DOCSLIB.ORG

NEWSLETTER of the American Handel Society

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NEWSLETTER of the American Handel Society NEWSLETTER of The American Handel Society Volume XIX, Number 2 August 2004 REPORT FROM HALLE This year’s Handel Festival in Halle an der Saale, which took place from June 3-13, 2004, was organized around the theme of “Handel and the German Tradition,” although there were a number of performances that fell outside this theme. As is always the case, there were often several events competing in the same timeslot, which made it impossible for one person to attend everything. In this report I will comment primarily on the programs I was able to attend. The Festival began, as has now become customary, with the official Opening Ceremony and Festival Concert in the Georg- Friedrich-Händel-Halle on Thursday evening, June 3. The Opening Ceremony featured, in addition to the usual round of official greetings, the presentation of the Handel Prize of the City of Halle to Wolfgang Katschner, founder director of the Lautten Compagney of Berlin, and a splendid performance by organist Iveta Apkalna of Franz Liszt’s Saint François de Paule marchant sur les flots in an arrangement by Max Reger. The Festival concert, which followed after an intermission, consisted of extensive excerpts from the 1737 version of Il Trionfo del Tempo e della Verità performed by sopranos Laura Aikin and Jörg Waschinski, altos Ulrike Schneider and Martin Oro, the Estonian Philharmonic Choir, and the Handel Festival Orchestra of the Halle Opera House, all under the direction of Alessandro De Marchi. While individual performances were very fine, there was a feeling that the whole was somehow less than the sum of its parts. Friday evening brought the premiere of the major work newly staged for the festival by the Halle Opera House. Following a series of operas (most recently Rodrigo, Deidamia, FROM THE PRESIDENT’S DESK and Imeneo) it was decided to break the pattern this year with an oratorio, Hercules. The production, directed by Fred Berndt, During the meetings of the Editorial Board of the Hallische updated the drama to contemporary California, with Hercules Händel-Ausgabe and the Vorstand of the Georg-Friedrich- (alias “Mr. Strong”) portrayed as Arnold Schwarzenegger. While Händel-Gesellschaft, which I attended in Halle, the subject of the staging was not the silliest I have ever seen, and was finances came up repeatedly. It made me realize again that in consistent within its own parameters, I failed to see that it cast the world of Handel – and in the world of the arts in general – fresh light on the story. Musically things were somewhat of a it is extremely rare to hear of an organization or institution mixed bag. Alessandro De Marchi’s penchant for extremely complaining about having too much money. Rather the rapid tempos made it impossible for the orchestra to sound its opposite is true, and this should give us all pause. best or for Curtis Streetman, in the role of Hercules, to manage One common refrain was the progressive disappearance of his roulades. Ann Hallenberg, the Dejinara, did cope with the government support. The federal government of Germany has rapid pace and sang and acted extremely well; however, one had devolved more responsibility on the Lands, and they in turn the feeling that she shouldn’t really have been rushed off her have passed the burden on to the cities. Of course, in most cases feet quite so often. The young countertenor Franco Fagioli, in the problems have been passed along without sufficient funding the role of Lichas, was outstanding, and one wished that he had to deal with them. In Germany, as in most Western European been allowed a few more of his arias. Martina Rüping acted well, nations, government funding for the arts has been and remains as she always does, but seemed to be vocally out of sorts in the at a much higher level than we have ever seen in the United role of Iole, while tenor Carlo Vincenzo Allemano gave an States. Still, when there is less money allocated, everyone in the admirable though somewhat stolid performance of Hyllus. arts community feels the pinch. It reminded me of the situation Maestro De Marchi again, as in the Opening Concert, had here in my home state of California where two years ago the decided to pepper the orchestral lines with added mordants, California Arts Council was funding a lively Touring Artists illustrating that the use of the mordant should be restricted Program. Now it has only enough budget to designate worthy continued on p. 3 continued on p. 5 1 Sing-Along-Messiah HANDEL CALENDAR 19 December 2004, 2 pm Massey Hall, Toronto, Canada The American Handel Society welcomes news or information about http://www.tafelmusik.org events of interest to Handelians. If possible, please include an address, telephone number and URL, where readers may obtain Messiah details. For information on Handel concerts around the world, Erin