ื”ืื™ื’ื•ื“ ื”ื™ืฉืจืืœื™ ืœืžื•ืกื™ืงื•ืœื•ื’ื™ื”

ื”ื›ื ืก ื”ืฉื ืชื™  5-4 ื‘ื™ื•ืœื™, 2010

ื”ื›ื ืก ื”ืฉื ืชื™ ืฉืœ ื”ืื™ื’ื•ื“ ื”ื™ืฉืจืืœื™ ืœืžื•ืกื™ืงื•ืœื•ื’ื™ื” ื™ืชืงื™ื™ื ื‘ื™ืžื™ื ื’-ื‘’, 5-4 ื‘ื™ื•ืœื™, ื‘ืื•ืœื ื ื‘ื•ืŸ ื‘ืืงื“ืžื™ื” ืœืžื•ืกื™ืงื” ื•ืœืžื—ื•ืœ ื‘ื™ืจื•ืฉืœื™ื ื‘ืงืžืคื•ืก ื’ื‘ืขืช-ืจื

1)      ืžื•ืกื™ืงื” ื™ื”ื•ื“ื™ืช – ืžื•ืงื“ืฉ ืœื–ื›ืจ ืคืจื•ืค’ ื™ืฉืจืืœ ืื“ืœืจ

2)      ืžื•ืกื™ืงื” ื™ืฉืจืืœื™ืช ืืžื ื•ืชื™ืช – ืžื•ืงื“ืฉ ืœื–ื›ืจ ืคืจื•ืค’ ื™ื•ืกืฃ ื˜ืœ

3)      ื ื™ืชื•ื— ืžื•ืกื™ืงื” ื˜ื•ื ืœื™ืช – ืžื•ืงื“ืฉ ืœื–ื›ืจ ื“"ืจ ืืจื– ืจืคื•ืคื•ืจื˜

4)      ื—ืงืจ ื”ื‘ื™ืฆื•ืข ื”ืžื•ืกื™ืงืœื™

5)      ื—ืงืจ ื”ื—ื™ื ื•ืš ื”ืžื•ืกื™ืงืœื™

6)      ืžื•ืฉื‘ื™ื ืคืชื•ื—ื™ื

1.             ืžื•ืฉื‘ ื”ืจืฆืื•ืช (Paper Session) – ืžืฉืš ื›ืœ ื”ืจืฆืื” ืœื ื™ืขืœื” ืขืœ 20 ื“ืงื•ืช, ื‘ืชื•ืกืคืช 10 ื“ืง’ ืœื“ื™ื•ืŸ ื•ืฉืืœื•ืช.
2.             ื“ื™ื•ืŸ ืงื‘ื•ืฆืชื™ (Panel Session)

ืชืงืฆื™ืจื™ื ืฉืœ ื”ืฆืขื•ืช (ืขื“ 250 ืžื™ืœื™ื) ื™ืฉ ืœืฉืœื•ื— ื‘ื“ื•ื"ืœ ืืœ:

ื“"ืจ ื‘ืœื” ื‘ืจื•ื‘ืจ-ืœื•ื‘ื•ื‘ืกืงื™ This e-mail address is being protected from spam bots, you need JavaScript enabled to view it , ื“"ืจ ืจื‘ืงื” ืืœืงื•ืฉื™  This e-mail address is being protected from spam bots, you need JavaScript enabled to view it  

ืคืจืก ืœื”ืจืฆืื” ืžืฆื˜ื™ื™ื ืช ืฉืœ ืกื˜ื•ื“ื ื˜/ื™ืช:

ื‘ืžื˜ืจื” ืœืขื•ื“ื“ ื”ืฉืชืชืคื•ืช ืฉืœ ืกื˜ื•ื“ื ื˜ื™ื (ืขื“ 3 ืฉื ื™ื ืžืกื™ื•ื ื”ื“ื•ืงื˜ื•ืจื˜), ืžื›ืจื™ื– ื”ืื™ื’ื•ื“ ืขืœ ื”ืขื ืงืช ืคืจืก ืœื”ืจืฆืื” ื”ืžืฆื˜ื™ื™ื ืช ื‘ืชื—ื•ื ื”ืžื•ืกื™ืงื•ืœื•ื’ื™ื” ืื• ื—ืงืจ ื”ื—ื™ื ื•ืš ื”ืžื•ืกื™ืงืœื™. . ื–ื”ื•ืช ืžืงื‘ืœ ื”ืคืจืก ืชื™ืžืกืจ ื‘ืžื•ืฉื‘ ื”ื ืขื™ืœื” ืฉืœ ื”ื›ื ืก, ื•ื ื•ืกื— ื”ื”ืจืฆืื” ื”ืžืฆื˜ื™ื™ื ืช ื™ืคื•ืจืกื ื‘"ืžื ืขื“."

