DOCSLIB.ORG

Musmeds&Notes-October 21, 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musmeds&Notes-October 21, 2020 MUSICAL MEDITATIONS: CELEBRATING CLASSICAL MUSIC Wednesday, October 21, 2020 * * * Songs without Words………………………………………...….Felix Mendelssohn Op. 19, No. 1: Andante con moto Op. 19, No. 4: Moderato Op. 102, No. 3: Presto Sonata Op. posth. 164, D. 537…………………..…………………Franz Schubert Allegro, ma non troppo Allegretto, quasi Andantino Allegro vivace Karen Harvey, piano * * * Thank you for tuning in to today’s musical meditation. Please consider joining us next week, which will feature music of Bach, Copland, Satie and Griffes. Notes on today’s music Jakob Ludwig Felix Mendelssohn Bartholdy (February 3, 1809 – November 4, 1847), a.k.a. Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. Mendelssohn's compositions incluDe symphonies, concertos, piano music, organ music and chamber music. His best-known works incluDe the overture and incidental music for A Midsummer Night's Dream (containing the famous Wedding March), the Italian Symphony, the Scottish Symphony, the oratorio St. Paul, the oratorio Elijah, the overture The Hebrides, the mature Violin Concerto and the String Octet. The meloDy for the Christmas carol "Hark! The HeralD Angels Sing" is also his. Songs Without Words are his most famous solo piano compositions. A grandson of the philosopher Moses MenDelssohn, Felix MenDelssohn was born into a prominent Jewish family, anD though he was recogniseD early as a musical proDigy, his parents were cautious and did not seek to capitalise on his talent. MenDelssohn enjoyeD early success in Germany, anD singlehandedly reviveD interest in the music of Johann Sebastian Bach with his performance of the St. Matthew Passion in 1829. He became well received in his travels throughout Europe, and his ten visits to Britain – during which many of his major works were premiered – form an important part of his adult career. MenDelssohn founDeD the Leipzig Conservatory, and is now among the most popular composers of the Romantic era. Franz Peter Schubert was born in Vienna, Austria on January 31, 1797, and was the twelfth of fourteen chilDren of parents Franz and Maria, though nine of the children died in infancy. His early musical education was from his father and then his older brother; he learned remarkably quickly and soon far exceeded their abilities. It was the fameD composer Antonio Salieri who took Schubert unDer his wing anD aDvanceD his musical anD technical talents. Along the way, Schubert maDe a living as a schoolteacher, though he composed at a furious rate; known as ‘The Prince of Song” for his nearly 600 vocal compositions, he also wrote works for orchestra, string quartet and piano, and slowly gained renown when several of these were publisheD. In 1822, Schubert maDe the acquaintance of Beethoven, who is said to have acknowleDgeD the younger man's gifts on a few occasions. On his deathbed, Beethoven looked into some of the younger man's works anD exclaimeD: "Truly, the spark of Divine genius resiDes in this Schubert!" and also reportedly predicted that Schubert "would make a great sensation in the worlD." In only 31 years, Schubert DiD just that, succumbing to illness (probably syphilis or mercury poisoning, its then cure) on November 19, 1828. The last musical work he haD wisheD to hear was Beethoven's String Quartet No. 14 in C-sharp minor, Op. 131; Karl Holz, a violinist anD frienD, commented: "The King of Harmony has sent the King of Song a frienDly biDDing to the crossing". .
Load more

Recommended publications
  • Rncm Chamber Music Festival Songs Without Words Rncm Chamber Music Festival Songs Without Words
    Friday 04 – Sunday 06 March 2016 RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS WELCOME The RNCM Chamber Music Festival plays an enormous role in the story of the College and is a major event in our calendar. Chamber music is at the core at what we do - the RNCM has a proud tradition of chamber ensemble training and our alumni appear with high profile ensembles such as the Elias, Heath and Navarra String Quartets plus the Gould Piano Trio to name but a few. Every year, the Chamber Music Festival goes from strength to strength, presenting the opportunity to see our wonderful students, internationally renowned staff and special guests perform beautiful music across a jam-packed weekend. This year is no exception, as we explore German Romanticism in Songs Without Words. We focus particularly on the music of Mendelssohn and Schumann and our students will be involved in a major composition project, as they are asked to create responses to Mendelssohn’s Songs Without Words. So the Festival will include works from across the 19th century but will also dip into the 20th century with composers such as Richard Strauss. This year’s line-up features some of the finest musicians performing today including the Talich Quartet, Elias Quartet, Michelangelo Quartet, plus RNCM Junior Fellows the Solem Quartet and our International Artist chamber ensemble the Diverso String Quartet. We also welcome chamber groups from Chetham’s, St Mary’s, Junior RNCM, the Royal Irish Academy of Music and Sheffield Music Academy. So please join us and immerse yourself in this weekend of lush musical landscapes.