Wall, soprano please visit also http://gfhandel.org/ Marie-Nicole Lemieux, contralto Stuart Neil, tenor James Westman, baritone Messiah The Toronto Mendelssohn Choir Heather Buck, soprano Toronto Symphony Orchestra Sonia Sasseville, contralto Martin Haselböck, conductor William Hite, tenor 15, 16, 18 December 2004, 8 pm Kevin Deas, bass 19 December 2004, 3 pm Handel and Haydn Society Roy Thomson Hall, 60 Simcoe Street, Toronto, Ontario, Canada John Finney, conductor http://www.tso.on.ca 4 December 2004, 3 pm 5 December 2004, 3 pm Messiah 10 December 2004, 7:30 pm Nancy Argenta, soprano 11 December 2004, 3 pm Brian Asawa, counter-tenor Symphony Hall, Boston, Massachusetts Benjamin Butterfield, tenor http://www.handelandhaydn.org George Mosley, baritone Master Chorale of Washington Messiah Donald McCullough, music director Kendra Colton, soprano National Symphony Orchestra Margaret Lattimore, mezzo-soprano Paul Goodwin, conductor Benjamin Butterfield, tenor 16, 17, 18, 19 December 2004 Aaron Engebreth, bass Kennedy Center, Washington, DC San Diego Master Chorale http://www.kennedy-center.org/nso/ San Diego Symphony Conductor: Julian Wachner Giulio Cesare 10 December 2004, 8 pm - semi-staged 11 December 2004, 8 pm Giulio Cesare: David Walker 12 December 2004, 2 pm Cleopatra: Lisa Saffer Copley Symphony Hall, San Diego, California Deanne Meek http://www.sdco.org Jane Gilbert http://www.sandiegosymphony.com Stephen Salters Ryland Angel Messiah Boston Baroque Shannon Mercer, soprano 22, 23 October 2004, 7:30 pm Matthew White, countertenor New England Conservatory of Music’s Jordan Hall, Boston, Colin Blazer, tenor Massachusetts Thomas Meglioranza, baritone http://www.bostonbaroque.org Portland Symphonic Choir http://www.newenglandconservatory.edu/jordanhall/ Oregon Symphony Conductor: Bernard Labadie Purcell: Fairy Queen Suite 11, 12 December 2004, 7:30 pm Handel: “Scherzi infida” from Ariodante Arlene Schnitzer Concert Hall, Portland Center for the Handel: “Fammi combattere” from Orlando Performing Arts, Portland, Oregon Handel: “Va tacito e nascoto” from Giulio Cesare http://www.orsymphony.org Handel: Water Music http://www.pschoir.org David Daniels, countertenor http://www.pcpa.com Orchestra of St. Luke`s Conductor: Sir Roger Norrington Messiah 27 October 2004, 8 pm Celena Shafer soprano Isaac Stern Auditorium, Carnegie Hall, New York City, New York Nancy Maultsby, mezzo-soprano http://www.carnegiehall.org Kurt Streit, tenor; Jonathan Lemalu, bass Music of Handel and Telemann Westminster Symphonic Choir Handel: Trio sonata in A major, Op. 5, No. 1, HWV 396 New York Philharmonic Handel: Suite No. 1 in A major for solo harpsichord, HWV 426 Alan Gilbert, conductor Telemann: Quartet No. 4 in B minor (Paris, 1738), TWV: 43: h 2 15, 16 December 2004, 7:30 pm Handel: Sonata in G minor for viola da gamba & continuo, HWV 17, 18 December 2004, 8 pm 364b Riverside Church, New York City, New York Telemann: Quartet No. 6 in E minor (Paris, 1738), TWV: 43: e 4 http://www.newyorkphilharmonic.org Dale Higbee, recorder and Music Director http://www.lincolncenter.org John Pruett, baroque violin Brent Wissick, viola da gamba & baroque cello Messiah Holly Maurer, viola da gamba Tafelmusik Susan Bates, harpsichord 15, 16, 17, 18 December 2004, 7:30 pm 12 November 2004, 7:30 pm Trinity-St. Paul’s Centre, 427 Bloor Street West, Toronto, Canada Chapel, St. John’s Lutheran Church, 200 W. Innes St., Salisbury, North Carolina continued on p. 6 2 REPORT FROM HALLE continued from p. 1 why it was originally meant to be sung in the chamber rather than primarily to keyboard music. His habit of having the the theater. The performance by the Ensemble I Confidenti, harpsichordist continually “roll” the chords throughout the billed as a ”Young Opera Ensemble for Old Music,” was variable. duration of the secco recitatives was a similarly unsuccessful The instrumental playing was very good indeed, but the young innovation. singers, although they moved and acted well, were not always able Saturday opened with a Festival Lecture on “Handel and the to meet the vocal demands either technically or stylistically. German Tradition,” given by Prof. Werner Breig, retired Niklas Lewin, in the silent role of Sandro’s friend Nico, was Professor of Music at the University of the Ruhr in Bochum and excellent and Susanna Ellen Kirchesch, although her sense of distinguished scholar in the fields of Schütz, Bach, and Wagner Baroque style was limited, clearly has all the other tools to be a scholarship. This was followed by the annual Membership successful operatic ingenue. Meeting of the George-Friedrich-Händel-Gesellschaft, at which The Sunday evening performance was a staged version of greetings were conveyed from The American Handel Society Serse by the Chamber Opera of Prague. The audience response together with an invitation to attend the AHS conference and was mixed. Some felt that it represented a valiant and on-the- festival in Santa Fe next March.
