Classical Music : Pianist Ann Schein is beyond the everyday great..
Classical Pianist Ann Schein has made the Romantic literature the centerpiece of her classical music repertoire, hardly surprising considering her teachers, Mieczyslaw Munz, Arthur Rubinstein, and Dame Myra Hess. She has lived with these major Schumann works long and intimately, and it shows in her performances as well as in her descriptive notes. With fluent keyboard technique at her disposal, Schein invests these works with poetic imagination and romantic flair. Her readings tend to be straightforward and without exaggeration, but sensitive and subtly nuanced. The recorded sound is close and vivid, adding to the enjoyment of this disc.
A pianist is a musician who plays the piano. A professional pianist can perform solo pieces, play with an ensemble or orchestra, or accompany one or more singers, solo instrumentalists, or other performers.
A performing classical pianist usually starts playing piano at a very young age, some as early as three years old. Many well-known classical composers were also virtuoso pianists including: Wolfgang Amadeus Mozart, Ludwig van Beethoven, Frédéric Chopin, Franz Liszt, Sergei Rachmaninoff, Robert Schumann, Felix Mendelssohn-Bartholdy, Carl Maria von Weber, Charles-Valentin Alkan, Johannes Brahms, Ferruccio Busoni, Anton Rubinstein, Alexander Scriabin, Sergei Prokofiev, Dmitri Shostakovich, Joseph-Maurice Ravel, and Claude Debussy.
Most western forms of music can make use of the piano. Consequently, pianists have a wide variety of repertoire and styles to choose from, including jazz, classical music, and all sorts of popular music.
Piano Concerts.
MORE ABOUT ANN SCHEIN
Pianist Ann Schein has been thrilling audiences since her sensational first recordings for Kapp Records and her highly acclaimed Carnegie Hall debut. Her career has earned her praise in major American and European music centers and in more than 50 countries around the world. She has performed with conductors including George Szell, James Levine, Seiji Ozawa, James dePreist, David Zinman, Stanislaw Skrowacewski, Sir Colin Davis and with orchestras around the world, including the New York Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Baltimore Symphony, National Symphony, London Philharmonic and BBC Symphony Orchestra. In 1980, in an inspiring artistic triumph, Ann Schein extended the legacy of her teachers, Mieczyslaw Munz, Arthur Rubinstein and Dame Myra Hess by presenting the major Chopin repertoire in Lincoln Center's Alice Tully Hall throughout an entire season, the first Chopin cycle heard in New York in 35 years. With soprano Jessye Norman, Ms. Schein has toured in major cities of the United States in addition to a tour of Brazil. The pair can be heard on a release from Sony Classical in early songs of Alban Berg. In addition to her many performances in recital, concertos, and chamber music across the United States, including recent appearances in Canada and Iceland, she gives master classes and lectures as well as serving as an adjudicator in major music competitions. From 1980 to 2000 she was a member of the piano faculty at the Peabody Conservatory in Baltimore, and has been an Artist-Faculty member of the Aspen Music Festival and School since 1984. During the summer of 2005, she opened the series of the complete Beethoven Sonatas performed by members of the piano faculty. In addition, she gave performances of Brahms' G minor Piano Quartet with Earl Carlyss, Darrett Atkins, and Sabina Thatcher, and the Violin and Piano Sonata of John Corigliano with Herbert Greenberg. For the next two summers, she has been selected to receive the Distinguished Teacher's Chair at the Aspen Music School established by Victoria and Ronald Sims. In August, 2005, she performed the Fourth and Fifth Concertos of Beethoven with the Santa Fe Symphony with Stephen Smith conducting, followed by chamber music performances, teaching, and master classes at the Blossom Music Festival in Cleveland.
A pianist is a musician who plays the piano. A professional pianist can perform solo pieces, play with an ensemble or orchestra, or accompany one or more singers, solo instrumentalists, or other performers.
A performing classical pianist usually starts playing piano at a very young age, some as early as three years old. Many well-known classical composers were also virtuoso pianists including: Wolfgang Amadeus Mozart, Ludwig van Beethoven, Frédéric Chopin, Franz Liszt, Sergei Rachmaninoff, Robert Schumann, Felix Mendelssohn-Bartholdy, Carl Maria von Weber, Charles-Valentin Alkan, Johannes Brahms, Ferruccio Busoni, Anton Rubinstein, Alexander Scriabin, Sergei Prokofiev, Dmitri Shostakovich, Joseph-Maurice Ravel, and Claude Debussy.
Most western forms of music can make use of the piano. Consequently, pianists have a wide variety of repertoire and styles to choose from, including jazz, classical music, and all sorts of popular music.
