Caramba! - Housle The world violinists; violinist (angl.); violinists.com; Vstupte. Bell Joshua;Elman Misha; Enescu George; Haendel Ida; Hattori Joji; huberman bronislaw; http://www.caramba.cz/page.php?PgID=584
Polish Music Journal 4.1.01 - Stojowski: Music And Life - An Address about Bronis³aw huberman see Barbara von der Luhe, Ich bin Pole, Jude, freierKunstler und Paneuropaer Der violinist bronislaw huberman, Translated I am http://www.usc.edu/dept/polish_music/PMJ/issue/4.1.01/stojowskiadres.html
Extractions: Editors' Introduction The typescript of this speech, given by Zygmunt (Sigismond) Stojowski (1870 -1946) on the occasion of the Polish Music Festival held in Carnegie Hall, New York, in the spring of 1944, is found in the Manuscript Collection of the Polish Music Center at USC. It was donated by Henry Stojowski, the composer's son, and was previously found in the Stojowski Collection at his home in Baldwin, Long Island, New York (the collection includes another typewritten copy). The sub-title is a quote from Ignacy Jan Paderewski's famous speech about Chopin, during celebrations of the 100th anniversary of his birth in 1910. The Stojowski typescript bears the following annotations: "From Cornelius H. Tuszynski, 16-18 West 46th Street, New York 19, N. Y.; Tel: BR 9-7144" in the upper left corner, and "News Release / Immediate" in the upper right corner. The text consists of four numbered pages. The address has never been published in its entirety, though a lengthy excerpt had appeared in an article entitled "Polish Music Festival at Carnegie Hall," in Stojowski's
Polish Music Reference Center:Feb.1997 Newsletter PolishJewish violinist bronislaw huberman was the founder and firstdirector of the Israel Philharmonic Orchestra in 1936? It was http://www.usc.edu/dept/polish_music/news/feb97.html
Extractions: Vol. 3, no. 2 NEWS FLASH! Composer Marta PTASZYNSKA received the 1996 Alfred Jurzykowski Foundation Award in the field of music for outstanding creative achievements and for the significant contributions to the advancement of Polish culture. In addition to composing, teaching and performing PTASZYNSKA had organized two Polish music festivals at the New York Public Library, Lincoln Center. Her latest recording is the Holocaust Memorial Cantata conducted by Lord Yehudi MENUHIN, wherein the composer uses texts by the eminent American poet, Leslie Woolf Hedley. CALENDAR OF EVENTS: FEB 2: Alan GAMPEL , Polish-American pianist. In this second lecture-recital entitled The Inspired Poet, he will be playing and discussing selections from the Preludes, Op. 28 and the Fantasy, Op. 49. At the Kosciuszko Foundation, New York. Sunday, 3 p.m. FEB 7: SAPIEYEVSKI Concert in Denver. Polish Pieces
UNT: College Of Music: Bios: Berthe huberman Odnoposoff was born in Paris, France to a musical family; she isrelated to violinist bronislaw huberman and married cellist Adolfo Odnoposoff http://www.music.unt.edu/bio/odnoposoff.shtml
Extractions: Berthe Huberman Odnoposoff was born in Paris, France to a musical family; she is related to violinist Bronislaw Huberman and married cellist Adolfo Odnoposoff, whose brother Ricardo is a famous violinist. Ms. Odnoposoff lived in Havana, Cuba, where whe studied under the guidance of Russian pianist Jascha Fisherman as well as Erwin Herbst and Joaquin Nin, and took master classes with Rosita Renard. She holds a bachelor of arts and sciences degree, a diploma in piano, and a diploma in theory and harmony from the Ministry of Education, Havana, Cuba. In 1989, Ms. Odnoposoff organized the Hispanic Friends Pro-Musica whose goal is to support the College of Music and at the same time promote Hispanic music and artists. The group represents a variety of nationalities, including Mexico, Central and South American countries, Caribbean Islands, Spain, and Portugal. The leadership of Hispanic Friends Pro-Musica is committed to serving gifted and talented Hispanic students who have selected the UNT College of Music for their advanced musical studies. A scholarship has been established for Hispanic students pursuing doctoral studies here. The City of Houston made her an Honorary Citzen as a goodwill ambassador in 1980; the Department of Health and Human Services awarded her for "her world renown contribution to Hispanic music and its civilization" in 1983 and 1984; she was inducted into the National Guild of Piano Teachers Hall of Fame in 1987; and she was an Honor Teacher for the "Van Cliburn Concert Series" at UNT in 1988. Ms. Odnoposoff is a member of Phi Beta Delta, an honor society for international scholars. The Denton Music Teachers Association (DMTA) awarded her the DMTA Collegiate Teacher of the Year in 2000. She has been a member since 1976 and has participated in all activities (recitals, festivals, auditions) with full class capacity.
