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| sevcik tchaikovsky: The Violin Times , 1905 |
| sevcik tchaikovsky: The 50th Battalion in No Man's Land Victor W. Wheeler, 2000 |
| sevcik tchaikovsky: Gregor Piatigorsky Terry King, 2014-01-10 Forced to provide for his family from the age of 8 and thrown out of his home into a bitter Moscow winter at age 12, cellist Gregor Piatigorsky began his career as an archetypal struggling artist, using secondhand and borrowed instruments. When the October Revolution forced his escape to Warsaw, he enjoyed initial success with the Warsaw Philharmonic. Relocating to Berlin a few months later, he again struggled in poverty before eventually emerging as solo cellist with the Berlin Philharmonic. Settling in the United States during World II, Piatigorsky continued a brilliant career that cemented his place as one of the twentieth century's greatest musicians. This all-embracing chronicle of Piatigorsky's tempestuous life and career finally reveals the full life story of a musical legend. |
| sevcik tchaikovsky: The Strad , 1904 |
| sevcik tchaikovsky: Bulletin Northwestern University (Evanston, Ill.), 1962 |
| sevcik tchaikovsky: Musical Standard , 1928 |
| sevcik tchaikovsky: String teaching in 21st Century: Bridges between research and practice Clarissa Foletto , Jorge Alves , Dora de Queiroz , 2021-01-01 The 48th International ESTA Conference marked the first Online conference in the history of ESTA. The conference theme “Bridges between research and practice” encouraged the teachers, students and researchers of the ESTA family and abroad to reflect and discuss String teaching in 21st Century. The 21 articles published in this book show how we can join forces to create, develop and disseminate our collective knowledge and experience about string teaching. We hope that this book can be a contribution by ESTA Portugal to this field and an attempt to fill the gap between research and practice. Full acess: https://doi.org/10.26537/e.ipp.75 |
| sevcik tchaikovsky: Pioneer Violin Virtuose in the Early Twentieth Century Tatjana Goldberg, 2019-05-24 Tatjana Goldberg reveals the extent to which gender and socially constructed identity influenced female violinists’ ‘separate but unequal’ status in a great male-dominated virtuoso lineage by focussing on the few that stood out: the American Maud Powell (1867–1920), Australian-born Alma Moodie (1898–1943), and the British Marie Hall (1884–1956). Despite breaking down traditional gender-based patriarchal social and cultural norms, becoming celebrated soloists, and greatly contributing towards violin works and the early recording industry (Powell and Hall), they received little historical recognition. Goldberg provides a more complete picture of their artistic achievements and the impact they had on audiences. |
| sevcik tchaikovsky: The Violinist , 1924 |
| sevcik tchaikovsky: Official Report of the ... Annual Meeting of the New York State Music Teachers' Association New York State Music Teachers' Association, 1909 |
| sevcik tchaikovsky: The Musical Times , 1904 |
| sevcik tchaikovsky: Etude , 1907 Includes music. |
| sevcik tchaikovsky: The Etude , 1900 |
| sevcik tchaikovsky: The Science of Violin Playing Raphael Bronstein, 2019-02-25 A treasure for serious students of the violin, The Science of Violin Playing contains page after page of instructive and inspiring wisdom. Best read slowly and carefully, Bronstein teaches violin playing as both an art and science, turning his exacting eye and ear to every aspect of the instrument. |
| sevcik tchaikovsky: The Sackbut , 1930 |
| sevcik tchaikovsky: The Gramophone , 1924 |
| sevcik tchaikovsky: Grove's Dictionary of Music and Musicians: F-L Sir George Grove, John Alexander Fuller-Maitland, 1906 |
| sevcik tchaikovsky: Musical America , 1918 |
| sevcik tchaikovsky: Grove's Dictionary of Music and Musicians George Grove, 1911 |
| sevcik tchaikovsky: The Musical Times , 1969 |
| sevcik tchaikovsky: The Musical Times and Singing-class Circular , 1921 |
| sevcik tchaikovsky: The Index , 1909 |
| sevcik tchaikovsky: Practice for Performance Violin June DeForest, 2017-06-05 When technique becomes an instinctive response to a musical imperative, execution improves, control improves, and more reliable and better performances result. Practice for Performance for Violinis filled with practical musical tools and inspiring extra-musical examples that help evoke instinctive musical responses while improving the mechanical processes of playing the violin. |
| sevcik tchaikovsky: The Near East , 1921 |
| sevcik tchaikovsky: T.P.'s and Cassell's Weekly , 1926 |
| sevcik tchaikovsky: The Cambridge Companion to the String Quartet Robin Stowell, 2003-11-13 This Companion offers a concise and authoritative survey of the string quartet by eleven chamber music specialists. Its fifteen carefully structured chapters provide coverage of a stimulating range of perspectives previously unavailable in one volume. It focuses on four main areas: the social and musical background to the quartet's development; the most celebrated ensembles; string quartet playing, including aspects of contemporary and historical performing practice; and the mainstream repertory, including significant 'mixed ensemble' compositions involving string quartet. Various musical and pictorial illustrations and informative appendixes, including a chronology of the most significant works, complete this indispensable guide. Written for all string quartet enthusiasts, this Companion will enrich readers' understanding of the history of the genre, the context and significance of quartets as cultural phenomena, and the musical, technical and interpretative problems of chamber music performance. It will also enhance their experience of listening to quartets in performance and on recordings. |
