San Francisco International Piano Festival Presented by NEW PIANO COLLECTIVE

Total Page:16

File Type:pdf, Size:1020Kb

San Francisco International Piano Festival Presented by NEW PIANO COLLECTIVE San Francisco International Piano Festival Presented by NEW PIANO COLLECTIVE August 20-30, 2020 San Francisco International Piano Festival At a Glance... A Call to Reflection Concert Confidential In Collaboration with Lieder Alive! A Festival Original Thursday, August 20 Wednesday, August 26, 2020 7:30 p.m. — 9:00 p.m. 7:30 p.m. — 8:30 p.m. Kindra Scharich, mezzo-soprano Jeffrey LeDeur, piano Jeffrey LaDeur, piano [PAGE 11] [PAGE 5] ————— ————— Frederic Rzewski: Songs Of Insurrection Music Of The Future: 2019 Retrospective Performance In Conversation With Albert Kim Thusday, August 27 2020 Livestream Interview 7:30 p.m. — 9:00 p.m. & Retrospective Performance Bobby Mitchell, piano The Future of Classical Music is in Their Hands [PAGE 12] Friday, August 21, 2020 ————— 7:30 p.m. — 9:00 p.m. Albert Kim, piano Beethoven 250 - Live! very August since 2017, the San Francisco International Piano Festival has welcomed Fervida Trio Livestream Concert audiences throughout the Bay Area to come together in a spirit of joy and celebration of [PAGE 6] E A Celebration of Beethoven’s Chamber Music music at the piano. The Festival runs the last two weeks in August, a summer swan song after ————— Friday, August 28, 2020 8:00 p.m. — 10:90 p.m. travels and family visits, but before back-to-school rhythms return. Just as the days lengthen Mysteria Eunseo Oh, violin in sunlight, our concerts extend into the evenings, and our spirits expand with the richness Broadcast Premiere Stephen Harrison, cello of music, community, and shared experience. Saturday, August 22, 2020 Gwendolyn Mok, piano 7:30 p.m. — 9:00 p.m. Allegra Chapman, piano This year, there are no travels, no gatherings, and almost no live music. So many of the things Kayleen Sánchez, soprano & Paul Sánchez, piano Sarah Yuan, piano that remind us of our purpose feel distant. And yet, we show up for ourselves and each other. Eka Gogichashvili, violin [PAGE 14] We make music in our homes. We develop the next recording projects and plan the concerts [PAGE 7] ————— that have been rescheduled. We listen. Without the healing power of music during this time, ————— Dialogue Interrupted life would be unimaginably more difficult. Ode to Joy Created/Curated For 2020 Festival 2019 Retrospective Performance Saturday, August 29, 2020 That is why the San Francisco International Piano Festival is presenting its 4th annual season Friday, August 23, 2020 7:30 p.m. — 9:00 p.m. FREE to the public in a variety of virtual formats, combining commissioned programs with 7:30 p.m. — 9:00 p.m. Nicholas Phillips, piano retrospective highlights in the tradition of eclectic and compelling programming that has Bobby Mitchell, piano Owen Zhou, piano become our signature. 2020 will be a different kind of celebration: a more sober, reflective Heidi Moss Erickson, soprano [PAGE 15] Kindra Scharich, mezzo-soprano acknowledgment of this confusing and painful moment in our world, and of the essential ————— Michael Jankosky, tenor and sustaining life force that music is for us at this time. Kirk Eichelberger, bass Reflection In Nature [PAGE 8] Livestream Concert I invite you to visit our website and social media pages often, to engage with the ————— Sunday, August 30 2020 performances that our artists will share, and to return to yourself through the healing power 2:00 p.m. — 4:00 p.m. of music. From our whole selves, we can serve the great need before us. Night Music Jeffrey LaDeur, piano New Performance from Eunmi Ko Kindra Scharich, mezzo-soprano Sincerely, Monday, August 24, 2020 Jesse Barrett, oboe 7:30 p.m. — 9:00 p.m. Jonathan Szin, clarinet Eunmi Ko, piano Kristopher King, bassoon [PAGE 9] Stephanie Stroud, french horn [PAGE 16] ————— ————— Nicholas Phillips Presents #45 Miniatures Project: A Musical Protest Created/Curated for the 2020 Festival Tuesday, August 25, 2020 7:30 p.m. — 9:00 p.m. Jeffrey LaDeur Nicholas Phillips, piano Founder and Artistic Director [PAGE 10] San Francisco International Piano Festival ————— New Piano Collective 2 3 San Francisco International Piano Festival A Call to Reflection In Collaboration with Lieder Alive! This concert is made possible through the Musical Grant Program, which is administered by InterMusic SF, and supported by the Clarence E. Heller Charitable Foundation, the Hewlett Foundation, and San Francisco Grants for the Arts.