Press Kit Piano & Clarinet : 29 Oct
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Genre Album Artist and Title Avantgarde Various - Linn SACD Sampler Various - Stay in Tune with Pentatone
Genre Album Artist and Title Avantgarde Various - Linn SACD Sampler Various - Stay in Tune with PentaTone Bluegrass Nickel Creek - This Side Nickel Creek - Nickel Creek Christmas Bach Collegium Japan - Verbum caro factum est Choir of St John's College, Cambridge/Challenger/Nethsingha - On Christmas Night Elena Fink, Le Quatuor Romantique - A Late Romantic Christmas Eve Le Quatuor Romantique - A Late Romantic Christmas Eve Oscar's Motet Choir - Cantate Domino Stile Antico - Puer natus est: Music for Advent and Christmas - Stile Antico Vox Aurea, Sanna Salminen - Matkalla jouluun / A Journey into Christmas Classical Aachen Symphony, Vocapella Choir - Verdi Missa da Requiem Academy of St Martin in the Fields, Marriner - Mozart: Clarinet Concert in A, KV 622 , Clarinet Quintet in A, KV 581 Academy of St Martin in the Fields, Marriner - The Art of the Fugue Angela Hewitt, ACO - Bach Keyboard Concertos Vol 2 Angela Hewitt, ACO - Bach Keyboard Concertos Vol1 Angela Hewitt, piano - J.-P Rameau: Suites Artur Pizarro - Chopin Piano Sonatas Artur Pizarro - Frederic Chopin Artur Pizarro, Scottish Chamber Orchestra - Beethoven Piano Concerto No.5 Artur Pizarro, Scottish Chamber Orchestra - Beethoven Piano Concertos No.3 & No.4 Atlanta Symphony Orchestra - Vaughan Williams: A Sea Symphony Brendel, SCO, Mackerras - Mozart: Piano Concertos K271 & K503 Cincinnati Pops Orchestra, Kunzel - A Celtic Spectacular Cincinnati Pops Orchestra, Kunzel - Tchaikovsky 1812 Donald Runnicles, Atlanta Symphony Orchestra and Chorus - Orff: Carmina Burana Dunedin Consort -
23 a 30 De Março Programa
SEMANA DO PIANO 23 a 30 de março programa 23 e 24 de março Masterclasse Luís Pipa Local: Conservatório de Música Calouste Gulbenkian de Braga A S e m a n a d o Pi a n o é u m a at i v i d a d e Os Concertos com Artur Pizarro e Pedro 25 e 26 de março desenvolvida numa parceria entre a Câmara Burmester trazem à cidade de Braga duas das Concurso Regional de Piano Local: Conservatório de Música Calouste Gulbenkian de Braga Municipal de Braga (CMB), pelouro da cultura, e maiores referências do piano em Portugal. O * 25 março | 21.30 horas o Conservatório de Música Calouste Gulbenkian concerto do Bruno Ferreira é o encontro Concerto Piano, Artur Pizarro de Braga (CMCGB), cujo objetivo é celebrar e marcado com um jovem talento, que foi prémio Local: Auditório Vita. Obras de: Chopin, Schumann; José Vianna da Motta, colocar o Piano no centro da atenção da cidade Conservatório na sua edição de 2014/15. Luís Costa e Claudio Carneyro. num convite à fruição de momentos excelentes A componente pedagógica, desta atividade, Entrada: 5 euros. para todos. convida os alunos de Música a usufruírem da 27 de março | 19 horas À volta do Piano Day, dia celebrado em todo o master classe do prof. Luís Pipa, que decorre Concerto Jovem talento- Piano, Bruno Ferreira prémio Conservatório ed. 2014-15. mundo ao 88º dia do ano, coincidindo com as 88 nos dois primeiros dias da semana do piano, e a Local: Conservatório de Música Calouste Gulbenkian de Braga Obras: R. -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. -
Monograph-Ana Catalina Ramirez
COSTA RICAN COMPOSER CARLOS ESCALANTE MACAYA AND HIS CONCERTO FOR CLARINET AND STRINGS A Monograph Submitted to the Temple University Graduate Board In partial fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS by Ana Catalina Ramírez Castrillo May, 2014 Examining Committee Members: Dr. Cynthia Folio, Advisory Chair, Music Studies Department (Music Theory) Dr. Charles Abramovic, Piano Department, Keyboard Department (Piano) Dr. Emily Threinen, Instrumental Studies Department (Winds and Brass) Dr. Stephen Willier, Music Studies Department (Music History) ABSTRACT The purpose of this monograph is to promote Costa Rican academic music by focusing on Costa Rican composer Carlos Escalante Macaya and his Concerto for Clarinet and Strings (2012). I hope to contribute to the international view of Latin American composition and to promote Costa Rican artistic and cultural productions abroad with a study of the Concerto for Clarinet and Strings (Escalante’s first venture into the concerto genre), examining in close detail its melodic, rhythmic and harmonic treatment as well as influences from different genres and styles. The monograph will also include a historical context of Costa Rican musical history, a brief discussion of previous important Costa Rican composers for the clarinet, a short analysis of the composer’s own previous work for the instrument (Ricercare for Solo Clarinet) and performance notes. Also, in addition to the publication and audio/video recording of the clarinet concerto, this document will serve as a resource for clarinet soloists around the world. Carlos Escalante Macaya (b. 1968) is widely recognized in Costa Rica as a successful composer. His works are currently performed year-round in diverse performance venues in the country. -