Juilliard | The Juilliard Journal Online The violinist bronislaw huberman was Joachim's last great pupil,and played Brahms's concerto for him while still a lad. Brahms http://www.juilliard.edu/update/journal/letters_0302.html
Extractions: "One should not eat cherries with great men," Brahms once wrote in a letter to Richard Wagner, and what he meant by the German proverb was, "I know I shouldn't tangle with powerful people ." But he did so anyway, because he had something on his mind. I see a bowl of cherries before my eyes as I write to take issue with Roger Norrington, after reading his claims that a Brahms symphony should be played without vibrato (Daniel Wachs's interview with Roger Norrington, "One Brahms Symphony, Hold the Vibrato," December/January issue). "That is how Brahms would have expected his symphony to sound," Maestro Norrington is quoted as saying. Cherry in hesitant hand, I venture to say that it is not as simple as that. For one thing, Brahms is the very last person in the musical world to insist that there was only one "correct" way to play his music. This is the man who said that his blood and a metronome didn't go well together, and who once offered to provide a friend, for a goodly sum of money, a weekly subscription for tempo markings, "because with normal people they cannot remain valid for more than a week." This is also the man who wrote piano and chamber music with a little Graf or even a beautiful Erard at hand, but as soon as he had the clout, insisted on performing those works in public only on American Steinways (yes!) and Bechsteins. As a composer, Brahms was a man who welcomed new possibilities, so long as they were genuinely felt.
All Things Strings: Reviews 1, Naxos Historical 8.110909), and bronislaw hubermans Beethoven As for huberman,the wild man of his No violinist today, whatever his testosterone level http://www.stringsmagazine.com/issues/strings92/reviews.shtml
Extractions: by Benjamin Ivry Outstanding Recent Historical Reissues Despite the woeful cries of the Gloomy Guses who pestiferate in the musical press, the classical CD is by no means dead, nor has it been "killed" by historic reissues. Vast areas of our precious musical past have yet to be uncovered, and a fascinating crop of recent reissues reminds us of a major benefit of listening to old records: we are confronted with past personalities and approaches, far from what is common coin in conservatories and concert halls today. The mysteries of past excellences need to be studied by all who have passed the stage of child prodigy, working on instinct alone. Some artists are especially alert to the vital importance of the past. Veteran violinist Ida Haendel has just released a new CD recital, accompanied by
All Things Strings: Reviews The earliest violinist recorded here is Carl Flesch (18731944), who is rememberedmainly as a great teacher bronislaw huberman was a phenomenon unto himself http://www.stringsmagazine.com/issues/strings94/reviews.shtml
Extractions: by Edith Eisler There has been a surge of interest in the great violinists of the past recently, as if audiences have tired of the undifferentiated, mass-producedsounding performances often heard today and begun yearning for the "good old days" when players could be clearly identified by their tone and personality. The resulting flood of reissues on compact disc offers a fascinating look at the style and characteristics of the greatest violinists of the last century. In this selective report on the concerto repertoire, I hope to reclaim some less-known players and stimulate further explorations. The earliest violinist recorded here is Carl Flesch (18731944), who is remembered mainly as a great teacher but whose recording of the Beethoven and Brahms Concertos (
Anton Seidl Papers 1, 33, huberman, bronislaw To Anton Seidl np 1 January 1897 1 page ans Note NewYear greetings from the violinist who made his American debut under Seidl the http://www.columbia.edu/cu/libraries/indiv/rare/guides/Seidl/main.html
Extractions: RLIN ID BIOGRAPHY Conductor Anton Seidl was born in Pest, Hungary on 7 May 1850. His early years are unrecorded and some suppose him to be the natural son of Franz Liszt. In 1870 he entered the Leipzig Conservatorium where he studied music under Ernst Ferdinand Wenzel Oscar Paul and Ernst Friedrich Richter. In that same year he returned to Pest to pursue studies with Hans Richter a musician who had been assisting Richard Wagner in preparing the score of Die Meistersinger . Upon Richter's recommendation Seidl was engaged by Wagner in 1872 to help him in his work at Bayreuth where Seidl became a member of the Wagner household. He was empolyed in making the first copy of the Nibelungen score and during the six years he was with Wagner helped to complete the scores of Die Gotterdammerung and Parsifal . Wagner entrusted to Seidl many of the details of the first Bayreuth festival in 1876. In 1879 Seidl was appointed conductor at the Leipzig Opera House where in teh season of 1881-1882 he conducted the first performances of the nibelungen cycle ever heard in Berlin. The following season he was appointed conductor of the travelling Wagner Theatre with which he toured through England and most of Europe. In 1883 he became conductor of the Bremen Opera House. On 29 February 1884 he married Auguste Kraus a singer who had been associated with the Travelling Wagner Theatre.