* Thursday, August 20 7:30 p.m. — 9:00 p.m. It was with a Schubertiade that the piano festival opened its inaugural season in 2017, and we return to Schubert for reflection and healing in the midst of a turbulent world. 2020 Mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur will share a selection of Schubert’s most beautiful lieder, exploring themes of hope, love, loss, and the ephemeral nature of time. Robert Schumann wrote that Schubert’s Sonata in G Major was his “most perfect in form and conception”, and this performance will intersperse its four SanFrancisco expansive movements throughout the evening. International Piano Sonata in G Major D.894 I. Molto moderato e cantabile Sei mir Gegrüßt D.741 (Friedrich Rückert) PianoFestival Frühlingsglaube D.686 (Ludwig Uhland) Franz Schubert Piano Sonata in G Major D.894 Programs II. Andante Der Lindenbaum from Winterreise D.911 (Wilhelm Müller) Nacht und Träume D.827 (Matthäus Collin) Franz Schubert Piano Sonata in G Major D.894 III. Menuetto: Allegro moderato IV. Allegretto Kindra Scharich, mezzo-soprano Jeffrey LaDeur, piano *Livestream link: https://youtu.be/hxI1OKfLy3g 4 5 San Francisco International Piano Festival San Francisco International Piano Festival Music Of The Future: In Conversation With Albert Kim Mysteria Livestream Interview & Retrospective Performance Broadcast Premiere The Future of Classical Music is in Their Hands Saturday, August 22, 2020 Friday, August 21, 2020 7:30 p.m. — 9:00 p.m. 7:30 p.m. — 9:00 p.m. Join us for a livestream interview and discussion with Festival favorite Albert Kim and The Festival is pleased to share this special concert by candlelight featuring soprano Kayleen artistic director Jeffrey LaDeur. In addition to his remarkable gifts as a concert pianist, Sánchez, pianist Paul Sánchez and violinist Eka Gogichashvili. Presented in partnership Albert is a passionate educator and thinker who is sensitive to the constantly shifting with Old First Concerts during the 2019 Festival, David M. Gordon’s evocative and dramatic landscape of performance, scholarship, and classical music at large. Discussion topics work comes to life through the artists’ mastery of a complex instrumentation involving will include exploration of tradition and innovation, the formats through which we share three pianos, singing glasses, autoharp, finger symbols, harmonica, and more. Don’t miss and receive music, illusions of the classical music industry, and the extraordinary young this unique performance that fuses vocal and instrumental music in a magical way. musicians that are leading the way forward. The evening will include performances from Mr. Kim, the Fervida Trio’s appearance at the 2019 Festival, and more. https://youtu.be/0D2ue5y7DRA Une Barque sur l’océan Fader, stilla våra andar for soprano and piano (2002) Maurice Ravel https://youtu.be/iv7mKbacvIc Albert Kim, piano Consolation New for one pianist playing two Discussion Part I microtonally-tuned pianos (2018) Trio No.1 (Life Cycle) https://youtu.be/ECwKWDzSqBQ?list=PLycU6upYk9k1T2aPGzUXwdRFz_29iljCT Pierre Jalbert Mysteria Incarnationis for soprano, violin, and prepared piano (2015) Discussion Part II https://youtu.be/ruv26b--wn8t Trio Op.1 No.1 (Finale) Shbih hakimo Man hi tamrah Ludwig von Beethoven Manu yab lo (Lullaby 1) Fervida Trio Manu mtse dnimar Sean Mori, violin Lo aten ber (Lullaby 2) Angeline Kiang, cello Brikh hu dlo sokh destayakh Karina