, as well as analyses of women musicians as a class, and provides examples of music from all periods including medieval chant, Renaissance song, Baroque opera, German lieder, and twentieth-century composition. Unlike most standard historical surveys, the book not only sheds light upon the musical achievements of women, it also illuminates the historical contexts that shaped and defined those achievements. |
| ayke agus husband: Harps and Harpists Roslyn Rensch, 2007 Six thousand years of lavishly illustrated harp history |
| ayke agus husband: This I Believe Dan Gediman, 2010-10-15 Inspiring essays on love shared by men, women, and young people from all walks of life In the 1950's, Edward R. Murrow's radio program, This I Believe, gave voice to the feelings and treasured beliefs of Americans around the country. Fifty years later, the popular update of the series, which now continues on Bob Edwards Weekend on public radio, explores the beliefs that people hold dear today. This book brings together essays on love from ordinary people far and wide whose sentiments and stories will surprise, inspire, and move you. Includes extraordinary essays written by ordinary Americans on love in its many manifestations-from romantic love and love of family to love of place and love of animals Paints a compelling portrait of the diverse range of beliefs and experiences related to what is perhaps the most powerful and complex of human emotions-love Based on the popular This I Believe radio series and thisibelieve.org Web site By turns funny and profound, yet always engaging, This I Believe: On Love is a perfect gift to give or to keep. |
| ayke agus husband: Heifetz plays Gershwin George Gershwin, Jascha Heifetz, 2000 |
| ayke agus husband: Kanakadea , 1907 |
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