Joys And Sorrows, Chapter Seven It was short after my debut with Lamoureux that I came to know harold bauer.He was then twentysix and already widely known as a pianist. http://www.celloheaven.com/joys/chap7.htm
Extractions: Within a few years after I moved to Paris, I was to become familiar with a score of foreign lands. In my heart Catalonia remained my home, but I came to feel at home in St. Petersburg and Sao Paulo, Philadelphia and Budapest, London, Venice, Stockholm, Buenos Aires. Traveling then was not of course what it is today. To fly over the Atlantic now takes a few hours; my crossing with Emma Nevada and Leon Moreau took eighteen days. I traveled tens of thousands of miles. The years became a kaleidoscope of new places, new acquaintances, new impressions. I lost track of the number of concerts I gave. I do know it was often around two hundred and fifty a year. Sometimes when I was traveling in countries where cities were close together, I'd give over thirty concerts a month-on Sundays I would often have one concert in the afternoon and another in the evening. It was a demanding schedule. I never missed an engagement. I had a strong constitution, but even so I sometimes felt exhausted. Once, in Berlin, I fainted in the middle of a performance, but after a short rest I finished the concert. I must say it was not an ideal form of existence. I have never liked packing and unpacking. Even for a young man, full of energy and curiosity, the excitement of travel wears off; and to spend a night here, a weekend there, and to hurry on-to have to rush to catch trains after concerts when your clothing is still drenched with perspiration, and to travel all night and have a rehearsal the following morning-becomes fatiguing and frustrating. Then too there was the sadness of leaving newfound friends. Regardless of how successful my concert tours were, I was always glad when they were over and I returned to Paris. I was happiest of all when summer came-then I could visit Catalonia and see my mother and father.
Ampcast.com: Sergio Fiorentino, Pianist (1927 - 1998) Franck s beautiful organpiece in harold bauer s transcription for piano, recorded by Fiorentino in Sergio Fiorentino, pianist (1927 1998). Song http://www.ampcast.com/music/25146/music.php
Extractions: - Pick a Genre - Classical - Baroque - Choral - Classical Crossover - Contemporary - Electronic Classical - Medieval/Renaissance - Opera - Piano - Romantic - Solo Instruments - Symphonic - Vocal Country/Folk - Alternative Country - Americana - Bluegrass - Folk - New Country - Traditional Country Electronic - Abstract - Ambient - - Dark Ambient - - Environmental - - Space Music - Breakbeat - - Big Beat - - Funky Breaks - Dance - - Club - - Euro Dance - - Hard Dance - Down Tempo - - Chillout - - Dub - - Illbient - - Trip Hop - Drum N' Bass - - Ambient Drum N' Bass - - Jump-Up - - Jungle - - Tech Step - Electronic Classical - Electronic Rock - Electronica - - Progressive Electronica - - Symphonic Electronica - Experimental - Game - House - - Deep House - - Filtered/Disco House - - Hard House - - Progressive House - - Tribal House - - Vocal House - IDM - - Minimal - - Noise - Industrial - - Darkwave - - EBM - - Gothic Industrial - - Industrial Electronic - - Industrial Metal - - Industrial Rock - - Power Noise - Techno - - Acid - - Deep - - Electro - - Gabber - - Happy Hardcore - - Minimal - - Rave/Old Skool - Trance - - Euro Trance - - Goa - - Hard Trance - - Melodic Trance - - Progressive Trance - - Psytrance - UK Garage Jazz/Blues - Blues - - Acoustic Blues - - Blues Rock - - Electric - - Spiritual - Jazz - - Acid Jazz - - Jazz Fusion - - Latin - - Lounge - - Smooth Jazz - - Swing/Big Band - - Traditional Jazz Pop - Europop
PROF'S:The Late Greats I And, in his own case, the musician and the pianist were completely fused thoughthe pianist remained always the servant of the musician harold bauer (1873-1951 http://w3.gwis.com/~fschoett/great.htm
Extractions: SOLO PIANISTS "Artur, you will never be a pianist. You are a musician." These prophetic words were uttered by the legendary early 20th century teacher, Theodor Leschetizky, to his young student, Artur Schnabel. "In later years, Schnabel took special delight in repeating Leschetizky's prophecy as a paradox, because he himself could never make any distinction between pianist and musician, even for his pupils. And, in his own case, the musician and the pianist were completely fused - though the pianist remained always the servant of the musician."*
Casals Festival - Pablo Casals Biography Tours throughout his native Spain with pianist harold bauer. 1901,Tours the United States of America. 1903, Tours South America. http://www.festcasalspr.gobierno.pr/casals.html
Extractions: Offers his first violin recital in El Vendrell. This recital caused great discomforts on the promising musician. Due to his habit of performing with his eyes closed. his friends jokingly called him "the blind musician". This infuriated him to the extent that he swore to abandon playing the violin and take up another instrument. Discovers the cello. Moves to Barcelona to continue his music studies. His first cello recital is held in Barcelona. Travels to Paris. Begins performing as second cellist with the orchestra of the Follies Marigny Theatre. Travels to Portugal invited by King Carlos and Queen Amelia to perform a recital at the Royal Palace in Lisbon. Returns to Paris and appears as soloist with the Maestro Lamoureux Orchestra. Receives an invitation from Queen Victoria to offer a concert at the Crystal Palace in London. Tours throughout his native Spain with pianist Harold Bauer. Tours the United States of America. Tours South America. Is invited by President Theodore Roosevelt to give a recital at the White House in Washington, D.C. Travels to Russia.