    [Show full text]
  • The Authenticity of Genius Transcript
    The Authenticity of Genius Transcript Date: Tuesday, 15 February 2011 - 1:00PM Location: Museum of London Gresham Lecture, 15 February 2011 The Authenticity of Genius Professor Christopher Hogwood You see that I have arrived with eight accomplices today, all named on the programme sheet. I shall just tell you how we arrived at this and the purpose. As you know, the overriding theme of these six lectures, this year has been the theme of authenticity. We have done various aspects such as whether the piece in question is what it says on the tin and that sort of thing. Last time, there were many fakes. The next lecture was going to be taking the story of music, as it were, from the manuscript, or from the library stage, into the sort of thing you can pick off the shelf and buy – i.e. the work of the musicologist, the librarian and the historian. The final lecture will carry that story on - dealing with the business of picking the printed volume off the shelf and deciding to include it in a recital, in a concert, in a recording, and for that, I will be joined by Dame Emma Kirby. We will talk about what goes on in a performer’s life and in a performer’s mind when faced with a new piece of repertoire and how you bring it to life respectably from the silent piece of music that you took from the library or bought off the shelf. That does seem to leave one stage missing - the stage before the thing hits the paper, which is what goes on to create this music, and that is why we have “Authenticity of Genius” today.
    [Show full text]
  • November 8, 2020 Twenty-Third Sunday After Pentecost Proper 27 Website: Stpaulsokc.Org
    November 8, 2020 Twenty-third Sunday after Pentecost Proper 27 Website: stpaulsokc.org Prelude Wachet auf! ruft uns die Stimme 2. Zion hears the watchman singing; (Sleepers, wake! a voice astounds us) her heart with joyful hope is springing, J.S. Bach she wakes and hurries through the night. Forth he comes, her Bridegroom glorious Welcome in strength of grace, in truth victorious: Welcome to St. Paul’s Episcopal Cathedral; we are her star is risen, her light grows bright. so glad you are here. St. Paul’s is a safe and welcom- Now come, most worthy Lord, ing place for all people. If you are new to St. Paul’s God’s Son, Incarnate Word, we encourage you to get connected with our weekly Alleluia! email newsletter. You can sign up online at We follow all and heed your call stpaulsokc.org. to come into the banquet hall. A friendly reminder to those who are worshiping in- 3. Lamb of God, the heavens adore you; person, please have your mask on (covering your let saints and angels sing before you, mouth and nose) and maintain social distancing at as harps and cymbals swell the sound. all times during the service. Additionally, we cannot Twelve great pearls, the city’s portals: have congregational singing at this time, so during through them we stream to join the immortals the hymns we invite you to listen to the choristers and as we with joy your throne surround. follow along with the words printed in the bulletin. No eye has known the sight, We thank you in advance for adhering to these Dioc- no ear heard such delight: esan protocols which keep us all safe and allow for us Alleluia! to worship in-person.
    [Show full text]
  • The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
    The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours.
    [Show full text]
  • Words Without Music Free
    FREE WORDS WITHOUT MUSIC PDF Philip Glass | 432 pages | 02 Apr 2015 | FABER & FABER | 9780571323722 | English | London, United Kingdom WORDS WITHOUT MUSIC | Kirkus Reviews An award-winning team of journalists, designers, and videographers who tell brand stories through Fast Company's distinctive lens. Leaders who are shaping the future of business in creative ways. New workplaces, new food sources, new medicine--even an entirely new economic system. Want to stream Heroes, read the interactive novel, then bid online for artwork from the show? Thank Comstock for all that, too. The economics of television used to be simple. Do you understand how to make money today, when I can watch 30 Rock pretty much Words Without Music We understand it a lot better than we used to. Digital media allow us to open up new windows without the cannibalization you might expect. So yes, we can offer 30 Rock in preview, then on-air, then streaming, then iTunesthen mobile, and then syndication. Some know what they want, some less so. They expect us to Words Without Music in on targeted consumers: What do we know about them, and how do we reach them? A lot of those are repeat viewers. Others are time-shifting. It has to. We have to find the right solution. Words Without Music personal expression [by viewers], the desire to be involved in the storytelling. With success, you get a bit more confident. But we still have to be more focused and more Words Without Music. This business is hypersensitive like that. You have to pick a path, keep to it, and feel good about it.
