Stravinsky and Silverman
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Stravinsky, the Fire-Bird, "The Fire-Bird's Dance,"
/N81 AI2319 Ti VILSKY' USE OF IEhPIAN IN HIS ORCHESTRAL WORKS THE IS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of M1- JiROF JU.SIC by Wayne Griffith, B. Mus. Conway, Arkansas January, 1955 TABLE OF CONTENT4 Page LIST OF ILLUSTRATIONS . ,.. , , * . Chap ter I. THE USE OF PIANO1E A' Al ORCTHE TL I:ThUERIMT BEFOR 1910 . , , . , , l STRAICY II. S U6 OF 2E PIANO S E114ORCHES L ORK HIS OF "RUSIA PERIOD . 15 The Fire-Bird Pe~trouchka Le han u hossignol III. STAVIL C ' 0 USE OF TE PI 40IN 9M ORCHESTRAL .RKS OF HIS "NEO-CLASSIO" PERIOD . 56 Symphonyof Psalms Scherzo a la Russe Scenes IBfallet Symphony~in Three Movements BIIORPHYy * - . 100 iii 1I3T OF ILLUSTRATIONS Figure Page 1. Berlioz, Leio, Finale, (from Berlioz' Treatise on Instrumentation, p . 157) . 4 2. Saint-Saena, ym phony in 0-minor, (from Prof. H. Kling's Modern Orchestration and Instrumentation, a a.~~~~*f0" 0. 7 p. 74) . 0 0 * * * 3. Moussorgsky, Boris Godunov, "Coronation Scene,'" 36-40 mm.f . -a - - --. " " . 10 4. oussorgsky, Boris Godunov, "Coronation :scene," mm. 241-247 . f . * . 11 5. imsky-Korsakoff, Sadko , (from rimkir -Korsakoff' s Principles of 0rchtiration, Lart II, p. 135) . 12 6. ximsky-Korsakoff, The Snow aiden, (from Zimsky torsatoff'c tTTrin~lecs ofhOrchestration, Part II, . 01) . - - . - . * - - . 12 7 . i s akosy-. o Rf, TVe <now %aiN , (f 0r 1;i s^ky Korsaoif ' s Prciniles of Orchestration, Part II, 'p. 58) . aa. .a. .a- -.-"- -a-a -r . .". 13 8. Stravinsky, The Fire-Bird, "The Fire-Bird's Dance," 9. -
IGOR STRAVINSKY Symphony of Psalms
IGOR STRAVINSKY Symphony of Psalms BORN: June 17, 1882, in Oranienbaum (now Lomonosov), Saint Petersburg, Russia DIED: April 6, 1971, in New York City WORK COMPOSED: 1930 WORLD PREMIERE: December 13, 1930, at the Palais des Beaux-Arts, Brussels, Belgium; Société Philharmonique de Bruxelles, Ernest Ansermet conducting The latter years of the 1920s were an emotionally trying time for Stravinsky. He was carrying on an open affair with his mistress in Paris while his wife Katya was in the south of France dying of tuberculosis. (Katya was Stravinsky’s cousin, they married in 1906. She was diagnosed with the disease in 1914 after the birth of their fourth child and was confined to a sanatorium in the Alps where she died in March 1939.) He also was finding little success with his works from this time. Vivid musical evocations of disease, deterioration, debilitation, decay and denial abound in his 1927 work Oedipus Rex, which was a failure at its premiere in Paris. Serge Koussevitzky, Stravinsky’s publisher and conductor of the Boston Symphony Orchestra (also a virtuoso double bassist!), made a suggestion to Stravinsky that he should write something popular in order to have a success. The thought was for Stravinsky to write something the people could understand. However, Stravinsky thought it should be about something universally admired; he felt that society had lost the ability to share a sacred experience. Stravinsky was a devout member of the Russian Orthodox Church during most of his life. No doubt that this inspired him to compose the Symphony of Psalms. Even though it is a large choral piece, he called it a symphony to appease Koussevitzky because the request was for an orchestral work. -
Joseph Kuipers Is One of the Rare Musical Voices of Today: the Fresh Sincerity of His Playing, Combined with Technical Sovereignty Over the Instrument
“Joseph Kuipers is one of the rare musical voices of today: the fresh sincerity of his playing, combined with technical sovereignty over the instrument. He draws a dark, singing sound out of his Ceruti Cello, and creates lines that seem to float effortlessly.” Berliner Abend Post American cellist Joseph Kuipers is renowned for his creativity and versatility in his captivating performances on both modern and gut strings. Appearing at festivals and music centers around the globe, he has performed at the Ravinia Music Festival, Aspen Music Festival, Les Festival International du Domaine Forget, Kronberg Academy, Ascoli Piceno Festival, Carl Orff Festival, and the World Cello Congress. Equally at home with modern and baroque performance styles, and often juxtaposing them in concert programs, Joseph has worked extensively with living composers, among them Robert Cogan, Heinz Holliger, Helmut Lachenmann and Arvo Part: and has performed with the Ensemble für Neue Musik Basel, Neue Musik Ensemble Mannheim, Second Instrumental Unit, New York, and the Callithumpian Consort of Boston. Joseph is the Artistic Director of the Fredericksburg Music Festival where world renowned European classical musicians gather in historic Fredericksburg TX for a week of music making. In 2010 Joseph founded the Marinus Project an international collective of chamber musicians dedicated to the tradition of classical music in our time. Marinus is the “Ensemble in Residence” at Washington and Lee University and Eastern University. In April 2011 the Marinus Ensemble received a $200,000 unrestricted artist development grant to further the Marinus Project. Joseph completed his undergraduate studies at the New England Conservatory of Music in Boston, where his primary teachers were Paul Katz for cello and Pozzi Escot for composition. -