Piano Concerts.
MORE ABOUT ANN SCHEIN
Pianist Ann Schein has been thrilling audiences since her sensational first recordings for Kapp Records and her highly acclaimed Carnegie Hall debut. Her career has earned her praise in major American and European music centers and in more than 50 countries around the world. She has performed with conductors including George Szell, James Levine, Seiji Ozawa, James dePreist, David Zinman, Stanislaw Skrowacewski, Sir Colin Davis and with orchestras around the world, including the New York Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Baltimore Symphony, National Symphony, London Philharmonic and BBC Symphony Orchestra. In 1980, in an inspiring artistic triumph, Ann Schein extended the legacy of her teachers, Mieczyslaw Munz, Arthur Rubinstein and Dame Myra Hess by presenting the major Chopin repertoire in Lincoln Center's Alice Tully Hall throughout an entire season, the first Chopin cycle heard in New York in 35 years. With soprano Jessye Norman, Ms. Schein has toured in major cities of the United States in addition to a tour of Brazil. The pair can be heard on a release from Sony Classical in early songs of Alban Berg. In addition to her many performances in recital, concertos, and chamber music across the United States, including recent appearances in Canada and Iceland, she gives master classes and lectures as well as serving as an adjudicator in major music competitions. From 1980 to 2000 she was a member of the piano faculty at the Peabody Conservatory in Baltimore, and has been an Artist-Faculty member of the Aspen Music Festival and School since 1984. During the summer of 2005, she opened the series of the complete Beethoven Sonatas performed by members of the piano faculty. In addition, she gave performances of Brahms' G minor Piano Quartet with Earl Carlyss, Darrett Atkins, and Sabina Thatcher, and the Violin and Piano Sonata of John Corigliano with Herbert Greenberg. For the next two summers, she has been selected to receive the Distinguished Teacher's Chair at the Aspen Music School established by Victoria and Ronald Sims. In August, 2005, she performed the Fourth and Fifth Concertos of Beethoven with the Santa Fe Symphony with Stephen Smith conducting, followed by chamber music performances, teaching, and master classes at the Blossom Music Festival in Cleveland.
Classical Pianist Ann Schein's Best Piano concertos
Classical Pianist Ann Schein' s piano delivers Romanticism
Classical Pianist Ann Schein' s piano delivers Romanticism - Equipped with great warmth and technique, pianist Ann Schein blazed through 100 years of Romanticism last night.This listner revealed in the cascading octaves, graceful arpeggios, and pristine passage work. Schein had at her command all the resources that a demanding program required.
The recital opened with a buoyant performance of Schubert 's early Sonata in A Major. Composed during the happy summer that also produced the Trout Quintet, the sonata abounds in melody, and Schein delighted in the work 's tender interplay of major and minor. There was always power enough, but did it distort Schubert 's exquisite line.
Schein then ruined her attention to another towering figure of the Romantic era, Rachmaninoff. She chose two preludes and two rarely heard transcriptions, the Minuet of Bizet and the Hopak of Mussorgsky. Now out of fashion, transcriptions were still very trendy at the turn of the century when Rachmaninoff wrote them for his own use. Schooled in a tradition very close to that of the composer, Schein was obviously in her element. In fact, the pianist 's technique helped one appreciate the formidable prowess of Rachmaninoff as both arranger and performer. The first half of the recital ended with Prokofiev 's Sonata No. 3, a brilliant work in one movement that bursts with kinetic energy. The sonata oscillates between its love and disdain for the Romantic ethos. Schein tackled the craggy score with an abandon that rested on careful analysis and superb control. The second half was devoted entirely to Chopin 's Sonata No. 3 in B Minor. Fraught with technical challenges, the work also manipulates traditional form to suit the composer 's expressive needs. The Chopin selections were an ideal conclusion to a recital that honored the Romantic spirit.
Since her professional debut in 1957 at the age of seventeen, when she performed the formidable Third Concerto by Rachmaninov, Ann Schein, has concertized all over the world. Her teachers included Mieczyslaw M%uFFFDnz, Dame Myra Hess and Artur Rubinstein. She is currently on the piano faculty of the Peabody Conservatory in Baltimore. This all-Schumann disc is her debut recording on Ivory Classics. Closely associated with these Schumann masterpieces for over forty years, Ann Schein interprets these works with a rare understanding and authority.