    [Show full text]
  • Julian Pellicano Repertoire Copy
    JULIAN PELLICANO Resident Conductor Winnipeg Symphony Orchestra CONCERT REPERTOIRE John Adams Scratchband Shaker Loops The Wound Dresser Timo Andres Home Strech George Antheil Ballet Mecanique (ed. 1923) Ballet Mecanique (ed. 1957) J. S. Bach Little Fugue in G minor (arr. Stokowski) Orchestral Suite no. 1 in C major, BWV 1066 Orchestral Suite no. 2 in B minor, BWV 1067 Orchestral Suite no. 3 in D major, BWV 1068 Ricercar a 6 from Musical Offering (orch. Webern) Samuel Barber Adagio for Strings A Hand of Bridge Canzonetta Knoxville: Summer of 1915 Second Essay, op. 17 Bela Bartok Concerto for Orchestra Divertimento Romanian Folk Dances Viola Concerto Ludwig van Beethoven Egmont Overture, op. 84 Fidelo Overture, op. 72 Leonore Overture no. 3, op. 72b Coriolan Overture, op. 62 KIng Stephen Overture, op. 117 Creatures of Prometheus Overture, op. 43 No Non Turbati! Octet, op. 103 Piano Concerti no. 1 - 5 Symphonies no. 1 - 9 Violin Concerto, op. 61 Alban Berg Drei Orchesterstucke, op. 6 Hector Berlioz Roman Carnival Overture Royal Hunt and Storm from Les Troyens Symphonie Fantastique, op. 14 Scene D’Amour from Romeo and Juliet Leonard Bernstein Overture to Candide On the Town: Three Dance Episodes Overture to WEst Side Story (ed. Peress) Symphonic Dances from West Side Story Slava! Georges Bizet Carmen Suite no. 1 Carmen Suite no. 2 L’Arlesienne Suite no. 1 L’Arlesienne Suite no. 2 Alexander Borodin In the Steppes of Central Asia Polovtsian Dances Symphony no. 2 Johannes Brahms Academic Festival Overture, op. 80 Hungarian Dances no. 1,3,5,6,20,21 Symphonies no.
    [Show full text]
  • Mendelssohn Bartholdy
    MENDELSSOHN BARTHOLDY Ruy Blas Ouvertüre / Overture Herausgegeben von / Edited by Christopher Hogwood Urtext Partitur / Score Bärenreiter Kassel · Basel · London · New York · Praha BA 9054 INHALT / CONTENTS Preface. III Introduction . IV Vorwort . IX Einführung . X Facsimiles / Faksimiles . XVI Ruy Blas Ouvertüre / Overture Version 1 / Fassung 1 . 1 Version 2 / Fassung 2 . 47 Critical Commentary . 95 ORCHESTRA Flauto I, II, Oboe I, II, Clarinetto I, II, Fagotto I, II; Corno I–IV, Tromba I, II, Trombone I–III; Timpani; Archi Duration / Aufführungsdauer: ca. 7 min. © 2009 by Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG, Kassel Alle Rechte vorbehalten / All rights reserved / Printed in Germany Vervielfältigungen jeglicher Art sind gesetzlich verboten. Any unauthorized reproduction is prohibited by law. ISMN 979-0-006-52290-3 PREFACE “Had Mendelssohn only titled his orchestral works in were popular in their time but set aside by Mendelssohn one movement as ‘symphonic poems’, which Liszt later and published posthumously in less than faithful ver- invented, he would probably be celebrated today as the sions. (e. g. Ruy Blas). Of his revisions, the Overture in C, creator of programme music and would have taken his op. B, received the most drastic enlargement, growing position at the beginning of a new period rather than the from a Nocturno for ? players in F@B to a full Ouvertüre end of an old one. He would then be referred to as the für Harmoniemusik (@ players and percussion) by FAF. ‘first of the moderns’ instead of the ‘last of the classics’ ” In other cases, with the exception of the Ouvertüre zum (Felix Weingartner: Die Sym phonie nach Beethoven, FGF).