ืขืœ ืกื˜ื•ื“ื ื˜ื™ื ื”ืžื‘ืงืฉื™ื ืœื”ืฆื™ื’ ืืช ืžื•ืขืžื“ื•ืชื ืœื”ื’ื™ืฉ ืืช ื”ื ื•ืกื— ื”ืกื•ืคื™ ืฉืœ ื”ืจืฆืืชื ืœื ื™ืื•ื—ืจ ืžื”-15.06.2010.

ืชืขืจื•ื›ืช ืคืจืกื•ืžื™ื:

ื’ื ื”ืฉื ื” ื ืงื™ื™ื ืชืขืจื•ื›ืช ืคืจืกื•ืžื™ื ื—ื“ืฉื™ื ืฉืœ ื—ื‘ืจื™ ื”ืื™ื’ื•ื“ – ืกืคืจื™ื, ืžืืžืจื™ื, ืคืจื•ืกืคืงื˜ื™ื ืฉืœ ืกืคืจื™ื ืฉื”ืชืงื‘ืœื• ืœื”ื•ืฆืื” ื•ื—ื•ืžืจื™ื ื‘ืžื“ื™ื” ืืœืงื˜ืจื•ื ื™ื™ื. ืขืœ ื”ืžืขื•ื ื™ื™ื ื™ื ืœื”ืฆื™ื’ ืืช ืขื‘ื•ื“ืชื ืœื”ื‘ื™ืื” ืขืžื ืœื›ื ืก, ืฉื ืชื•ืฆื’ ื‘ื“ื•ื›ืŸ ืžื™ื•ื—ื“ (ืชื”ื™ื” ืฉืžื™ืจื” ืขืœ ื”ืžื•ืฆื’ื™ื ื‘ืžื”ืœืš ื”ื›ื ืก).

ื›ืœ ื”ืžืจืฆื™ื ื•ื”ืžืฆื™ื’ื™ื ื‘ื›ื ืก ื—ื™ื™ื‘ื™ื ืœื”ื™ื•ืช ื—ื‘ืจื™ ื”ืื™ื’ื•ื“. ื”ืฆื˜ืจืคื•ืช ืœืื™ื’ื•ื“ ื›ืจื•ื›ื” ื‘ืชืฉืœื•ื ื“ืžื™ ื—ื‘ืจ ื‘ืกืš: 120 โ‚ช ืœืฉื ื” (ืจื’ื™ืœ), 90 (ืคื ืกื™ื•ื ืจ), 50 (ืกื˜ื•ื“ื ื˜).

The Cape Argus, 2 May 1940 wrote about a concert in Cape Town, South Africa. The review mentioned that many famous violinist visited the town, yet ‘few, if any, of these distinguished men have left behind them such a vivid sense of nobility and power as last night’s audience at the City Hall carried away at the conclusion of the Huberman recital. It was as if they themselves had taken part in a work of creation, so deep was the sense of fulfillment left by the music.’

            The reviewer wrote that when Huberman played the Cesar Frank sonata there was ‘a sense of religious awe and wonder in the music which was built up. Note by note, phrase by phrase, into a cathedral of intellectual sound.’ He continued that ‘Huberman’s profound and creative understanding of this deeply religious composer was one of the most moving episodes in the whole evening.’ Szymanowski’s ‘La Fontaine d’Arethuse’ ‘calls for infinitely subtle gradations of feeling and phrase, the culminating effect of which is one of mysterious beauty withdrawn from this world. Huberman played it magnificently’.

H. Brewster Jones of The Advertiser, Adelaide, Australia wrote on 4 August 1937: ‘Huberman seemed detached, aloof, in his playing of the Bach ‘Chaconne’. His beauty of tone and phrasing was something to revere at a distance rather then enter into. It had a classical purity and spiritual exaltation. It was as if Huberman was communicating with, in intimate fashion, the very innermost thoughts and feelings of the great composer, Bach; without making any concession whatsoever to what might be termed popular appeal.’ 

Carl Bronson wrote at The Los Angeles Evening Herald and Express of 16 April 1937: ‘the results of [Huberman’s] … magnificent musical ideals are overwhelming. His violinresponds to every whim, and these are many, as this very unusual Paganini draws from the wood and strings his celestial idioms… Strange to say, Huberman looks as did Brahm’s friend Remenyi and the concerto sounds more Hungarian than German. Merely coincidence, but very interesting.’