Piano Concertos
Ann Schein at a Glance
Ann Schein Carlyss was born in 1940 in White Plains, New York, United States, to a violinist mother and an attorney father. She is a Master Teacher and Concert Pianist who has performed with many conductors, including George Szell, James Levine, Seiji Ozawa, Stanislaw Skrowacewski, and Sir Colin Davis. She has also performed with many orchestras worldwide, including the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, the Los Angeles Philharmonic, the Baltimore Symphony, the London Philharmonic, and the BBC Symphony Orchestra.
Schein currently resides in New York with her husband Earl Carlyss, who was a member of the famed Juilliard String Quartet, and is currently a faculty member at the Juilliard School of Music. They have two daughters.
Great Ann Scchein concerto recordings
Ann Schein's piano concertos cd's
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Pianist Ann Schein, Playing (Beautifully) for the Next Generation
Ann Schein (piano)
.
By Tim Page
Washington Post - 18 October 2005
Ann Schein (piano)
16 October 2005 - Terrace Theater, Kennedy Center, Washington
The pianist Ann Schein grew up in Washington and lived in suburban Maryland until a few years ago, when she moved to the New York area. She has not forgotten her old friends, however, and on Sunday afternoon she played a recital at the Kennedy Center Terrace Theater to benefit the new Ann and Betty Schein Endowment for the Friday Morning Music Club.
The late Betty Schein was a longtime leader of the club, whose more than 750 members make it the area's largest organization of professional and amateur musicians. It presents free concerts throughout the area (and not just on Friday mornings). Daughter Ann's own membership stretches back to her student days. The new endowment will permit the awarding of a prize to an outstanding young pianist at that point when the proper support can help turn an avocation into a career.
Ann Schein To describe Ann Schein as an underrated pianist would be misleading. Her artistry is well known and much appreciated by her fellow musicians. Yet she deserves a wider general following than she now commands. In the 25 years I've been attending her concerts, I don't think I've ever heard her play a thoughtless or unmusical phrase.
She is always at her best in Chopin, and it was one of Chopin's late masterpieces, the Polonaise-Fantaisie, Op. 61, that began Sunday's program. This is a hybrid work - a "polonaise" is a hearty, earthy Polish dance; a "fantaisie" is an excursion into the musical yonder. The celebrated opening - blunt chords followed by ethereal, harplike ascending passages that reach the highest register of the piano - could not have been more luscious and poetic, and yet the dance passages, with their strict rhythms, had all the worldly pomp one could have asked for.
Elliott Carter is a musical Methuselah, still turning out valuable music at the age of 96. His Piano Sonata, one of only two extended solo pieces he has written for the instrument, is an early work - it was completed in 1946 - and, to this taste, not an especially compelling one, for all of its willful bigness. Much of the writing sounds like Copland at his most flinty and modernist, yet Carter indulges in such endless fussing with overtones that it finally comes across as gimmicky. Bach wrote The Art of the Fugue; this sounds as though Carter were trying to create "The Art of the Sostenuto Pedal," a considerably lesser challenge and one exhausted long before the sonata ends. It would be hard to fault Schein's performance, however, which combined strength, brilliance and, on occasion, a hard, blunt tone that is never to be Ann Scheinheard in her Chopin but seemed absolutely appropriate here.
The program closed with Chopin's Sonata in B minor, Op. 58. I was especially taken by the tiny, gossamer Scherzo and the way Schein made its middle section sound almost Grieg-like in its songful sentiment. Time stood wonderfully still in the great Largo; one had the sense that Chopin and Schein were going to spin out this rapturous melody forever, which made the transition into the disconsolate finale all the more tragic and arresting.
For more news, or to subscribe to the newspaper,
please visit http://www.washingtonpost.com
By Tim Page
Washington Post - 18 October 2005
Ann Schein (piano)
16 October 2005 - Terrace Theater, Kennedy Center, Washington
The pianist Ann Schein grew up in Washington and lived in suburban Maryland until a few years ago, when she moved to the New York area. She has not forgotten her old friends, however, and on Sunday afternoon she played a recital at the Kennedy Center Terrace Theater to benefit the new Ann and Betty Schein Endowment for the Friday Morning Music Club.
The late Betty Schein was a longtime leader of the club, whose more than 750 members make it the area's largest organization of professional and amateur musicians. It presents free concerts throughout the area (and not just on Friday mornings). Daughter Ann's own membership stretches back to her student days. The new endowment will permit the awarding of a prize to an outstanding young pianist at that point when the proper support can help turn an avocation into a career.
Ann Schein To describe Ann Schein as an underrated pianist would be misleading. Her artistry is well known and much appreciated by her fellow musicians. Yet she deserves a wider general following than she now commands. In the 25 years I've been attending her concerts, I don't think I've ever heard her play a thoughtless or unmusical phrase.