    [Show full text]
  • Brahms Rhapsodizing: the Alto Rhapsody and Its Expressive Double Author(S): Christopher Reynolds Reviewed Work(S): Source: the Journal of Musicology, Vol
    Brahms Rhapsodizing: The Alto Rhapsody and Its Expressive Double Author(s): Christopher Reynolds Reviewed work(s): Source: The Journal of Musicology, Vol. 29, No. 2 (Spring 2012), pp. 191-238 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/jm.2012.29.2.191 . Accessed: 10/07/2012 14:09 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. http://www.jstor.org Brahms Rhapsodizing: The Alto Rhapsody and Its Expressive Double CHristop H er R E Y noL ds For Donald C. Johns Biographers have always recognized the Alto Rhapsody to be one of Brahms’s most personal works; indeed, both the composer and Clara Schumann left several unusually specific com- ments that suggest that this poignant setting of Goethe’s text about a lonely, embittered man had a particular significance for Brahms. Clara 191 wrote in her diary that after her daughter Julie Schumann announced her engagement to an Italian count on 11 July 1869, Brahms suddenly began
    [Show full text]
  • Season 2019-2020
    23 Season 2019-2020 Thursday, October 24, at 7:30 The Philadelphia Orchestra Friday, October 25, at 8:00 Saturday, October 26, at 8:00 Nathalie Stutzmann Conductor David Kim Violin Mendelssohn Hebrides Overture (“Fingal’s Cave”), Op. 26 Bruch Violin Concerto No. 1 in G minor, Op. 26 I. Vorspiel: Allegro moderato— II. Adagio III. Allegro energico Intermission Brahms Symphony No. 2 in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo—L’istesso tempo, ma grazioso III. Allegretto grazioso (quasi andantino)—Presto ma non assai—Tempo I—Presto ma non assai—Tempo I IV. Allegro con spirito This program runs approximately 1 hour, 50 minutes. The October 26 concert is sponsored by Allan Schimmel in memory of Reid Reames. These concerts are part of The Phildadelphia Orchestra’s WomenNOW celebration. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent orchestras. classrooms to hospitals, and the Orchestra is a global It strives to share the over the airwaves and online. ambassador. It performs transformative power of The Orchestra continues annually at Carnegie Hall, music with the widest to discover new and the Saratoga Performing possible audience, and to inventive ways to nurture its Arts Center, and the Bravo! create joy, connection, and relationship with loyal patrons.
    [Show full text]
  • September 1918) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 9-1-1918 Volume 36, Number 09 (September 1918) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 36, Number 09 (September 1918)." , (1918). https://digitalcommons.gardner-webb.edu/etude/650 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE PRESSERS MUSICAL MAGAZINE SEPTEMBER 1918 NINE MUSES AND APOLLO MUSIC WILL HELP WIN THE WAR THE MUSIC-LOVERS OF AMERICA PROUDLY POINT TO THE IMMENSE ACCOMPLISHMENTS OF THE ART IN THIS HOUR OF NATIONAL CRISIS BY STIMULATING PATRIOTISM MAINTAINING GOOD CHEER AROUSING RECRUITING RAISING WAR MILLIONS INSPIRITING FIGHTERS ENTERTAINING “OUR MEN” COMFORTING THE WOUNDED MUSIC IN OUR HOMES KEEPS COURAGE IN OUR HEARTS PRICE 20 CENTS $1.50 A YEAR THE ETUDE SEPTEMBER 1918 Page 557 "Just Out! New and Important publications An Absolutely New RECENT MUSIC PUBLICATIONS OF MERIT_ SELECTED Teaching Aid BE CONVINCED THAT THE JJWJM- VOCAL MATERIAL PIANOSCRIPT BOOK^ i ALBUMS of PIANO MUSIC j TIONS OF THEO.