| sevcik tchaikovsky: The Musical Times & Singing-class Circular , 1914 |
| sevcik tchaikovsky: Fanfare , 1991 |
| sevcik tchaikovsky: The Amadeus Book of the Violin Walter Kolneder, 2023-09-12 THE AMADEUS BOOK OF THE VIOLIN CONSTRUCTION HISTORY AND MUSIC |
| sevcik tchaikovsky: Nikolay Myaskovsky Patrick Zuk, 2021 Drawing on a wealth of unexplored sources, this biography offers the first comprehensive critical reappraisal of the life and works of Nikolay Myaskovsky. Zuk's account is far removed from Cold War clichés of the regimented Soviet artist or sentimental stereotypes of persecuted genius. 2022 CHOICE Outstanding Academic Title Winner. Drawing on a wealth of unexplored documentation, this biography reappraises the life and work of Nikolay Myaskovsky (1881-1950) - a central figure in twentieth-century Russian musical culture. The story of Myaskovsky's unlikely rise to prominence is an absorbing one. Destined by family tradition for a military career, he was 25 before he could leave the army and devote himself to music. He had just begun to emerge as a young composer of promise when he was called up for active service on Russia's western front in August 1914. On returning to civilian life in 1921, he played a major role in revitalising professional musical activity after the depredations of the Civil War years. His career vividly illustrates the challenges facing artists as they sought to work out a modus vivendi with Soviet power. Zuk's account depicts the composer and his milieu against the backdrop of his turbulent times, examining his involvement with Soviet musical institutions and his relationships with Prokofiev, Shostakovich, and other notable musicians. The portrait is far removed from Cold War clichés of the regimented Soviet artist or sentimental stereotypes of persecuted genius. Myaskovsky emerges as a man who displayed remarkable courage and integrity in the face of many pressures. The book also brings into focus the distinctive nature of Myaskovsky's creative achievement and affirms his stature as a leading symphonist of the era. |
| sevcik tchaikovsky: Janacek: Years of a Life Volume 2 (1914-1928) John Tyrrell, 2011-03-17 Volume 2 opens at the the outbreak of the First World War and at the time of Janácek's lowest ebb. Within two years, however, his fortunes were transformed by the Prague production of Jenufa This led to international fame and fortune and to the magnificent creative flowering in which the elderly composer wrote most of his best-known works. His personal life was affected by his public affair with Gabriela Horvátová and his friendship with Kamila Stösslová, whom he saw as the inspiration for many of his late works. |
| sevcik tchaikovsky: The Cambridge Companion to the Cello Robin Stowell, 1999-06-28 This is a compact, composite and authoritative survey of the history and development of the cello and its repertory since the origins of the instrument. The volume comprises thirteen essays, written by a team of nine distinguished scholars and performers, and is intended to develop the cello's historical perspective in breadth and from every relevant angle, offering as comprehensive a coverage as possible. It focuses in particular on four principal areas: the instrument's structure, development and fundamental acoustical principles; the careers of the most distinguished cellists since the baroque era; the cello repertory (including chapters devoted to the concerto, the sonata, other solo repertory, and ensemble music); and its technique, teaching methods and relevant aspects of historical and performance practice. It is the most comprehensive book ever to be published about the instrument and provides essential information for performers, students and teachers. |
| sevcik tchaikovsky: Performing Music in the Age of Recording Robert Philip, 2004-04-10 Listeners have enjoyed classical music recordings for more than a century, yet important issues about recorded performances have been little explored. What is the relationship between performance and recording? How are modern audiences affected by the trends set in motion by the recording era? What is the impact of recordings on the lives of musicians? In this wide-ranging book, Robert Philip extends the scope of his earlier pioneering book, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance 1900-1950. Philip here considers the interaction between music-making and recording throughout the entire twentieth century. The author compares the lives of musicians and audiences in the years before recordings with those of today. He examines such diverse and sometimes contentious topics as changing attitudes toward freedom of expression, the authority of recordings made by or approved by composers, the globalization of performing styles, and the rise of the period instrument movement. Philip concludes with a thought-provoking discussion of the future of classical music performance. |