In Memory Of A Great Musician sisters accepted the invitation of bronislaw huberman to come to Palestine, wherehuberman was starting the festival's founders, the violinist Adolf Busch http://www.johnfkoen.com/English/Galimir.html
Extractions: This is the only picture I found. It is from around 1994 and was taken after a Marlboro concert. Here is the text for the Philadelphia Orchestra program insert: Felix Galimir, a member of the faculty of the Curtis Institute of Music and one of the most respected and influential chamber musicians of the 20th century, died on Wednesday, November 10 at his home in New York City. Born in Vienna in 1910, Mr. Galimir received his early training as a student of Adolf Bak at the Vienna Conservatory. In 1926, as Vienna celebrated the centennial of Beethoven's death, the young violinist and his three sisters quickly assembled a string quartet for the occasion. Finding an enthusiastic reception, the four formed the Galimir Quartet in earnest. The Quartet quickly developed a following, including Maurice Ravel, who advised the group in its 1935 recording of his Quartet in F major, a recording that earned them the prestigious Grand Prix du Disque award in 1937. Relocating to New York, Mr. Galimir made his Town Hall debut in 1938, and subsequently was engaged by Arturo Toscanini as first violinist for his NBC Symphony Orchestra. He laer served as concertmaster of NBC's Symphony of the Air. Affiliated with the Marlboro Music School and Festival since 1954, a member of the faculties of the Juilliard and Mannes schools, and head of the chamber music faculty of the Curtis Institute of Music since 1972, he was a dedicated educator who helped to train many of today's leading chamber musicians, soloists, and orchestra players, including many members of The Philadelphia Orchestra.
Instrumentalists: Catalog 43 huberman, bronislawSP 5 1/2 x 6 program photo of the fiddler playing PRIHODA,Vasa- Spc of the important violinist s. Graz 1924 http://www.rgrossmusicautograph.com/instrument43.html
Extractions: 075. AUER, Leopold- ALS 3 pp in English to American agent Hanson-Petrograd 19l6 re Toscha Seidl.. "I told his mother not with standing his immense talent and his success in Norway, he has to play first in Europe if conditions on account of the war might permit. He is a little wild yet and I should like to know what people says about him in the other big citys of Russia. -But of course his mother may be disposed to accept your offer for l9l7-l8..." Great content
CLASSICALmanac 1881 FP of Massenet's opera Herodiade in Brussells. 1882 Birth ofPolish violinist and conductor bronislaw huberman near Warsaw. http://www.geocities.com/musiclassical/DEC/19.html
Other Artists Etc violinist/Is this a meaningful question? html Last modified 4Jun-99 - page size 12K- in English Translate bronislaw huberman bronislaw huberman. http://www.geocities.com/Vienna/7863/furt/subj_artistothers.html
ERROR! bronislaw hubermann (18821947), Polish violinist; founder in 1936 of the PalestineSymphony. Signed Postcard Photograph of huberman playing his violin, 6 http://www.visink.com/detail.asp?Cat_ID=166&Prod_ID=97
Violin@web By Fstrings SubjectPerfectionisum NameTerry teru@musician.org Date02/12/25 144722He is the nearest violinist to be perfect. huberman, bronislaw http://www.fstrings.com/player/bbs.asp
Brahms & Stravinsky Violin Concertos - Hilary Hahn - Sonyclassical trash. Pablo de Sarasate, the Spanish composer and violinist, ventured that players among them Fritz Kreisler, Maud Powell, bronislaw huberman, and Efrem http://www.sonyclassical.com/music/89649/notes.html
Maestronet Library - Soul Mate The violinist bronislaw huberman was well known for adjusting his own post in fact, he would sometimes switch posts just before going on stage. http://www.maestronet.com/m_library/maestro_mag/Soul Mate.cfm
Extractions: By James N. McKean You run as much risk of doing serious damage trying to move your post around as you would if you tried to do a root canal at home. I know that sounds like a professional trying to protect a convenient source of income, but adjusting the post without the proper training and experience is just asking for trouble. Take a quick look at the diagram (top, above) and you can begin to see why. By moving the post in these two directions, the instrument's response and tone quality can be fine-tuned. An experienced adjuster can tell by listening and watching you play what needs to be done. I adjust cellos as much by the vibration I feel in the floor as by what I hear and see. Anything you can put into words will also help, and you shouldn't feel shy about expressing what it is that is troulbing you about the way your instrument is responding. The exact vocabulary isn't important, although there is a lexicon for the adjusting process: "Sluggish," "nasal," "covered," "too dark," "metallic," "harsh," "bright," "raw" these are some of the terms most commonly used. The most important thing to remember about the adjustment of your instrument is that it can never be optimal all the time. Any halfway decent violin is built to be responsive, to the weather and the seasons as much as to the pressure of the bow. As an amplifier, it amplifies your mood as well as the sound of the strings. If you're having an off day, the chances are excellent that your instrument will, too. What you have to avoid is the temptation to have the instrument adjusted for every variation you feel or hear in its repsonse. It is all too easy to become fixated on the soundpost as the cause and cure of all troubles (just remember Huberman). The French have it right: the soundpost is like the soul, best nourished by being the least troubled.