Download Programme
Programme Mozart: Die Zauberflöte Overture (The Magic Flute) Beethoven: Piano Concerto No. 4 in G major -- Interval -- Brahms: Symphony No. 2 in D major Soloists Aya Kawabata was born in Tokyo. From 1989 to 1991 she lived in England and studied at the Junior Guildhall School of Music with Joan Havill. In 1997 she was offered a place at the Tokyo Metropolitan High School of Music and Arts to study for three years during which time she studied with Professor Teruji Karashima and was awarded a silver medal in the Japan Classical Competition. In 2001 she came back to England to study at the Royal Academy of Music and completed a Bachelor of Music degree with First Class Honours in 2005. She studied with Ian Fountain and Diana Ketler, and was invited to play in master classes with Alexander Satz, Petras Geniusas and Emanuel Krasovsky. During her time at the Academy, she was awarded the Blakiston Prize (Highly Commended), the Mathew Philimore Prize (Winner), the George Award (Winner), the Leslie England Prize (Very Highly Commended), the Wilfred Parry Prize (Very Highly Commended), the Maud Hornsby Award (Winner), and the Peter Latham Gift (Winner) for her performances, and also was awarded a bursary award for her studies. She has taken master classes with Armen Babakhanian, Andrew Ball, Christopher Elton, Ruth Harte, John Lill, Artur Pizarro, and Veronika Vitaitė in various festivals, and has performed extensively in England – London (including performances as a soloist with orchestras), Cambridge, Leeds, Salisbury, and Bristol – and also in Scotland, Austria, France, Italy, Lithuania, Latvia, Kazakhstan (broadcast live on Kazakh TV and satellite), Turkey (filming for NHK), and Japan. -
Preview Magazine
NEWS CASSGB Young Saxophone Soloist Competition CASSGB is running a Young from first-round entrants. It will take Saxophone Soloist Competition place on 12 January 2020 in London for entrants who will be aged 19 (venue to be confirmed). or under on 12 January 2020. The The competition is open to competition is open to UK nationals CASSGB members and non- or non-UK students in full-time members. For non-members there is education and resident in the UK. a fee of £10 which includes a one- Prizes are as follows: year subscription to CASSGB (the • 1st prize: £1,500 plus an normal cost of student membership invitation to perform at is £12). CASSGB’s 2020 Single Reed Day Application forms for the • 2nd prize: £1,000 competition can be downloaded • 3rd prize: £500 from www.cassgb.org and completed forms should be emailed Round 1 is a recorded submission to [email protected]. Turn to Blaz Sparovec (closing date: 15 October) which page 25 for more information. must include a new specially commissioned work that can be wins Nielsen found on the centre pages of this issue. Round 2, the final, will feature Competition a maximum of six players selected The 24-year-old Slovenian clarinettist Blaz SOCIETY OF GREAT BRITAIN Sparovec has won the 2019 International Nielsen Clarinet Competition. Second prize was awarded to Aron Chiesa (22, Italy) and 3rd prize to Victor Diaz (22, Spain). 35 rare saxophones stolen Following a pre-selection video round, 24 players aged 19 to 27 from 15 countries were invited to attend the live finals in from Italian collector Odense, Denmark on 20-30 March. -
Circle Map Program of Contemporary Classical Works by Kaija Saariaho to Feature New York Premieres Performed by the New York Philharmonic