| sevcik tchaikovsky: Stradivari's Genius Toby Faber, 2012-05-09 “’Tis God gives skill, but not without men’s hands: He could not make Antonio Stradivari’s violins without Antonio.” –George Eliot Antonio Stradivari (1644—1737) was a perfectionist whose single-minded pursuit of excellence changed the world of music. In the course of his long career in the northern Italian city of Cremona, he created more than a thousand stringed instruments; approximately six hundred survive. In this fascinating book, Toby Faber traces the rich, multilayered stories of six of these peerless instruments–five violins and a cello–and the one towering artist who brought them into being. Blending history, biography, meticulous detective work, and an abiding passion for music, Faber embarks on an absorbing journey as he follows some of the most prized instruments of all time. Mysteries and unanswered questions proliferate from the outset–starting with the enigma of Antonio Stradivari himself. What made this apparently unsophisticated craftsman so special? Why were his techniques not maintained by his successors? How is it that even two and a half centuries after his death, no one has succeeded in matching the purity, depth, and delicacy of a Stradivarius? In Faber’s illuminating narrative, each of the six fabled instruments becomes a character in its own right–a living entity cherished by artists, bought and sold by princes and plutocrats, coveted, collected, hidden, lost, copied, and occasionally played by a musician whose skill matches its maker’s. Here is the fabulous Viotti, named for the virtuoso who enchanted all Paris in the 1780s, only to fall foul of the French Revolution. Paganini supposedly made a pact with the devil to transform the art of the violin–and by the end of his life he owned eleven Strads. Then there’s the Davidov cello, fashioned in 1712 and lovingly handed down through a succession of celebrated artists until, in the 1980s, it passed into the capable hands of Yo-Yo Ma. From the salons of Vienna to the concert halls of New York, from the breakthroughs of Beethoven’s last quartets to the first phonographic recordings, Faber unfolds a narrative magnificent in its range and brilliant in its detail. “A great violin is alive,” said Yehudi Menuhin of his own Stradivarius. In the pages of this book, Faber invites us to share the life, the passion, the intrigue, and the incomparable beauty of the world’s most marvelous stringed instruments. |
| sevcik tchaikovsky: Adolf Busch Tully Potter, 2024-04-02 Revised edition: Adolf Busch (1891-1952) was an all-round musician and a moral beacon in troubled times. As first violin of the Busch String Quartet, founded in 1912, he was the greatest quartet-player of the last century and he led a famous conductorless orchestra, the Busch Chamber Players. He was also the busiest solo violinist of the inter-War years, regularly performing major concertos with such conductors as Nikisch, Toscanini, Weingartner, Walter, Furtwängler, Boult, Wood, Barbirolli and his elder brother Fritz. He was, moreover, an outstanding composer whose works enjoyed performances in Germany and further afield. Frequently he appeared as soloist and composer in the same concert. His courageous decision to boycott his native country from April 1933 - despite Hitler's efforts to persuade 'our German violinist' to return - drastically reduced his income and damaged his career as soloist and composer. In 1938, because of Mussolini's race laws, he imposed a similar boycott on Italy, where he was wildly popular. The following year he emigrated with his quartet colleagues to the United States, where he was not fully appreciated, although he had many successes with a new chamber orchestra and founded the Marlboro summer school. This biography, based on more than thirty years' research, examines Busch's exemplary behaviour in the context of a tumultuous era. Volume One traces his progress from childhood in Westphalia, through friendships with Fritz Steinbach, Donald Tovey and Max Reger, early triumphs in Berlin, London and Vienna, years of maturity and fulfilment, rejection of Hitler's Germany and close bonds with British musicians and concert-goers in the 1930s. It ends just before his move into American exile. Volume Two follows Busch through the Second World War, his return to give concerts in Europe in the late 1940s and his founding of the Marlboro summer school in Vermont shortly before his untimely death. A series of appendices consider Busch as violinist, violist and teacher, his taste and repertoire, his interpretations, his colleagues, his celebrated recordings and his compositions. |
| sevcik tchaikovsky: Historical Dictionary of Russian Music Daniel Jaffé, 2022-02-15 Historical Dictionary of Russian Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 600 cross-referenced entries for each of Russia’s major performing organizations and performance venues, and on specific genres such as ballet, film music, symphony and church music. |