Extractions: Subscribe Help Artist Album Song Tour Dates Movie Title Movie Cast/Crew Record Label Radio Musician Resource Retail Outlet Magazine Meta Site Venue Festival Promoter/Agent Ticket Seller Featured Artist Merch *NSYNC ...Trail of Dead A New Found Glory A.F.I. Abandoned Pools AC/DC Adema ADIO Clothing Aerosmith Alanis Morissette Alice Cooper Alien Ant Farm Alkaline Trio Allman Brothers Band Andrew W.K. Anthrax At the Drive-In Ataris Atticus Clothing Audioslave Avril Lavigne Backstreet Boys Bad Religion Barry Manilow Beach Boys Beastie Boys Beatles Ben Sherman Biohazard Black Sabbath blink-182 Blood Brothers Blues Traveler Blur Bob Dylan Bob Marley Britney Spears Bush Calling Chemical Brothers Cher Chevelle CKY Coal Chamber Cold Cradle of Filth Custom Cypress Hill Danzig Dave Matthews Dead Kennedys Def Leppard Default Deftones Descendents Dickies Disturbed Don McLean Donnas Doors Dropkick Murphys Drowning Pool EchoBrain Elvis Presley Eminem Eric Clapton Everclear Fear Factory Fender Filter Finch Foo Fighters Frank Sinatra Garbage Gene Gibson Godsmack Goldfinger Good Charlotte Grateful Dead Gravity Kills Green Day Green Lantern Guttermouth Hives Hole Hoobastank Hot Water Music Hurley Clothing Incubus Insane Clown Posse Iron Maiden Janet Jackson Janis Joplin Jawbreaker Jimi Hendrix Jimmy Eat World Jon Brion Judas Priest Jurassic 5 Kid Rock Kiss Kittie Korn Led Zeppelin Less Than Jake Limp Bizkit Linkin Park Lisa Germano Live Lostprophets Lou Reed LunaticWorks Lynyrd Skynyrd Macbeth Shoe Company Marc Anthony Marilyn Manson MC Lyte Megadeth Melissa Etheridge mellowdrone Mest Metallica Midtown Mighty Mighty Bosstones Miles Davis
Introduction of the growing personality cult of the solo pianist as a Ossip Gabrilowitsch, JosefLhevinne, Leopold Godowsky, Mischa Levitsky, harold bauer, Egon Petri http://home.earthlink.net/~oy/intro.htm
Extractions: That the study of performance practice per se is important to the study of music and its creators and performers cannot be doubted. Further, an organized investigation into the historical aspects of performance practicei.e., performance standards and options within a particular milieu during a set time periodcan offer understanding to the nature of the music and its aesthetics in a manner ranging from merely noteworthy through useful to indispensable. Certainly many factors have influenced changes in performance practice from the middle of the nineteenth century to the present date. In terms of orchestral performance, the most influential factors must include the following: the existence of fully-professional orchestras, standing bodies with set personnel and planned schedules of rehearsal, performance, broadcast and recording, thus affording the development of technique and ensemble; the advent of virtuoso perfectionist conductors, beginning (for the purposes of this study) with the much-beleaguered Berlioz and stretching through such This last circumstancethat of the technical advancement as heavy influence upon performance practicecannot be sufficiently stressed. It is tritely remarked that the advent of broadcast and of recordings has brought music closer to a larger audience than has ever existed previously in human history; the depth of this influence becomes almost unfathomable whenever it is casually remarked, for example, that a single televised performance of a particular opera has been seen (and may continue to be seen, by recording and repeated playing or broadcast) by more people than had ever seen that opera in live performance up to that time.