Tseng, piano FarSong Duo — Kayleen Sánchez, soprano & Paul Sánchez, piano Special guest — Eka Gogichashvili, violin 6 7 San Francisco International Piano Festival San Francisco International Piano Festival Ode to Joy Night Music 2019 Retrospective Performance New Performance from Eunmi Ko Friday, August 23, 2020 Monday, August 24, 2020 7:30 p.m. — 9:00 p.m. 7:30 p.m. — 9:00 p.m. We revisit this exciting and joyful performance given by Bobby Mitchell during Pianist Eunmi Ko has captivated festival audiences with her insightful performances the 2019 Festival at the San Francisco Conservatory of music: Beethoven’s Ninth of new and old music, and tonight’s program features Night Music by Chopin, John Symphony in a dazzling arrangement for solo piano by Liszt. The iconic Ode to Joy Liberatore, David Liptak, and Tyler Kline. Eunmi has introduced many of these pieces finale features special guest soloists Heidi Moss Erickson, Kindra Scharich, Michael and composers to San Francisco audiences since her Festival debut in 2017. Jankosky, and Kirk Eichelberger. Almost forty years after my encounter with Crumb’s music, I found myself writing Constellations, an extended collection of pieces for piano. I had been planning to write such a piece for a few years, and the opportunity to write it for pianist Zuzanna Szewczyk Kwon brought the task to hand. I had decided to write a collection of longer, rather than shorter, pieces, thinking abut the way Robert Schumann’s Kreisleriana is structured. Schumann’s piano writing often features an interlocking counterpoint within the texture of an embellished figuration, where inner voices reveal primary melodic ideas. This device appears in various ways in Constellations, and clearly so in “Cassiopeia.” When viewing constellations in the night sky, it is often much easier to identify them by finding the “asterisms” that are part of the totality of the star group. For example, The Big Dipper, an asterism, is much easier to spot than Ursa Major, the larger constellation that contains it. In “Cassiopeia,” structural pitches are embedded inside elaborations and are sometimes revealed, a pleasant analog to the idea of the asterism.
Recommended publications
  • INTERNATIONAL FORTEPIANO SALON #5: Pioneers: Fortepiano in China
    Catskill Mountain Foundation presents INTERNATIONAL FORTEPIANO SALON #5: Pioneers: Fortepiano in China Hosted by the Academy of Fortepiano Performance in Hunter, NY SATURDAY MAY 22, 2021 @ 9 pm (Eastern Daylight Saving Time) (Sunday, May 23, 2021 @ 9 am China Time) Hosted by Yiheng Yang and Maria Rose Founders and faculty of the Academy of Fortepiano Performance in Hunter, NY Guest Hosts: Audrey Axinn (Tianjin) Yuan Sheng (Beijing) Yuehan Wang (Beijing) Also Featuring: Michael Tsalka, Zijun Wang, and Jing Tang PROGRAM Wolfgang Amadeus Mozart Rondo in F major, K.494 Audrey Axinn, Anton Walter fortepiano (replica by Paul McNulty) Frédéric Chopin Waltz in A-Flat Major, Op. 69, No. 2 Nocturne in D-Flat Major, Op. 2 Yuan Sheng, 1836 Pleyel piano Wolfgang Amadeus Mozart Sonata in E-flat Major, K.282 Adagio, Menuetto Yuehan Wang, Anton Walter fortepiano (replica by Paul McNulty) Franz Schubert Impromptu in G-Flat Major, Op. 90, No. 3 Johann Baptist Wanhal Capriccio in E-Flat Major, Op. 15, No. 2 (1786) Michael Tsalka, 1838 Conrad Graf piano; ca. 1785 Johann Bohack fortepiano Franz Schubert Sonata in C Minor, D.958 Allegro (4th movt.) Zijun Wang, Graf fortepiano (replica by Paul McNulty) Wolfgang Amadeus Mozart Fantasy in D minor, K.397 Jing Tang, Anton Walter fortepiano (replica by Paul McNulty) BIOGRAPHIES A sensitive and compelling performer and educator, Audrey Axinn is currently Associate Dean and faculty at the Tianjin Juilliard School. She is also on faculty at New York Juilliard and Mannes School of Music. She has performed widely at venues such as the Boston Early Music and Edinburgh Festivals and taught master classes at almost two dozen conserva- tories in Asia, Europe and North America.