| sevcik tchaikovsky: Theory of Shadows Paulo Maurensig, 2024-06-04 The strange circumstances surrounding the death of the world chess champion and alleged Nazi collaborator Alexander Alekhine, as investigated by a literary grand master On the morning of March 24, 1946, the world chess champion Alexander Alekhine—“sadist of the chess world,” renowned for his eccentric behavior as well as the ruthlessness of his playing style—was found dead in his hotel room in Estoril, Portugal. He was fully dressed and wearing an overcoat, slumped back in a chair, in front of a meal, a chessboard just out of reach. The doctor overseeing the autopsy certified that Alekhine died of asphyxiation due to a piece of meat stuck in his larynx and assured the world that there was absolutely no evidence of suicide or foul play. Some, of course, have commented that the photos of the corpse look suspiciously theatrical, as though staged. Others have wondered why Alekhine would have sat down to his dinner in a hot room while wearing a heavy overcoat. And what about all these rumors concerning Alekhine’s activities during World War II? Did he really pen a series of articles on the inherent inferiority of Jewish chess players? Can he really be seen in photographs with high-ranking Nazi officials? And as for his own homeland, is it true that the Russians considered him a traitor, as well as a possible threat to the new generation of supposedly superior Soviet chess masters? With the atmosphere of a thriller, the insight of a poem, and a profound knowledge of the world of chess (“the most violent sport there is,” according to the Russian world champion Garry Kasparov), Paolo Maurensig’s Theory of Shadows leads us through the life and death of Alekhine: not so much trying to figure out whodunit as using the story of one infuriating and unapologetic genius to tease out “that which the novel alone can discover.” |
| sevcik tchaikovsky: Music in Edwardian London Simon McVeigh, 2024-05-21 Traversing London's musical culture, this book boldly illuminates the emergence of Edwardian London as a beacon of musical innovation. The dawning of a new century saw London emerge as a hub in a fast-developing global music industry, mirroring Britain's pivotal position between the continent, the Americas and the British Empire. It was a period of expansion, experiment and entrepreneurial energy. Rather than conservative and inward-looking, London was invigorated by new ideas, from pioneering musical comedy and revue to the modernist departures of Debussy and Stravinsky. Meanwhile, Elgar, Holst, Vaughan Williams, and a host of ambitious younger composers sought to reposition British music in a rapidly evolving soundscape. Music was central to society at every level. Just as opulent theatres proliferated in the West End, concert life was revitalised by new symphony orchestras, by the Queen's Hall promenade concerts, and by Sunday concerts at the vast Albert Hall. Through innumerable band and gramophone concerts in the parks, music from Wagner to Irving Berlin became available as never before. The book envisions a burgeoning urban culture through a series of snapshots - daily musical life in all its messy diversity. While tackling themes of cosmopolitanism and nationalism, high and low brows, centres and peripheries, it evokes contemporary voices and characterful individuals to illuminate the period. Challenging issues include the barriers faced by women and people of colour, and attitudes inhibiting the new generation of British composers - not to mention embedded imperialist ideologies reflecting London's precarious position at the centre of Empire. Engagingly written, Simon McVeigh's groundbreaking book reveals the exhilarating transformation of music in Edwardian London, which laid the foundations for the century to come. |
| sevcik tchaikovsky: The Sound of Hope Kellie D. Brown, 2020-06-05 Since ancient times, music has demonstrated the incomparable ability to touch and resonate with the human spirit as a tool for communication, emotional expression, and as a medium of cultural identity. During World War II, Nazi leadership recognized the power of music and chose to harness it with malevolence, using its power to push their own agenda and systematically stripping it away from the Jewish people and other populations they sought to disempower. But music also emerged as a counterpoint to this hate, withstanding Nazi attempts to exploit or silence it. Artistic expression triumphed under oppressive regimes elsewhere as well, including the horrific siege of Leningrad and in Japanese internment camps in the Pacific. The oppressed stubbornly clung to music, wherever and however they could, to preserve their culture, to uplift the human spirit and to triumph over oppression, even amid incredible tragedy and suffering. This volume draws together the musical connections and individual stories from this tragic time through scholarly literature, diaries, letters, memoirs, compositions, and art pieces. Collectively, they bear witness to the power of music and offer a reminder to humanity of the imperative each faces to not only remember, but to prevent another such cataclysm. |
| sevcik tchaikovsky: Music & Opera Around the World , 2008 |
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