CMR MIDI Spotlight She also had the annoying habit of making a big deal of the fact that she was a pupilof harold bauer. bauer was a fine pianist and a very fine musician, but http://www.classicalmidiresource.com/site/spotlite/lloyd.html
Extractions: Picture of Gary, along with a shot of his large reach Gary D. Lloyd was born October 3rd, 1948 in a small town outside of Poughkeepsie, New York. As a child, he lived within easy walking distance of his grandparents home. As fate would have it, his grandmother was an accomplished piano instructor, and as a result, became his first and best teacher. According to his family, Gary's musical talents began showing themselves early on. Not only could he sing almost as soon as he could talk, but he also sang perfectly on key. He was blessed with what is commonly called perfect pitch, or the ability to discern and identify notes precisely as they are heard, without assistance from any other source. This talent ran so deeply that he was able to pass the final exam for "sight-singing" before even starting the first class. In doing so, he was exempted from the entire course. For those of you unfamiliar with the term "sight-singing", it describes how well and accurately an individual performs a piece of music, having never see the manuscript or score for it beforehand. "We had a recording of the Tchaikovsky Bb Minor Piano Concerto, but when a family friend gave me the famous recording by Horowitz and Toscannini, I threw the other recording in the garbage. When Van Cliburn became a national hero, and most people went nuts over his Tchaikovsky Concerto recording, people gave me strange looks when I said it was boring in comparison to Horowitzs recording."
WCLV - 12/07 - Sunday composer 1944 (59) Daniel Chorzempa American organist, harpsichordist, pianist,composer 12 419169 CD) 1922 Cesar Franck (arr harold bauer) Prelude, Fugue http://www.wclv.com/skin/blurb.php?sectionId=176&contentId=33401
Mlist_log0307: The New York Times: "Harold C. Schonberg, 8 Hofmann, somehow, made every other pianist sound thick harold Charles Schonberg wasborn in Washington Heights studied with the composer Marion bauer and wrote http://listproc.ucdavis.edu/archives/mlist/log0307/0009.html
International Piano Archives At Maryland, UM Libraries BÉLA BARTÓK (18811945). The Hungarian composer-pianist s complete recordingshave been harold bauer (1873-1951). Three CDs on BIDDULPH (LHW 7, 9 and 11 http://www.lib.umd.edu/PAL/IPAM/bgad.html
Extractions: Performing Arts Library International Piano Archives at Maryland Buyer's Guide ISAAC ALBÉNIZ (1860-1909) Some improvisations by this well-known Spanish composer were privately recorded on cylinders around 1903 and have been issued on VAI 1001 (The Catalan Piano Tradition). EUGEN dALBERT (1864-1932) Only a sampling of this Liszt pupil's recorded output is available on CD. SYMPOSIUM 1146 is entirely devoted to d'Albert, with transfers that are noisier than they need to be, whereas a few selected recordings can be found on PEARL 9972 (Pupils of Liszt) and on IPAM 1206 ("A Multitude of Pianists"). A much-needed complete edition of d'Albert's recordings is projected for 2004. CONRAD ANSORGE (1862-1930) This Liszt pupil was especially known for his Beethoven interpretations, but very little by him is available on CD. Two recordings can be found in Pearl's "Pupils of Liszt" set (PEARL 9972). CLAUDIO ARRAU (1903-1991) FRIDTJOF BACKER-GRØNDAHL (1885-1959) A Norwegian pianist who was coached by both Grieg and Dohnanyi, Backer-Grøndahl is represented on CD by several Grieg solo pieces on SIMAX 1809 ("Historic Interpretations of Grieg"; three CDs) WILHELM BACKHAUS (1884-1969) Backhaus' pre-WW2 recordings have been widely reissued on a variety of labels. BIDDULPH released three CDs of Brahms (LHW 17, 18 and 19), plus Beethoven Concertos 4 and 5 (LHW 37), and his complete 1916 Polydor recordings (LHW 38). PEARL has issued several Backhaus CDs: a collection of Schumann (Fantasy in C), Bach, and Schubert (PEARL 0046), his complete British acoustic recordings (PEARL 0102, two discs), a single CD of Brahms solos (PEARL 9835), and a disc of Chopin (24 Etudes) and Liszt (PEARL 9902). The Japanese label SHINSEIDO issued a 12-CD series of selected recordings made between 1908 and 1948 (SHINSEIDO 1501-1512), but these are difficult to obtain. The now-defunct DANTE label also issued a series of Backhaus CDs, and ANDANTE 2999 (four CDs) contains a good selection.