Igor Stravinsky's “Symphony of Psalms” – a Testimony of the Composer's Faith
Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts • Vol. 9 (58) No. 2 - 2016 Igor Stravinsky’s “Symphony of Psalms” – a testimony of the composer’s faith Petruţa-Maria COROIU 1, Alexandra BELIBOU2 Abstract: In the musical landscape of the first half of the 20th century, Igor Stravinsky (1882- 1971) asserted himself as a musician who undermined the normative values of the elements in the musical discourse. His creations were regarded from an analytical perspective in opposition with Arnold Schonberg’s music, the musical critics trying to limit the compositional amendments of the 20th century to the scores of the two composers. We find this view unjust, the musical wealth of the 20th century stemming precisely from the multiple meanings framed within various compositional patterns by the composers which music history placed among the unforgettable ones. Key-words: faith, modernity, psalm, composition, style 1. Preliminary considerations In the musical landscape of the first half of the 20th century, Igor Stravinsky (1882- 1971) asserted himself as a musician who undermined the normative values of the elements in the musical discourse. His creations were regarded from an analytical perspective in opposition with Arnold Schonberg’s music, the musical critics trying to limit the compositional amendments of the 20th century to the scores of the two composers. We find this view unjust, the musical wealth of the 20th century stemming precisely from the multiple meanings framed within various compositional patterns by the composers which music history placed among the unforgettable ones. It is worth noting that Stravinsky and Schonberg “constitute the poles towards gravitate the tendencies of the other composers of the century” (Vlad 1967, 7) (our translation). -
Roman Vlad's Reception of Stravinsky
Hermeneutics and Creative Process: Roman Vlad’s Reception of Stravinsky Susanna Pasticci Università degli Studi di Cassino e del Lazio meridionale Roman Vlad’s experience of music was a complex universe, which manifested itself in various forms.1 His research on musical composition went hand in hand with an extraordinary intellectual activity, which resulted in the publication of several studies on the theory and history of music, and a constant activity as a promoter and critic of music. Vlad was capable of switching with great nonchalance from the role of the composer interested in new experimental forms to that of a scholar working with great methodological rigour on the music of the past and of the present. It was inevitable that these two activities would have an impact on his interpretation of music. In an effort to illustrate the complexity of this dialectic, the present article focuses on Vlad’s reception of Stravinsky’s work, analysing in parallel Vlad’s essays on Stravinsky published in the 1950s and his musical compositions written in the same period. In his writings, Vlad repeatedly underlines the centrality of the sacred in Stravinsky’s work, a rather original interpretation, which is unique in the critical debate of the time. During those same years, the sacred acquired great importance also in his musical compositions, a fact that already evidences the close relation between Vlad’s interpretation of Stravinsky’s work and his own 41 ARCHIVAL NOTES Sources and Research from the Institute of Music, No. 2 (2017) © Fondazione Giorgio Cini, Venezia ISSN 2499–832X | ISBN 9788896445167 SUSANNA PASTICCI creative activity. -
AS Level Performance Studies Topic Exploration Pack (John Adams)