    [Show full text]
  • OLGA PASHCHENKO.Pages
    OLGA PASHCHENKO - - harpsichordist, pianist, fortepianist, organist. Olga Pashchenko is a young artist who has already established a reputation as a versatile performer with her own individual style of performance notable for sensitiveness toward different musical styles, virtuosity, wealth of color and special approach to each instrument she plays. Olga Pashchenko was born in 1986 in Moscow. She began her musical studies at the age of six in the Children’s Myaskovski Music School in the piano class of Sofia Genis. 1993 became laureate of the All-Russian Young Pianists’Competition. In 1993 Olga entered the Moscow Special Gnessin Music School where she studied piano with Tatiana Zelikman and harpsichord with Olga Martynova. She gave her first piano recital in New York at the age of 9. In 2002 was granted the scholarship of the fund “Russian Performance Art”. In 2003 became laureate of the Third International Gnessin Young Artists Competition and the Third International Beethoven Festival of Chamber Music.. In 2005 Olga Pashchenko graduated with honors from the Gnessin School and entered the Moscow State Tchaikovsky Conservatory. 2010 she graduated with honors from two departments of the Moscow State Tchaikovsky Conservatory - Department of Historical and Modern Art Performance where she studied with professor Alexei Lubimov (piano), Olga Martynova (harpsichord, fortepiano), and Organ Department – class of Alexei Shmitov. In 2010 Olga Pashchenko has entered the postgraduate studies of the Moscow Tchaikovsky Conservatory – class of professor
    [Show full text]
  • Review Essay Haydn Recordings in the Bicentennial Year
    Review Essay Haydn Recordings in the Bicentennial Year SYLVIA BERRY N ANTICIPATION OF THE 200TH anniversary of the death of Franz Joseph Haydn (1732-1809), a number of early keyboard specialists embarked upon Icomplete recordings of Haydn’s keyboard works, all but one of which was released before the Haydn Year 2009. These recordings include not only the complete solo keyboard works, but also the complete keyboard trios — a wonderful and often neglected facet of Haydn’s keyboard output. In a real marriage of performance and scholarship, every keyboard work Haydn wrote (including some contemporary arrangements of works by Haydn in other genres) has now been committed to disc on a stunning variety of instruments. Thus, in 2009, we can finally hear Haydn’s keyboard music performed on a veritable constellation of clavichords, harpsichords, and fortepianos, reflecting the wealth of keyboard instruments available to Haydn during his life-long career as a composer of keyboard music. Previous to this recent crop of recordings, there were very few interpretations on disc of Haydn’s works on the harpsichord, and only a small number of recordings by a handful of fortepianists of a variety of programs, very few of which included the early works. Expanding on the fortepiano interpretations of the standard programs by Malcolm Bilson and Paul Badura-Skoda, we now have four complete sets of Haydn’s keyboard sonatas, two complete sets of the miscellaneous or non-sonata works (henceforth called Klavierstücke), a number of readings of assorted Klavierstücke, and a complete set of the keyboard trios. Taken together, these sets employ twenty-one instruments, of which a number are antiques.
    [Show full text]
  • 3 Piano Quartets Woo36
    Beethoven 3 Piano Quartets WoO36 Van Swieten Society Ludwig van Beethoven 1770-1827 A Calling Card of Genius 3 Piano Quartets WoO36 In 1785 Mozart unleashed a veritable mania in the musical salons of Europe with his first piano quartet in G minor. There can be no doubt that this quartet inspired Piano Quartet in C No.3 Beethoven to also write quartets for the unconventional instrumentation of piano trio 1. I. Allegro vivace 6’46 with an added viola. 2. II. Adagio con espressione 5’25 In 1779 Ludwig van Beethoven (1770-1827) began taking composition lessons 3. III. Rondo: Allegro 3’37 with Neefe, organist at the court of Elector Maximilian in Bonn. From 1781 onwards he became Neefe’s organ assistant and already in 1783 emerged the first three piano Piano Quartet in E flat No.1 sonatas. They became known as the ‘Kurfürsten Sonates’, dedicated as they were to 4. I. Adagio assai 8’01 the Elector Maximilian, who ensured the creation of a beautiful edition. 5. II. Allegro con spirito 5’27 Like every musician in Europe Beethoven was well acquainted with Mozart’s 6. III. Theme and variations: compositional works and was a great admirer of them. He performed Mozart’s piano Cantabile 9’58 concertos with the court orchestra in Bonn and later played viola in performances of Mozart’s operas. As the musicologist Lewis Lockwood puts it: “Just as Mozart Piano Quartet in D No.2 had once told his father that he was ‘soaked in music’, so Beethoven was soaked in 7.