She is always at her best in Chopin, and it was one of Chopin's late masterpieces, the Polonaise-Fantaisie, Op. 61, that began Sunday's program. This is a hybrid work - a "polonaise" is a hearty, earthy Polish dance; a "fantaisie" is an excursion into the musical yonder. The celebrated opening - blunt chords followed by ethereal, harplike ascending passages that reach the highest register of the piano - could not have been more luscious and poetic, and yet the dance passages, with their strict rhythms, had all the worldly pomp one could have asked for.
Elliott Carter is a musical Methuselah, still turning out valuable music at the age of 96. His Piano Sonata, one of only two extended solo pieces he has written for the instrument, is an early work - it was completed in 1946 - and, to this taste, not an especially compelling one, for all of its willful bigness. Much of the writing sounds like Copland at his most flinty and modernist, yet Carter indulges in such endless fussing with overtones that it finally comes across as gimmicky. Bach wrote The Art of the Fugue; this sounds as though Carter were trying to create "The Art of the Sostenuto Pedal," a considerably lesser challenge and one exhausted long before the sonata ends. It would be hard to fault Schein's performance, however, which combined strength, brilliance and, on occasion, a hard, blunt tone that is never to be Ann Scheinheard in her Chopin but seemed absolutely appropriate here.
The program closed with Chopin's Sonata in B minor, Op. 58. I was especially taken by the tiny, gossamer Scherzo and the way Schein made its middle section sound almost Grieg-like in its songful sentiment. Time stood wonderfully still in the great Largo; one had the sense that Chopin and Schein were going to spin out this rapturous melody forever, which made the transition into the disconsolate finale all the more tragic and arresting.
For more news, or to subscribe to the newspaper,
please visit http://www.washingtonpost.com
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About Ann Schein, the Washington Post has written ?Thank heaven for Ann Schein?what a relief it is to hear a pianist who, with no muss or fuss, simply reaches right into the heart of whatever she is playing ? and creates music so powerful you cannot tear yourself away.?
From her first recordings for Kapp Records, and her highly acclaimed Carnegie Hall recital debut as an artist on the Sol Hurok roster, Ann Schein's amazing career has earned her high praise in major American and European cities and in more than 50 countries around the world. - BBC - Classical Review - Rachmaninov, Piano Concertos 1 & 2
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- Pianist Richard Dowling to perform ragtime, Gershwin for Kemp Center for the Arts
- Pianist Richard Dowling to perform ragtime, Gershwin for Kemp Center for the Arts
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Join the world's first collaborative online orchestra.
We invite musicians from around the world to audition for the YouTube Symphony Orchestra. Your video entries will be combined into the first ever collaborative virtual performance, and the world will select the best of you to perform at New York City's Carnegie Hall in April 2009.
* 1. Prepare - Select your instrument to access the sheet music and rehearse with the conductor
* 2. Submit - Upload your performances and submit them to join the YouTube Symphony Orchestra
* 3. Entries - Browse videos to get ideas and check out the competition
We invite musicians from around the world to audition for the YouTube Symphony Orchestra. Your video entries will be combined into the first ever collaborative virtual performance, and the world will select the best of you to perform at New York City's Carnegie Hall in April 2009.
* 1. Prepare - Select your instrument to access the sheet music and rehearse with the conductor
* 2. Submit - Upload your performances and submit them to join the YouTube Symphony Orchestra
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Sergei Vasilievich Rachmaninoff
He was one of the finest pianists of his day
Sergei Vasilievich Rachmaninoff[a] (Russian: %u0421%u0435%u0440%u0433%u0435%u0439 %u0412%u0430%u0441%u0438%u043B%u044C%u0435%u0432%u0438%u0447 %u0420%u0430%u0445%u043C%u0430%u043D%u0438%u043D%u043E%u0432, Sergej Vasil'evi%u010D Rakhmaninov, 1 April 1873 [O.S. 20 March] - 28 March 1943) was a Russian composer, pianist, and conductor. He was one of the finest pianists of his day and, as a composer, the last great representative of Russian late Romanticism in classical music. Early influences of Tchaikovsky, Rimsky-Korsakov and other Russian composers gave way to a thoroughly personal idiom which included a pronounced lyricism, expressive breadth, structural ingenuity and a tonal palette of rich, distinctive orchestral colors.[1]
Understandably, the piano figures prominently in Rachmaninoff's compositional output, either as a solo instrument or as part of an ensemble. He made it a point, however, to use his own skills as a performer to explore fully the expressive possibilities of the instrument. Even in his earliest works, he revealed a sure grasp of idiomatic piano writing and a striking gift for melody. In some of his early orchestral pieces he showed the first signs of a talent for tone painting, which he would perfect in The Isle of the Dead,[2] and he began to show a similar penchant for vocal writing in two early sets of songs, Opp. 4 and 8.[3] Rachmaninoff's masterpiece, however, is his choral symphony The Bells, in which all of his talents are fused and unified.[4]