Circle Map Program of Contemporary Classical Works by Kaija Saariaho to Feature New York Premieres Performed by the New York Philharmonic Site-Specific Realization by Armory Artistic Director Pierre Audi Conducted by Esa-Pekka Salonen Two Performances Only - October 13 and 14, 2016 New York, NY — August 16, 2016 — Park Avenue Armory will present Circle Map, two evenings of immersive spatial works by internationally acclaimed Finnish composer Kaija Saariaho performed by the New York Philharmonic under the baton of its Marie-Josée Kravis Composer-in-Residence Esa-Pekka Salonen on October 13 and 14, 2016. Conceived by Pierre Audi to take full advantage of the Wade Thompson Drill Hall, the engagement marks the orchestra’s first performance at the Armory since 2012’s Philharmonic 360, the acclaimed spatial music program co-produced by the Armory and Philharmonic. A program of four ambitious works that require a massive, open space for their full realization, Circle Map will utilize the vast drill hall in an immersive presentation that continually shifts the relationship between performers and audience. The staging will place the orchestra at the center of the hall, with audience members in a half-round seating arrangement and performances taking place throughout. Longtime Saariaho collaborator Jean-Baptiste Barrière will translate the composer’s soundscapes into projections that include interpretations of literary and visual artworks from which inspiration for specific compositions are drawn. “Our drill hall is an ideal setting and partner for realizing spatial compositions, providing tremendous freedom for composers and performers,” said Rebecca Robertson, President and Executive Producer of Park Avenue Armory. -
Naxcat2005 ABRIDGED VERSION
CONTENTS Foreword by Klaus Heymann . 4 Alphabetical List of Works by Composer . 6 Collections . 88 Alphorn 88 Easy Listening 102 Operetta 114 American Classics 88 Flute 106 Orchestral 114 American Jewish Music 88 Funeral Music 106 Organ 117 Ballet 88 Glass Harmonica 106 Piano 118 Baroque 88 Guitar 106 Russian 120 Bassoon 90 Gypsy 109 Samplers 120 Best Of series 90 Harp 109 Saxophone 121 British Music 92 Harpsichord 109 Trombone 121 Cello 92 Horn 109 Tr umpet 121 Chamber Music 93 Light Classics 109 Viennese 122 Chill With 93 Lute 110 Violin 122 Christmas 94 Music for Meditation 110 Vocal and Choral 123 Cinema Classics 96 Oboe 111 Wedding 125 Clarinet 99 Ondes Martenot 111 White Box 125 Early Music 100 Operatic 111 Wind 126 Naxos Jazz . 126 Naxos World . 127 Naxos Educational . 127 Naxos Super Audio CD . 128 Naxos DVD Audio . 129 Naxos DVD . 129 List of Naxos Distributors . 130 Naxos Website: www.naxos.com NaxCat2005 ABRIDGED VERSION2 23/12/2004, 11:54am Symbols used in this catalogue # New release not listed in 2004 Catalogue $ Recording scheduled to be released before 31 March, 2005 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating. Our recordings receive favourable reviews in many other publications which, however, do not use a simple, easy to understand rating system. -
Kimmo Hakola's Diamond Street and Loco: a Performance Guide
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Kimmo Hakola's Diamond Street and Loco: A Performance Guide Erin Elizabeth Vander Wyst University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Fine Arts Commons, Music Commons, and the Theatre and Performance Studies Commons Repository Citation Vander Wyst, Erin Elizabeth, "Kimmo Hakola's Diamond Street and Loco: A Performance Guide" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2754. http://dx.doi.org/10.34917/9112202 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. KIMMO HAKOLA’S DIAMOND STREET AND LOCO: A PERFORMANCE GUIDE By Erin Elizabeth Vander Wyst Bachelor of Fine Arts University of Wisconsin-Milwaukee 2007 Master of Music in Performance University of Wisconsin-Milwaukee 2009 -
Mozart - Brahms
MOZART - BRAHMS CLARINET QUINTETS OSLO PHILHARMONIC CHAMBER GROUP WOLFGANG AMADEUS MOZART KLARINETTKVINTETT I A–DUR K 581 | CLARINET QUINTET IN A MAJOR, K. 581 1756-1791 JOHANNES BR AHMS KLARINETTKVINTETT I H–MOLL, OP. 115 | CLARINET QUINTET IN B MINOR, OP. 115 1833-1897 Tidlig på 1700-tallet utviklet instrumentmakeren Around the turn of the eighteenth century the Ger- Johann Christoph Denner i Nürnberg klarinetten, man instrument maker Johann Christoph Denner of med grunnlag i eldre instrumenttyper. Tross visse Nuremberg developed the clarinet as a modification of mangler viste det nye instrumentet lovende takter. earlier-style instruments. In spite of some shortcomings, Noen komponister var tidlig ute med verk for kla- it showed considerable promise, and a few composers rinett, blant dem Johann Molter, som i 1740-årene soon had works for clarinet, including Johann Molter, skrev fire konserter