Performance Studies A LEVEL Performance Studies: John Adams Topic Exploration Pack September 2015 www.ocr.org.uk Topic Exploration Pack We will inform centres about any changes to the specification. We will also publish changes on our website. The latest version of our specification will always be the one on our website (www.ocr.org.uk) and this may differ from printed versions. Copyright © 2015 OCR. All rights reserved. Copyright OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this specification booklet for their own internal use. Oxford Cambridge and RSA Examinations is a Company Limited by Guarantee. Registered in England. Registered company number 3484466. Registered office: 1 Hills Road Cambridge CB1 2EU OCR is an exempt charity. 2 www.ocr.org.uk AS Level Performance Studies Contents John Adams Teacher Resource Pack ............................................................................................. 4 Background ..................................................................................................................................... 5 Adams’ Works ................................................................................................................................. 5 Fingerprints of Adams’ Style ........................................................................................................... 7 Influences ...................................................................................................................................... -
The Late Choral Works of Igor Stravinsky
THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5. -
Notes on the Oedipus Works
Notes on the Oedipus Works Matthew Aucoin The Orphic Moment a dramatic cantata for high voice (countertenor or mezzo-soprano), solo violin, and chamber ensemble (15 players) The story of Orpheus is music’s founding myth, its primal self-justification and self-glorification. On Orpheus’s wedding day, his wife, Eurydice, is fatally bitten by a poisonous snake. Orpheus audaciously storms the gates of Hell to plead his case, in song, to Hades and his infernal gang. The guardians of death melt at his music’s touch. They grant Eurydice a second chance at life: she may follow Orpheus back to Earth, on the one condition that he not turn to look at her until they’re above ground. Orpheus can’t resist his urge to glance back; he turns, and Eurydice vanishes. The Orpheus myth is typically understood as a tragedy of human impatience: even when a loved one’s life is at stake, the best, most heroic intentions are helpless to resist a sudden instinctive impulse. But that’s not my understanding of the story. Orpheus, after all, is the ultimate aesthete: he’s the world’s greatest singer, and he knows that heartbreak and loss are music’s favorite subjects. In most operas based on the Orpheus story – and there are many – the action typically runs as follows: Orpheus loses Eurydice; he laments her loss gorgeously and extravagantly; he descends to the underworld; he gorgeously and extravagantly begs to get Eurydice back; he is granted her again and promptly loses her again; he laments even more gorgeously and extravagantly than before. -
FOR RELEASE: January 22, 2014 Contact: Katherine E. Johnson ALAN GILBERT and the NEW YORK PHILHARMONIC 2014–15 SEASON New York
FOR RELEASE: January 22, 2014 Contact: Katherine E. Johnson ALAN GILBERT AND THE NEW YORK PHILHARMONIC 2014–15 SEASON SEASON OPENING: Alan Gilbert To Conduct U.S. Premiere–Philharmonic Co-Commission of UNSUK CHIN’s Clarinet Concerto, with KARI KRIIKKU, and MAHLER’s Symphony No. 1, September 23, 26–27, and 30 OPENING GALA CONCERT with JOSHUA BELL, JOSH GROBAN, and RENÉE FLEMING in La Dolce Vita: The Music of Italian Cinema, September 16, Part of THE ART OF THE SCORE: Film Week at the Philharmonic __________________ Alan Gilbert To Conduct World Premieres by JOHN ADAMS, PETER EÖTVÖS, and CHRISTOPHER ROUSE U.S. Premiere–Philharmonic Co-Commission of THIERRY ESCAICH’s Concerto for Violin and Oboe VERDI’S REQUIEM New York Premiere Staging of HONEGGER’S JOAN OF ARC AT THE STAKE with MARION COTILLARD and Actors from the Comédie-Française Directed by Côme de Bellescize Conclusion of THE NIELSEN PROJECT with Composer’s 150th Birthday __________________ Violinist LISA BATIASHVILI Named The Mary and James G. Wallach Artist-in-Residence Pianist INON BARNATAN Named the Philharmonic’s First Artist-in-Association CHRISTOPHER ROUSE’s Term Extended as The Marie-Josée Kravis Composer-in-Residence World Premiere of Thunderstuck; New York Premiere of Flute Concerto with Robert Langevin; Iscariot __________________ YO-YO MA in 15th-Anniversary Concert for Silk Road Ensemble and in Chinese New Year Concert and Gala with U.S. Premiere by ZHAO LIN CONTACT!, the New-Music Series: at SubCulture, Co-Presented with 92nd Street Y; The Metropolitan Museum of Art; and on EUROPE / SPRING 2015 Tour DOHNÁNYI / DVOŘÁK: A Philharmonic Festival Conducting Debuts by SUSANNA MÄLKKI, JUANJO MENA, STÉPHANE DENÈVE, and THOMAS ADÈS in U.S. -
Season 20 Season 2011-2012