    [Show full text]
  • Schedule Sunday, July 31 (Lincoln Hall, B-20) 8:00Pm — Opening Ceremony
    SCHEDULE Sunday, July 31 (Lincoln Hall, B-20) 8:00pm — Opening Ceremony Monday, August 1 - Round 1, Day 1 (Sage Chapel) 10:00am–1:00pm — Session 1 4:00pm–7:00pm — Session 2 Tuesday, August 2 - Round 1, Day 2 (Sage Chapel) 10:00am–1:00pm — Session 3 4:00pm–7:00pm — Session 4 Wednesday, August 3 - Round 1, Day 3 (Sage Chapel) 10:00am–1:00pm — Session 5 4:00pm–7:00pm — Session 6 Thursday, August 4 - Round 2 (Sage Chapel) 9:30am–1:15pm — Session 7 4:00pm–7:45pm — Session 8 Saturday, August 6 - Final Round (Schwartz Center, Kiplinger Proscenium Theatre) 2:00pm–5:00pm — Session 9 7:00pm–9:00pm — Session 10 9:30pm — Announcement of Prizes, followed by the Closing Reception In the first two rounds, the audience will kindly refrain from applauding until the end of each competitor’s performance. 1 On behalf of Cornell University, welcome to the Westfield Center’s first International Fortepiano Competition. I am especially proud to host this singular event celebrating the fortepiano and its repertoire because our music department has built a strong tradition around the synthesis of historic keyboard performance and scholarship. Through the exceptional talent and leadership of Malcolm Bilson, his students, and music faculty colleagues, Cornell continues to have a major influence on today’s interpretation of early music. Over the next several days, we will experience many different aspects of fortepiano musicianship. We can look forward to the excitement of the competition and the pleasure of learning more about this influential instrument and the music written for it.
    [Show full text]
  • 2015 Summer Festivals Guide  Musicalamerica.Com • March 2015 Off-The- Garde Works—Often World Premieres
    FestivalsA 2015 Summer Guide Ten Off-the- Beaten-Path Festivals (Lesser Known but Worth the Trip) March 2015 Editor’s Note With our annual Special Report on Festivals, we continue a Musical America tradition dating back at least 50 years—perhaps longer—of reporting on the year’s upcoming festivals. It would be interesting to compare our reporting from those days with this report; many of the mature destinations—Tanglewood, Aspen, Marlboro—are still very much alive and kicking, changing with the tides but true to their core missions. Perhaps that’s because so many of the longstanding festivals double as institutes for summer study, where students learn from the pros (and vice versa) and have the opportunity to perform with them. Certainly the three mentioned above are geared that way; others, such as Festival d’Aix-en-Provence, are a teaching institute by day and a professional presenter by night. The Lucerne Festival also mixes generations and levels of accomplishment. Either way, the festival atmosphere, often accompanied by warm temperatures and cloudless skies, is much more relaxed than that of the concert hall, and the Big Name artist is far more approachable on the tennis court than in the green room. In most cases, the festivals listed in the Guide section have budgets of $1 million or more. (There are more than 1,500 in the Musical America database, so we needed a cut-off point.) But lest we miss something special in the process, Aestivals 2015 Summer Guide we called on our trusty U.S. and international contributors to find “off-the-beaten-path” festivals whose names might not be so familiar.