Musicians Collection, Folder List A-E fc 1 Bartee Sisters. Photo, 1929 ofc Bartholdi fc 1 Bartol, accordionist(2) fc 1 Baskette, Billy, composer fc 1; ofc bauer, harold, pianist. http://www.hrc.utexas.edu/research/fa/musicians.folder.a-e.html
Bach: Arrangements harold bauer) Die Seele ruht in Jesu Händen, from Cantata No 127, BWV127 5 29 BachBook for Harriet Cohen (a collection compiled for the pianist Harriet Cohen http://www.hyperion-records.co.uk/details/67309.asp
Extractions: This delightful disc offers a selection from the wealth of piano transcriptions of Bach's music. The Bach revival that gathered momentum during the nineteenth century created a climate for many composer-pianists to interpret his works through their own piano transcriptions, whether of chorale preludes, organ works or other instrumental music. Much of Bach's music was made domestically available via such arrangements (and the tradition continued well into the twentieth century, even after Bach originals were well known). Indeed, the practice of such transcriptions was widely used by Bach himself, who freely adapted his own and others' music for different instrumental settings. One of today's finest Bach pianists, Angela Hewitt concentrates primarily on those arrangements of Bach that keep pianistic elaboration and virtuosity in proportion: whatever instrument his music is played on, Bach should still sound like Bach. Eugen d'Albert's magnificent transcription of the C minor Passacaglia and Fugue for organ, BWV582, is included, as are five beautiful transcriptions by Wilhelm Kempff, and a number of arrangements by English composers that were included in A Bach Book for Harriet Cohen (a collection compiled for the pianist Harriet Cohen, who knew many English composers of the early twentieth century). Angela Hewitt also includes three transcriptions of her own. A fascinating companion to Angela Hewitt's acclaimed Bach recordings for Hyperion, this ravishing disc will appeal to lovers of Bach as much as connoisseurs of the piano.
BluesTone Ampico Rolls 4 (Schubert) played by harold bauer $15 (originally issued on Ampico 51517, ca. MauriceHinton s Guide to the pianist s Repertoire describes the piece very http://www.bluesrolls.com/Ampico.html
Extractions: BluesTone AMPICO Roll Catalog Classical artists on BluesTone Ampico rolls include Clarence Adler, Harold Bauer, Ferrucio Busoni, Teresa Carreno, Leopold Godowsky, Phillip Gordon, Arthur Loesser, Arthur Mirovitch, Elly Ney, Marguerite Volavy, and Eleanor Winogradoff. Popular artists on BluesTone Ampico rolls include John Arpin, Eubie Blake, Adam Carroll, Edgar Fairchild, and J. Rosamond Johnson. Playing Ampico rolls on regular 88-note player pianos: Ampico rolls are layed out so that they will play fine on any standard 88-note player. If you wish, you can use a piece of Scotch tape to cover channels 3-6 on the bass end and channels 91-97 on the treble end so that no extraneous notes are played on your piano. For details please take a look at a brief BluesTone Tracker Bar Comparison . Note that the automatic sustain channel will still operate normally in this case. BluesTone Ampico roll reissues
Ruhleben - Sir Ernest MacMillan (1893-1973) He intended to study piano with harold bauer, as well as piano privately with ThérèseChaigneau, bauer s assistant At the first, pianist Harry Field, a fellow http://www.collectionscanada.ca/4/6/m7-212-e.html
Extractions: Photographer unknown. Download the above picture Here beginneth a new chapter in the history of a captive Colonial I fully expect to be a truly interesting personage You may imagine how the ingenuity of several thousand men succeeds when they have practically all their time to themselves! One soon falls into one's place, and I feel quite at home(!) I In July, MacMillan was invited to accompany the Burgesses to the Wagner Festival in Bayreuth. Then came the outbreak of World War I. MacMillan's American friends advised him to go to Nuremberg to seek advice from the American Consul. On August 4, England declared war on Germany. MacMillan, as a British subject, was considered an enemy alien and required to register with the Nuremberg police. After doing so, he returned to Bayreuth for the Festival. Shortly after his twenty-first birthday, arrangements were made for the Burgesses to leave Europe. MacMillan accompanied them to Nuremberg for their departure. He was instructed to remain in the city until the international situation had been clarified and to report daily to the police. The American Consul took MacMillan under his wing and recommended that he take a room at the Pension Trefzer. This became his home for the next four months. In January 1915 he was arrested, tried and imprisoned for having violated Article 4, No. 2 of the