Rachmaninoff sometimes felt threatened by the success of modernists such as Scriabin and Prokofiev and wondered whether to cease composing even before he left Russia.[5] His musical philosophy was rooted in the Russian spiritual tradition, where the role of the artist was to create beauty and to speak the truth from the depths of his heart.[6] In his last major interview, in 1941, he admitted his music, like Russian music, was a product of his temperament.[7] He said, on another occasion, "The new kind of music seems to create not from the heart but from the head. Its composers think rather than feel. They have not the capacity to make their works exalt-they meditate, protest, analyze, reason, calculate and brood, but they do not exalt."[8]
Understandably, the piano figures prominently in Rachmaninoff's compositional output, either as a solo instrument or as part of an ensemble. He made it a point, however, to use his own skills as a performer to explore fully the expressive possibilities of the instrument. Even in his earliest works, he revealed a sure grasp of idiomatic piano writing and a striking gift for melody. In some of his early orchestral pieces he showed the first signs of a talent for tone painting, which he would perfect in The Isle of the Dead,[2] and he began to show a similar penchant for vocal writing in two early sets of songs, Opp. 4 and 8.[3] Rachmaninoff's masterpiece, however, is his choral symphony The Bells, in which all of his talents are fused and unified.[4]
Rachmaninoff sometimes felt threatened by the success of modernists such as Scriabin and Prokofiev and wondered whether to cease composing even before he left Russia.[5] His musical philosophy was rooted in the Russian spiritual tradition, where the role of the artist was to create beauty and to speak the truth from the depths of his heart.[6] In his last major interview, in 1941, he admitted his music, like Russian music, was a product of his temperament.[7] He said, on another occasion, "The new kind of music seems to create not from the heart but from the head. Its composers think rather than feel. They have not the capacity to make their works exalt-they meditate, protest, analyze, reason, calculate and brood, but they do not exalt."[8]
What is classical music ?
Classical music is a broad term
Classical music is a broad term that usually refers to mainstream music produced in, or rooted in the traditions of Western liturgical and secular music, encompassing a broad period from roughly the 9th century to present times.[1] The central norms of this tradition became codified between 1550 and 1900, which is known as the common practice period.
European music is largely distinguished from many other non-European and popular musical forms by its system of staff notation, in use since about the 16th century.[2] Western staff notation is used by composers to prescribe to the performer the pitch, speed, meter, individual rhythms and exact execution of a piece of music. This leaves less room for practices, such as improvisation and ad libitum ornamentation, that are frequently heard in non-European art music (compare Indian classical music and Japanese traditional music), and popular music.[3][4][5]
The public taste for and appreciation of formal music of this type waned in the late 1900s in the United States and United Kingdom in particular.[6] Certainly this period has seen classical music falling well behind the immense commercial success of popular music, in the opinion of some[who?], although the number of CDs sold is not indicative of the popularity of classical music.[7]
The term 'classical music' did not appear until the early 19th century, in an attempt to 'canonize' the period from Johann Sebastian Bach to Beethoven as a golden age.[8] The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1836.[9][10] Many writers feel that 'classical' is an inappropriate term for mainstream and avant-garde music written since the latter part of the 19th century, hence the common usage of apostrophes as a short-hand for 'so-called'.[11]
European music is largely distinguished from many other non-European and popular musical forms by its system of staff notation, in use since about the 16th century.[2] Western staff notation is used by composers to prescribe to the performer the pitch, speed, meter, individual rhythms and exact execution of a piece of music. This leaves less room for practices, such as improvisation and ad libitum ornamentation, that are frequently heard in non-European art music (compare Indian classical music and Japanese traditional music), and popular music.[3][4][5]
The public taste for and appreciation of formal music of this type waned in the late 1900s in the United States and United Kingdom in particular.[6] Certainly this period has seen classical music falling well behind the immense commercial success of popular music, in the opinion of some[who?], although the number of CDs sold is not indicative of the popularity of classical music.[7]
The term 'classical music' did not appear until the early 19th century, in an attempt to 'canonize' the period from Johann Sebastian Bach to Beethoven as a golden age.[8] The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1836.[9][10] Many writers feel that 'classical' is an inappropriate term for mainstream and avant-garde music written since the latter part of the 19th century, hence the common usage of apostrophes as a short-hand for 'so-called'.[11]
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