Cross Current Master violinist Joshua Bell just paid almost four million dollars for the was stolenin 1919 from the Vienna hotel room of Polish virtuoso bronislaw huberman. http://www.clarksons.org/CrossCurrent/crosscurrent2643.html
Extractions: But the Gibson Strad was stolen in 1919 from the Vienna hotel room of Polish virtuoso Bronislaw Huberman. Though it was returned quickly, the cherished instrument disappeared again in 1936 from Hubermans dressing room while he was on stage at New Yorks Carnegie Hall. It stayed missing until 1985 when an amateur musician dying in jail confessed to the crime and told authorities where to find the ultra-valuable violin. Eventually it was returned to the insurer, Lloyds of London, which had paid Huberman $30,000 soon after the theft 50 years earlier. In 1988, Lloyd's sold the violin to British violinist Norbert Brainin for $1.2 million. When Joshua Bell appeared at a concert with Brainin, the older man let him play a few notes on the Strad. I thought it was the most amazing-sounding violin I'd ever heard," Bell recalls. So when the young virtuoso learned the storied instrument was about to be sold to a German industrialist, he convinced Brainin to sell the Strad to him, instead.
The Violin Tutor - Violin Practice Software For Windows Educational. Patrick Harris' homage to bronislaw huberman Great siteabout this great virtuoso violinist. Elementary Violin Technique http://www.theviolintutor.com/index.cfm?fuseaction=dspObject&ObjectID=69
6/16/97: Film Composers In The Concert Hall, Part 1 It was violinist bronislaw huberman who persuaded Korngold to write a concerto forhis instrument, but huberman would not commit to a premiere and none other http://www.filmscoremonthly.com/articles/1997/16_Jun---Film_Composers_in_the_Con
Extractions: film score daily by Jeff Eldridge This is the first in a series of a columns about music by well-known film composers written not for the screen but for the concert hall. Where to start? It seems only fitting to begin with Erich Wolfgang Korngold, whose 100th birthday was celebrated on May 29 of this year. (Although it is a bit erroneous to consider Korngold a film composer who wrote music for the concert hall, since his situation was exactly the reverse.) One of the most remarkable child prodigies of this century. Korngold was playing the piano by the age of three and at 10 he played his cantata Gold for Mahler, who recommended he study with Zemlinsky. A variety of works followed, including a ballet, a piano trio, a piano sonata, various orchestral pieces, and two operas premiered at age 18. The Sinfonietta , an ambitious, large-scale orchestral work written at 15, prompted Richard Strauss to remark, "One's first reaction that these compositions are by an adolescent boy are those of awe and fear: this firmness of style, this sovereignty of form, this individual expression, this harmonic structureit is really amazing." The work shows off the opulent orchestration (often including piano, harp, celeste and vibraphone in addition to a large orchestra) and melodic gift for which Korngold would become known. There is a recent recording by the Dallas Symphony, and the piece is also represented on the first volume of a four CD set on CPO Records, performed by conductor Werner Andreas Albert and the Northwest German Philharmonic. (Ranging from decent to outstanding, these CDs provide a nice survey of the composer's output and represent the only available recordings of some of the lesser-known pieces.)