The Johns Hopkins News-Letter worldfamous reputation and a prestigious list of faculty members, present and past violinist William Kroll and pianist harold bauer, for example many http://www.jhu.edu/~newslett/03-15-01/Features/5.html
Extractions: The Johns Hopkins News-Letter Peabody is home to many talented musicians who will someday grace concert halls with their musical talents. Located in the heart of Mt. Vernon, the Peabody Institute makes its home in the middle of Baltimore's historical and cultural center. Homewood students visit the area all the time, whether to watch a play at Center Stage, eat out at Scotto's Cafe (once known as Louie's) or Minato or to browse the Manet exhibit at Walters Art Gallery. But though they've passed by Peabody numerous times, only a few know what it's really like on the inside. The institute, a division of the Johns Hopkins University, has two constituent parts: the Conservatory and the Preparatory. The Conservatory trains those musicians who are aspiring to a professional career while the Preparatory provides performing arts instruction to all who are seeking a solid performing arts education. Most Homewood people, when talking about Peabody, are referring to the Conservatory. While the Conservatory possesses a very distinguished, world-famous reputation and a prestigious list of faculty members, present and past violinist William Kroll and pianist Harold Bauer, for example many of its students harbor bitter complaints, and sometimes even hatred, for the school. Even with the various historical and cultural sites previously outlined, Conservatory students are weary about the location. With some classes ending as late as 11 p.m., students who live off-campus are forced to walk home in an area that becomes somewhat dangerous and frightening at night. And the many cafes and restaurants that Homewood students are so fond of do not offer any consolation. After living in the area for only a couple months, going out to these places apparently gets old real fast.
Yamahamusicsoft : Product Detail Award winning pianist, Thomas Hrynkiw, has been making professional concert includethe Gold Medal, Geneva Competition, the harold bauer Award, Manhattan http://www.yamahamusicsoft.com/index.php?action=ProductDetail&product_id=1016941
Artist Name and Russia as an orchestral and recital soloist, chamber musician, and jazz pianist. andwas awarded the schools highest graduate honor, the harold bauer Award http://www.concertartists.com/InmanPianoTrio.html
Extractions: The Inman Piano Trio takes its name from the gracious Inman Park neighborhood in Atlanta. Like the neighborhood, the trio creates a unique presence by looking both to the past and to the present by featuring mainstays of the piano trio repertoire on its programs as well as newer, rarely performed works. The strong individual qualities of the Inman Piano Trio blend to form an exciting whole. Violinist Beth Newdome was appointed to the faculty of Florida State University as Assistant Professor of Violin in Fall 2002. Previously she served as Associate Concertmaster of the Atlanta Symphony Orchestra, where she had been a member since 1991. Her association with major orchestras in the US began with the position of Assistant Concertmaster of the Jacksonville Symphony and then followed with positions in the Columbus and Dallas Symphony Orchestras. Hailed by the Atlanta Journal Constitution as a "musician's musician", Ms Newdome enjoys an active solo and chamber music life. As a core member of the Georgian Chamber Players, she has performed with such artists as Ruth Laredo, Awadagin Pratt, Maria Bachman, Robert McDuffie and Jonathan Bass. She and Mr. Pratt have given concerts throughout the US as well as in Japan. In the summer she teaches at the Aspen Music Festival. Beth Newdome trained at the Eastman School of Music, where her teacher was Charles Castleman.
Wauu.DE: Arts: Music: Instruments: Keyboard: Piano: Pianists: B Leon International concert pianist. Site includes biography, reviews, repertoryand programs. http//www.rilearts.com/leonbates.htm. bauer, harold (18731951 http://www.wauu.de/Arts/Music/Instruments/Keyboard/Piano/Pianists/B/
Welcome To Rho Tau! William Count Basie. Jazz pianist and Band Leader. harold E. bauer.pianist. Robert Russell Bennet. Composer. E. Power Biggs. Organist. http://www.acs.appstate.edu/~pma/famsin.html
Extractions: Julian "Cannonball" Adderly Jazz Saxophonist and Band Leader Samuel Adler Composer and Conductor Pasquale Amato Baritone Leroy Anderson Composer Maurice Andre Trumpet Samuel Barber Composer William "Count" Basie Jazz Pianist and Band Leader Harold E. Bauer Pianist Robert Russell Bennet Composer E. Power Biggs Organist David Bispham Bass-Baritone Les Brown Band Leader Charles Wakefield Cadman Composer John Cage Composer Cleofonte Campanini Conductor Andrew Carnegie Philanthropist John Alden Carpenter Industrialist and Composer Enrico Caruso Tenor Eugene Conley Tenor Fredrick S. Converse