Season 2020111111----2020202011112222 The Philadelphia Orchestra Thursday, March 229999,, at 8:00 FriFriFridayFri dayday,, March 303030,30 , at 222:002:00:00:00 Saturday, March 313131,31 , at 8:00 EsaEsa----PekkaPekka Salonen Conductor Leila Josefowicz Violin Bartók Music for Strings, Percussion, and Celesta I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto Intermission Salonen Violin Concerto I. Mirage II. Pulse I III. Pulse II IV. Adieu First Philadelphia Orchestra performances Debussy La Mer I. From Dawn to Midday at Sea II. Play of the Waves III. Dialogue of the Wind and the Sea This program runs approximately 1 hour, 55 minutes. Conductor and composer EsaEsa----PekkaPekka Salonen has been principal conductor and artistic advisor of the Philharmonia Orchestra in London since 2008 and artistic director of the Baltic Sea Festival since 2003. He became conductor laureate of the Los Angeles Philharmonic in 2009, following 17 years at its helm as music director. In the 2011-12 season Mr. Salonen leads the Philharmonia in performances of Bartók’s Bluebeard’s Castle as part of the “Infernal Dance: Inside the World of Béla Bartók” project, launched in January 2011. This season with the Los Angeles Philharmonic Mr. Salonen conducted the world premiere of the recently-discovered Shostakovich opera Orango. As a composer Mr. Salonen has completed commissions for the Finnish Radio Symphony, Tokyo’s Suntory Hall, the North German Radio Symphony, the Los Angeles Philharmonic, the Présences Festival in Paris, and a piano concerto dedicated to, and premiered by, Yefim Bronfman. Mr. Salonen’s Violin Concerto, written for and premiered by Leila Josefowicz in 2009, received the 2012 Grawemeyer Award. -
SAN DIEGO SYMPHONY ORCHESTRA a JACOBS MASTERWORKS CONCERT Fabien Gabel, Conductor April 1-2, 2017 CLAUDE DEBUSSY Printemps Très
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT Fabien Gabel, conductor April 1-2, 2017 CLAUDE DEBUSSY Printemps Très modéré Modéré IGOR STRAVINSKY Violin Concerto in D Major Toccata Aria I Aria II Capriccio Jeff Thayer, violin INTERMISSION DMITRI SHOSTAKOVICH Symphony No. 9 in E-flat Major, Op. 70 Allegro Moderato Presto Largo Allegretto MAURICE RAVEL Suite No. 2 from Daphnis and Chloé Printemps CLAUDE DEBUSSY Born March 25, 1862, Saint-Germain-en-Laye Died March 25, 1918, Paris Printemps, the first orchestral work by Debussy to find a place in the repertory, has an extremely curious history. In 1884 Debussy won first place in the Prix de Rome competition. That award, the highest possible honor for a French composition student, involved several years of study in Rome. But Debussy, 22 years old and a very difficult young man, hated Rome and resented the time he had to spend away from Paris–he spent the minimal possible amount of time in residence at the Villa Medici in the years 1885-86. One of the requirements of the Prix de Rome was that the winners had to send back to the French Academy a series of envois, works composed in Rome that showed their progress. Debussy, never one to put up with rules, made life difficult for the Academy. He wrote three works for chorus and orchestra, and two of these mysteriously vanished: the score to Printemps (for wordless chorus and orchestra) was burned “accidentally” in a fire at the printer’s shop, while the score to Zuleima was “lost”; only the score to The Blessed Damoiselle survived. -
FOR IMMEDIATE RELEASE / September 12, 2017 Contact: Maggie Perkes [email protected], 510.841.2800
FOR IMMEDIATE RELEASE / September 12, 2017 Contact: Maggie Perkes [email protected], 510.841.2800 http://www.berkeleysymphony.org/about/press/ Berkeley Symphony opens its 2017-18 season on October 5-6 with Music Director Joana Carneiro conducting Beethoven’s Symphony No. 1, Jazz Suite No. 1 by Shostakovich, the world premiere of William Gardiner’s cello concerto featuring Berkeley native Tessa Seymour, and John Adams’ Fearful Symmetries. (l to r: Joana Carneiro, by Rodrigo Souza; William Gardiner, by Jiyeon Kim; Tessa Seymour, per artist; John Adams, by Vern Evans) Berkeley Symphony opens its 2017-18 season at Zellerbach Hall in Berkeley on Thursday, October 5 at 7p, followed by a repeat performance on Friday, October 6 at 8p in Hume Hall at the San Francisco Conservatory of Music. These performances mark the return to the podium of Music Director Joana Carneiro following a maternity leave of absence. Maestra Carneiro leads the Orchestra in Beethoven’s Symphony No. 1, the world premiere of a cello concerto by William Gardiner, Jazz Suite No. 1 by Dmitri Shostakovich, and John Adams’ Fearful Symmetries. Cellist Tessa Seymour, a Berkeley native, makes her debut with the Orchestra as the soloist in Gardiner’s cello concerto, which was commissioned by the Pacific Harmony Foundation. Berkeley Symphony presents Adams’ 1988 Fearful Symmetries in celebration of the composer’s 70th birthday year. Tessa Seymour made her televised Carnegie Hall debut in 2006 and has since been performing in Europe, Asia and the U.S., both as soloist and a chamber musician. Committed to a repertoire that cuts across genres and brings to life contemporary and established works alike, she has collaborated with and premiered the works of Matthias Pintscher, Krzysztof Penderecki, John Adams, David Ludwig, and Richard Danielpour.