    [Show full text]
  • Hebrides Overture Felix Mendelssohn Arranged by Jason Librande
    Grade Level: 4 The Highland/Etling String Orchestra Series Hebrides Overture Felix Mendelssohn Arranged by Jason Librande instrumentation Conductor Score 1 Violin I 8 Violin II 8 Viola 5 Cello 5 String Bass 5 Finally for string orchestra! Mendelssohn’s masterpiece requires skill in bow control, advanced rhythms, and dynamic range, making it a staple of full orchestra competition literature. Now string orchestras can enjoy this repertoire for contest or any concert performance. The creative use of ostinato and lyrical melodies are sure to captivate audiences and adjudicators alike as they hear the sounds and sights of the ocean Previewrepresented in music. Only Legal Use Requires Purchase A DIVISION OF Please note: Our band and orchestra music is now being collated by an automatic high- speed system. The enclosed parts are now sorted by page count, rather than score order. Program Notes Jakob Ludwig Felix Mendelssohn-Bartholdy (usually referred to as Felix Mendelssohn) was born in Hamburg on February 3, 1809. From a young age, Mendelssohn showed great promise as a pianist and often performed recitals for distinguished family friends, of whom his father had many. It was here that he was also able to test out his skills at composition. He eventually went on to study composition with Carl Freidrich Zelter in 1817. Mendelssohn ended up becoming an extremely successful composer and wrote such masterworks as his “Violin Concerto in E minor,” incidental music to Shakespeare’s A Midsummer Night’s Dream, and “Hebrides Overture.” While Mendelssohn was touring Europe, he had a chance to visit a sea cave named Fingal’s Cave located on the Hebrides archipelago.
    [Show full text]
  • 1 Rockport Chamber Music Festival 2018 Opening Night
    1 ROCKPORT CHAMBER MUSIC FESTIVAL 2018 (r)Evolution June 15-July 15, 2018 BARRY SHIFFMAN, artistic director OSVALDO GOLIJOV, composer-in-residence Location: Shalin Liu Performance Center Friday, June 15, 2018 8 PM OPENING NIGHT Miriam Khalil, soprano | Barry Shiffman, violin/viola | Danny Koo, violin | Roberto Diaz, viola | Milena Pajaro-van de Stadt, viola | Andres Díaz, cello | Clive Greensmith, cello | Roberto Occhipinti, bass | Tara Helen O’Connor, flute | Todd Palmer, clarinet | James Sommerville, horn | Claudio Ragazzi, guitar | Ina Zdorovetchi, harp | Michael Ward- Bergemann, hyper accordion | Dave Burns, percussion | Jeremy Flower, laptop Joel Ivany, director | Jason Hand, lighting designer String Sextet in D minor, Op. 70 (Souvenir de Florence) (1887-92) Pyotr Il’Yich Tchaikovsky (1840-1893) Ayre, for soprano and ensemble (2004) Osvaldo Golijov (b. 1960) Saturday, June 16, 2018 4 PM KAFKA AND SON Alon Nashman, actor and creator ENSEMBLE Danny Koo, violin | Barry Shiffman, viola | Andres Diaz, cello Roberto Occhipinti, bass | Tara Helen O'Connor, flute | Todd Palmer, clarinet LULLABY AND DOINA, FOR FLUTE, CLARINET, VIOLIN, VIOLA, CELLO AND DOUBLE-BASS (2001) Osvaldo Golijov (b. 1960) KAFKA AND SON (one-act play) Musical Accompaniment: YIDDISHBBUK (1992) Osvaldo Golijov (b. 1960) Saturday, June 16, 2018 8 PM MONTROSE TRIO Jon Kimura Parker, piano | Martin Beaver, violin | Clive Greensmith, cello With Barry Shiffman, viola Pre-concert talk, 7 PM Piano Trio No. 2, in B minor, Op. 76 (1933) Joaquín Turina (1882-1949) Piano Trio No. 2, in C minor, Op. 66 (1845) Felix Mendelssohn (1809-1847) Piano Quartet No. 1, in G minor, Op. 25 (1861) Johannes Brahms (1833-1897) 2 Sunday, June 17, 2018 5 PM Frederic Chiu, piano | Andres Diaz, cello | Todd Palmer, clarinet Percussion: Dave Burns, Matt Sharrock, Aaron Trant, Michael Williams Pre-concert talk, 4 PM Snow in June Erbarme dich, mein Gott from St.
    [Show full text]