ื™ื•ื ื’’, 23 ื‘ืคื‘ืจื•ืืจ 2010, ืื•ืœื ืงืœืจืžื•ื ื˜, 19:30, ืื•ื ื™ื‘ืจืกื™ื˜ืช ืชืœ ืื‘ื™ื‘

ืคืจื•ืค’ ืžืฉื” ืฆื•ืงืจืžืŸ (ืื•ื ื™ื‘ืจืกื™ื˜ืช ืชืœ ืื‘ื™ื‘):

"ืจืื™ืชื™ ืžืœืื›ื™ื, ืคื’ืฉืชื™ ืฉื“ื™ื" — ืžื—ืœื” ื•ื™ืฆื™ืจืชื™ื•ืช ืืฆืœ ืจื•ื‘ืจื˜ ืฉื•ืžืืŸ

ืคืจื•ืค’ ื™ื”ื•ืืฉ ื”ื™ืจืฉื‘ืจื’ (ื”ืื•ื ื™ื‘ืจืกื™ื˜ื” ื”ืขื‘ืจื™ืช):

"ืขื•ืœื ื”ืคื™ื•ื˜ ื‘ืœื™ื“ืจ ืฉืœ ืฉื•ืžืืŸ"; "ืฉื•ืžืืŸ ื•ื”ืคืกื ืชืจ ื”ืจื•ืžื ื˜ื™"

ืžื—ื–ื•ืจ "ืฉื™ืจื™ ื”ืžืœื›ื” ืžืจื™ื” ืกื˜ื™ื•ืืจื˜" ืื•ืค. 135 (1852)

ืžื‘ื—ืจ ืœื™ื“ืจ ืœื˜ืงืกื˜ื™ื ืฉืœ ืจื™ืงืจื˜, ื”ื™ื™ื ื” ื•ืื—ืจื™ื

ื”ื’ืจ ืฉืจื‘ื™ื˜ (ืžืฆื•ึฟึพืกื•ืคืจืŸ), ื“ื ื™ืืœ ื‘ื•ืจื•ื‘ื™ืฆืงื™ (ืคืกื ืชืจ)

ื”ืื™ื’ื•ื“ ื”ื™ืฉืจืืœื™ ืœืžื•ืกื™ืงื•ืœื•ื’ื™ื” ืžื•ื“ื” ืœื›ืœ ืžืฉืชืชืคื™ ื”ืขืจื‘ ื”ืžื•ืคื™ืขื™ื ืœืœื ืชืžื•ืจื”. ื”ื›ื ืกื•ืช ื”ืขืจื‘ ืžื™ื•ืขื“ื•ืช ืœืคืขื™ืœื•ืช ื”ืืงื“ืžื™ืช ืฉืœ ื”ืื™ื’ื•ื“.

The following photo was taken at the Felicia Blumental Library at Tel-Aviv with the kind permission of the Library and Bronislaw Huberman Archive.

I need to add the name of the sculpture…

Note how the sculpture depicted Huberman looking to (or perhaps beyond) the sky. In many concert reviews, he was perceived as a musician who did not merely play music, but signified something that transcends music.

What do you think?

Do you know who made the sculpture? What do you think about it? Please comment below.

Related posts

Huberman in Scotland and Honolulu

Two antithesis reviews of Huberman

More newspaper clippings about Huberman’s violin playing

Bronislaw Huberman’s faith: the affect of events on the perception of performance

Reviews of Huberman by Neville Cardus, part II: technique and spirit

Huberman and the divine: concert reviews by Neville Cardus

Huberman and the Divine: letters from listeners

Huberman and the divine: report by Edmondo De Amicis

Max Brod on Bronislaw Huberman’s violin playing

Bronislaw Huberman: funding ideas

Glasgow Times, on 13 January 1937 wrote the following review on a concert with Szell and the Scottish Orchestra, under the subtitle ‘Human Outlook’: ‘Beethoven’s violin concerto is a great human work, and there is no living violinist with a more human outlook than Huberman … everything combined to provide us with a rare experience in our musical life.’

Today I had only one hour to sit in the Huberman Archive in Tel-Aviv. But I read two interesting newspaper clippings about Huberman’s performances:

The Argonaut, from San Francisco, California wrote on 3 April 1936 about Huberman’s ‘imperfect’ technique: "It is but natural, if not essential, that the utter submergence of self to the recreation of the composer’s message can not always result in a one hundred per cent technical performance – nor should it. We would rather hear an artist give his heart and soul to transmitting a master’s ideas and ideals than concentrate his mind upon exact placing of every note, the unchanging clarity of tone quality and the cold, methodical precision of approximate technical perfection. In other words, we prefer an artist of warmth of expression and intensity of emotional versatility to another who has technical precision but no depth of feeling."

The Embodiment of Authority: Perspectives on Performances

The Embodiment of Authority: Perspectives on Performances Conference

Sibelius-Academy, Helsinki, Finland 

10–12 September 2010

A call for papers will be announced at January 2010.