    [Show full text]
  • Mozart 250 Years Collection 4-7 Brilliant Classics DVD Collection 8
    92860 BCCatalogus06V4 21-12-2005 15:11 Pagina 3 CONTENTS Contents Page Mozart 250 Years Collection 4-7 Brilliant Classics DVD Collection 8-14 The Great Composers 8-10 Operas 11 Various 12-14 Brilliant Classics CD Collection 15-96 The Masterworks 15-16 Composers Albeniz/Von Weber 17-67 Various A - L 68-77 Various M - R 77-86 Various S - Z 86-88 Super Audio CD 89-92 Christmas 93 The Best of ..... Collection 94-96 92860 BCCatalogus06V4 21-12-2005 15:12 Pagina 4 INCLUDING FREE CD-ROM WITH TEXTS AND LIBRETTI 92860 BCCatalogus06V4 21-12-2005 15:12 Pagina 5 250 YEARS MOZART CD 2006: Mozart 250 Years January 27 2006 will be a memorable day. It is the 250th anniversary of Wolfgang Amadeus Mozart. Wolfgang Mozart was born in 1756 in Salzburg, Austria. His musical talents revealed themselves at a tender age. Well before his teens father Leopold took him and his likewise gifted older sister Nannerl on several tours through Europe. Soon he became a widely known and admired child prodigy of an unsurpassed class of his own. Already at eight years old his first music was being published. It was the beginning of an astonishing career. The sheer amount of music he wrote is, with hindsight, incredible and of high quality. Amadeus must have written very fast to manage composing the over 600 works he left to posterity. His manuscripts hardly contain any deletions. Mozart’s versatility is impressive too. He wrote anything from simple canons for keyboard to large-scale symphonies and operas on a great variety of librettos.
    [Show full text]
  • Design, Sound and Compositional Aesthetic: the Grand Piano in Late Eighteenth-Century London and Vienna
    Edith Cowan University Research Online Theses : Honours Theses 2021 Design, sound and compositional aesthetic: The grand piano in late eighteenth-century London and Vienna Izaac Masters Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Other Music Commons This Thesis is posted at Research Online. Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. DESIGN, SOUND AND COMPOSITIONAL AESTHETIC: THE GRAND PIANO IN LATE EIGHTEENTH-CENTURY LONDON AND VIENNA This thesis is presented in partial fulfilment of the Bachelor of Music Honours Izaac Masters SUPERVISORS Prof.
    [Show full text]
  • INTERNATIONAL FORTEPIANO SALON #4: Women Composers: the Salonnière and the Piano in the 18Th-19Th Centuries
    Catskill Mountain Foundation presents INTERNATIONAL FORTEPIANO SALON #4: Women Composers: The Salonnière and The Piano in the 18th-19th Centuries Hosted by the Academy of Fortepiano Performance in Hunter, NY SATURDAY APRIL 24, 2021 @ 2 pm (Eastern Daylight Saving Time) (1 pm Central US time, 7 pm (19.00) UK time, 8 pm (20.00) West-European time) Hosted by Yiheng Yang and Maria Rose Founders and faculty of the Academy of Fortepiano Performance in Hunter, NY Guest Host: Patricia Garcia Gil At the Accademia Bartolomeo Cristofori in Florence, Italy Followed by Panel Discussion “Women in Music: Has anything changed?” Moderator: Vanessa Rose, President & CEO of American Composers Forum PROGRAM 1. A brief tour of the fortepiano collection at the Accademia Bartolomeo Cristofori by Patricia Garcia Gil, demonstrating several of its instruments 2. Patricia Garcia Gil Introduction: “The Salon Musical and women performers in the 18th-19th century”, followed by a live performance of Marianne von Martinez (ca. 1800): Sonata in A Major on an original fortepiano by Johann Schantz Allegro-Adagio-Tempo di Minuetto Marianne Martinez (1744–1812) was an Austrian composer active and widely esteemed during the age of Haydn and Mozart. She was the author of the only symphony composed by a woman during the Classical period, and she also wrote a number of other am- bitious vocal and instrumental works. Musical accounts written in her own time testify to her high level of activity and to the quality of her compositions, but after her death she was almost completely forgotten. Marianne and her sister held regular music salons at their house, visited by Mozart and Haydn, among others.
    [Show full text]
  • Guide to Early Music and Baroque
    GUIDE TO EARLY MUSIC AND BAROQUE CONTENTS: Foreword: p.2 Introduction: p.3 Selective Bibliography: p.5 1. Documentation Centres and Libraries, p.6 2. Concert Organizations, p.9 2.1. Cultural Centres and Concert Halls p.9 2.2. Festivals p.10 3. Radio p.11 4. Music Education p.11 4.1. Conservatories p.11 4.2. Postacademic Programmes p.12 4.3. Universities p.13 5. Ensembles and Orchestras p.13 5.1. Specialized Ensembles p.13 5.2. Ensembles with special interest in Early Music or Baroque p.24 5.3. Baroque and Chamber Orchestras p.25 6. Artists/Soloists p.27 6.1. Conductors p.27 6.2. Soloists p.29 7. Consultants/Management/Agencies p.30 8. Music Publishers p.30 9. Record Companies p.31 10. Instrument Makers p.31 11. Tracklist p.32 FOREWORD INTRODUCTION By Prof. Bruno Bouckaert “For me, practicing early music is just a means of finding new and alternative methods of musical expression within a ‘FLEMISH’ MUSIC FROM THE MIDDLE AGES UNTIL CIRCA 1750 culture once more in search of its own identity after having been buried under a mountain of influences from every possible culture and time. And in this, I feel very closely connected to contemporary modern music… you can’t The oldest traces of a music culture in Flanders can be attributed to the Gregorian chant. An extensive repertoire of resurrect early music, only create it.” Philippe Herreweghe liturgical unison songs emerged and grew during the Carlovingian period. A planctus on the death of Charles the Great, composed by Abbot Columbanus of Sint-Truiden, is considered among the earliest evidence of music.