for den lille D–klarinetten. who wrote four concertos for the smaller D clarinet. The Det framsynte orkesteret i Mannheim var snare til forward-looking orchestra in Mannheim was prompt å inkorporere instrumentet i sin krets, og de ek- to incorporate the instrument into its ranks, and the sperimentlystne komponistene som var knyttet til experimental composers associated with the orchestra orkesteret, skrev gjerne for klarinett. For eksempel liked writing for the clarinet. Carl Stamitz, for exam- skrev Karl Stamitz kammermusikk og ikke mindre ple, composed chamber music and no less than eleven enn elleve mindre konserter for klarinett, alle trolig lesser concertos for clarinet, all of them presumably for for Johann Joseph Beer. Johann Joseph Beer. Siden har flere av de store komponistene skrevet verk for klarinett med tanke på bestemte framstå- Since that time a number of major composers have writ- ende klarinettister. -
Dissertation 3.19.2021
Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2021 Reading Committee: Timothy Salzman, Chair David Rahbee Benjamin Lulich Program Authorized to Offer Degree: Music © Copyright 2021 Caitlin Beare University of Washington Abstract Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare Chair of the Supervisory Committee: Timothy Salzman School of Music The exploration and implementation of new timbral possibilities and techniques over the past century have redefined approaches to clarinet performance and pedagogy. As the body of repertoire involving nontraditional, or “extended,” clarinet techniques has grown, so too has the pedagogical literature on contemporary clarinet performance, yielding method books, dissertations, articles, and online resources. Despite the wealth of resources on extended clarinet techniques, however, few authors offer accessible pedagogical materials that function as a gateway to learning contemporary clarinet techniques and literature. Consequently, many clarinetists may be deterred from learning a significant portion of the repertoire from the past six decades, impeding their musical development. The purpose of this dissertation is to contribute to the pedagogical literature pertaining to extended clarinet techniques. The document consists of two main sections followed by two appendices. The first section (chapters 1-2) contains an introduction and a literature review of extant resources on extended clarinet techniques published between 1965–2020. This literature review forms the basis of the compendium of materials, found in Appendix A of this document, which aims to assist performers and teachers in searching for and selecting pedagogical materials involving extended clarinet techniques. -
Ingrid Fliter Frédéric Chopin Piano Concertos
Ingrid Fliter Frédéric Chopin Piano Concertos Jun Märkl conductor Scottish Chamber Orchestra Ingrid Fliter Frédéric Chopin Piano Concertos Jun Märkl conductor Scottish Chamber Orchestra Piano Concerto No. 1 in E minor, Opus 11 1. Allegro maestoso 20:02 2. Romanze: Larghetto 9:33 3. Rondo: Vivace 10:11 Piano Concerto No. 2 in F minor, Opus 21 4. Maestoso 15:05 5. Larghetto 9:25 6. Allegro vivace 8:52 Total Time: 73:21 Recorded at Usher Hall, Edinburgh, UK from 7 – 9 June 2013. Produced by John Fraser. Recorded by Philip Hobbs. Assistant engineering by Robert Cammidge. Post-production by Julia Thomas. Design by Red Empire. Colour photographs of Ingrid by Anton Dressler. 2 Chopin: Piano Concertos ‘Hats off, gentlemen, a genius!’ Robert Schumann’s celebrated appraisal of the seventeen-year-old Frédéric Chopin in the Allgemeine musikalische Zeitung of 7 December 1831 thrust the young Polish wunderkind into the European limelight in no uncertain terms. For Schumann, as for many others, the success of the Variations on Là ci darem la mano from Mozart’s Don Giovanni raised considerable expectations for what was to follow, expectations that would, with almost unseemly abruptness, be left unrealised. 3 Composed for piano and orchestra, the Variations had been only the second piece by the teenage prodigy to be published in 1827 (the fi rst, the precocious Rondo in C minor, composed two years earlier when he was just fi fteen, a markedly less ambitious piece for solo piano). It was also Chopin’s fi rst work for a pairing that was to become both touchstone and trial for composers eager to make their mark in the middle of the nineteenth century but one that was soon to lose its allure for Chopin himself.