Keynote speakers:

Nicholas Cook

Professor of Music

University of Cambridge (UK)

Della Pollock

Professor of Performance and Cultural Studies

University of North Carolina (US)

Allen S. Weiss

Associate Adjunct Professor of Performance Studies and Cinema Studies

New York University (US)

For further information, please contact:

Dr Taina Riikonen

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+358 40 710 4294

The Piano Trio: History, Technique, Performance

THE PIANO TRIO: HISTORY, TECHNIQUE, PERFORMANCE

12-13 November 2010

Senate House, University of London

Call for Proposals:

The piano trio is a relatively late arrival on the scene in the history of chamber music. When in the late eighteenth century, the first piano trios as we now understand them – with emancipated string parts that are assigned near-equal partnership with the keyboard – appeared, the string quartet was already well established as a genre. The development of the piano trio has been contingent upon the ways in which changes to the construction of keyboard instruments affected the nature of the inter-relationships between instruments and composers’ responses. This conference aims to bring together researchers working on the historical, technical and performative aspects of the piano trio genre.

The keynote presentation will be given by David Owen Norris.

Proposals (250 words) for individual papers (20 minutes, with 10 minutes discussion), lecture-recitals and performances /demonstrations (30 minutes maximum, with 15 minutes discussion) or panels (three of four papers, each to be 20 minutes maximum, with 10 minutes discussion) are invited on the following topics:

•Historical origins of the piano trio

•Changing social function of the genre

•Canonic works, and mainstream repertoire for the piano trio

•Significance of the genre as a cultural phenomenon

•Historical and contemporary performance practice of the piano trio repertoire

•Performance history of the piano trio

•Equal partnership or ensemble hierarchy in performance?

•National identities in relation to the genre

•The place of the piano trio in historical and contemporary concert programmes

•The rise and careers of professional piano trios

•Recording history of the piano trio

•Contemporary repertoire for the piano trio

•Patronage and the piano trio

•The piano trio as a foundation for larger ensembles

•Subversion of the genre: piano trio with non-traditional instrumental combinations

•Progressive and conservative trends in 20th-century piano trio repertoire

•The development of modern pianos and its relationship to the repertoire for the piano trio

•Compositional issues in relation to the piano trio

•Issues of balance in the performance of piano trios

•Landmarks in the history of the piano trio repertoire

•The future of the piano trio

DEADLINE for proposals: 5pm (GMT), Monday 1 March 2010

Notification of acceptance and preliminary programme: 15 April 2010

Final programme issued: 15 July 2010

Registration opens: 1 August 2010

Please submit by email, in an attachment including your full name and contact details, to the IMR Administrator Mrs Valerie James, at  This e-mail address is being protected from spam bots, you need JavaScript enabled to view it .

Proposals will be judged anonymously. Paper proposals from students are especially encouraged.

Conference Committee:

Mine Dogantan Dack (Chair – Middlesex University)

John Irving (Director of the Institute of Musical Research)

Peter Fribbins (Middlesex University)

Mieko Kanno (Durham University; Orpheus Institute)

Ferenc Szücs (Irish World Academy of Music and Dance)

Marianne Tyler Brown (Middlesex University)

http://music.sas.ac.uk/imr-events/imr-conferences-colloquia-performance-events/the-piano-trio-history-technique-performance.html#c1446

Performance Studies Network, CMPCP

The Performance Studies Network - hosted by the AHRC Research Centre for Musical Performance as Creative Practice (CMPCP) - will hold its first international conference at the University of Cambridge from Thursday 14 July to Sunday 17 July 2011. Most conference activities will be held in the Faculty of Music, and delegates will be accommodated in nearby Robinson College. Plenary sessions will be led by members of the CMPCP team and by invited speakers from outside the Centre; there will also be a range of performance events, including a concert given by the internationally renowned Endellion Quartet.
 
The Call for Papers will be issued in Autumn 2010, inviting proposals for individual papers, panel sessions, posters, and events featuring live performance. Registration forms will also be made available then; early booking is strongly encouraged owing to the limited number of spaces available at Robinson College.

* * * * *

Information about CMPCP can be found by visiting www.cmpcp.ac.uk. 
See www.cmpcp.ac.uk/performance_studies_network.html for details of the Performance Studies Network and for updates about this conference.

The Manchester Guardian wrote on 24 April 1933 that the ’sudden, violent plundege into the scherzo [of Beethoven’s G majour Sonata] came as though we had escaped a revelation which it is not for mortals to know’.

Related posts

Bronislaw Huberman’s faith: the affect of events on the perception of performance

Reviews of Huberman by Neville Cardus, part II: technique and spirit

Huberman and the divine: concert reviews by Neville Cardus

Huberman and the Divine: letters from listeners

Huberman and the divine: report by Edmondo De Amicis

Max Brod on Bronislaw Huberman’s violin playing