    [Show full text]
  • Master Research Symposium 2019 of the Master Research Programme of Conducting Departments 89 the Royal Conservatoire
    1 2 Contents Sophie Vroegop 49 Worrapat Yansupap 50 Preface 7 Daniele Zamboni 51 Programme Monday 1 April 8 Jazz Department 52 Programme Tuesday 2 April 10 Eunjin Bae 53 Programme Wednesday 3 April 12 Hue Blanes 54 Programme Thursday 4 April 14 Jasper Hilgerink 55 Programme Friday 5 April 16 Raphaël Royer 56 Luca Ridolfo 57 Research Abstracts 18 Ignacio Santoro 58 Classical Department 18 Mehmet Alper Unal 59 Mindaugas Akelis 19 Vito Vičar 60 Davide Baldo 20 David Bonilla 21 Early Music Department 61 Liesbeth Bosboom 22 Anastasiya Akinfina 62 Jerome Burns 23 Jussif Barakat Martinez 63 Josquin Buvat 24 Jasper Bärtling-Lippina 64 Robbrecht Van Cauwenberghe 25 Jairo Gimeno Veses 65 Christopher Collings 26 Shintaro Kawahara 66 Alfian Emir Adytia 27 Jan Pieter Lanooy 67 Eloy García Pérez 28 Jeong-guk Lee 68 Coraline Groen and Laura Lunansky 29 Anders Muskens 69 Alona Kliuchka 31 Carlos Alfonso Nicolás Alonso 70 Elisha Krawets 32 Beniamino Paganini 71 Lorenzo Laguna Ortega 33 Jose Luis Pino Lagos 72 Tirza Leenman 34 Chloe Prendergast 73 Elisabeth Lusche 35 Diego Ruenes Rubiales 74 Hendrik Marinus 36 Takuto Takagishi 75 Pedro Gabriel Martins Maia 37 Tiziano Teodori 76 Junya Nomura 38 Balázs Tóth 77 Ivan Pavlov 39 Sophie Wedell 78 Niels Pfeffer 40 Emma Williams 79 Stefania Pigozzo 41 Samuel Santana 42 Vocal Studies 80 Roelina Schouten 43 Julia Viridiana De La Cruz Fuello 81 Gabriele Segantini 44 Boukje van Gelder 82 José Luís Lima Silva 45 Minho Jeong 83 Giedrius Steponaitis 46 Marta Lončar 84 Ana Termeulen 47 Kun Qian 85 Julián Turiel Lobo 48 Yuichi Sakai 86 Judith Sepulchre 87 Preface Hao Wang 88 Welcome to the Master Research Symposium 2019 of the Master Research Programme of Conducting Departments 89 the Royal Conservatoire.
    [Show full text]
  • 1 Heading Pages
    CDs containing Music Recordings are included in volume 1 of the print copy held in the Elder Music Library Notated and Implied Piano Pedalling c.1780–1830 Julie Haskell Volume Two Portfolio of Recorded Performances and Exegesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy …. Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide January 2011 Table of Contents Volume Two: Exegesis Table of Contents ...................................................................................................................................... ii Volume One: Recordings.......................................................................................................................... iv Pianos used in the Recordings ....................................................................................... v CD 1 ............................................................................................................................ vi CD 2 ............................................................................................................................vii CD 3 ...........................................................................................................................viii CD 4 ............................................................................................................................ ix CD 5 ............................................................................................................................ ix CD 6 ............................................................................................................................
    [Show full text]