Load more

Recommended publications
  • George Benjamin
    Update May 2018 George Benjamin Olicantus (2001) Co-commissioned and co-produced by the Royal Opera Covent Garden London, Dutch National Opera Amsterdam, Hamburg State solo piano opera, Opéra de Lyon, Lyric Opera of Chicago, Gran Teatre del Liceu Duration 4 minutes Barcelona and Teatro Real Madrid FP: 17.5.2004, Wigmore Hall, London, UK: Paul Crossley 10.5.2018, Royal Opera House, London, UK: The Orchestra of the Score on special sale from the Hire Library Royal Opera House/George Benjamin/dir. Katie Mitchell Full score, vocal score and parts in preparation Written on Skin (2009-12) Text (0-571-54055-4) and first edition vocal score (0-571-54054-6) will opera in three parts be on sale (10th May 2018) Text by Martin Crimp (Eng) Duration 95 minutes 3(II=picc, III=picc & afl).2.2.bcl(=cl).cbcl.2(II=cbsn) - 4.4(I=ptpt).3.1 - perc(4): glsp/crot/steel drum/3 t.bells/ 5 tuned c.bells/vib/gong/2 small timp/6 mini-tablas/ 3 bongos/2 SD/2 TD/tumba/BD/small claves/ 3 mokubios/4 tpl.bl/sleigh bells/mcas/pebbles/guiro/ whip/sandpaper blocks/computer keyboard or typewriter/ small tgl/untuned c.bell/clash. cyms (2 pairs)/ 5 susp.cyms/tam-t - harp - glass harmonica - bass viola da gamba - strings (8.6.6.6.4 players) 2 first violins doubling mandolins; all double basses must have extensions to low B natural FP: 7.7.2012, Festival d’Aix en Provence, Grand Theatre de Provence, France:Christopher Purves/ Barbara Hannigan/Bejun Mehta/Victoria Simmonds/ Allan Clayton/ Mahler CO/George Benjamin Commissioned by the Festival d’Aix-en-Provence, De Nederlandse Opera (Amsterdam), Théâtre du Capitole (Toulouse), Royal Opera House Covent Garden London Cased full score 0-571-53759-6, full score 0-571-53758-8, vocal score 0-571-52672-1 and text 0-571-53760-X on sale, full score and parts for hire Dream of the Song (2014) countertenor, female chorus and orchestra Text: Ibn Gabirol (trans.
    [Show full text]
  • Fabulously Tidal — Issue 117, 1 January 2018
    Fabulously Tidal — Issue 117, 1 January 2018 SPONSORED FEATURE — PHILIP SAWYERS' THIRD SYMPHONY Alice McVeigh: 'This is a fabulously tidal symphony, with wild expanses of differing moods, but it begins with a ripple of unease. We in the cello section were told to play the opening with as much stillness as possible, allowing the first theme to grow as it weaves into violins and violas, into threads of flute and oboe, and — from there — into a tempestuous section of interweaving themes. The argument descends into a woodwind quarrel, resolved by flute and oboe, decorated by horns — while the strings continue to niggle and churn away at any sense of calm. 'Then solo bassoon ignites a new, still tenser, section. The violins take over, lightly but resolutely, answered by middle strings conveying a sense of tenderness — but with a bitter aftertaste. (This is incidentally one of Sawyers' most characteristic strengths: a tenderness, never saccharine, often undermined by subtle discontent.) From the brass comes the first glimpse of escape: the powerful broken octave theme over which the other themes furiously contend. 'The cellos at the recapitulation, now deepened and enriched, are twisted by Sawyers into something passionate and grounded in lower brass, reinforced by timpani. The movement ends with the heavy brass seemingly triumphant over the strings' stubborn reiteration of the theme. Still, the lower strings' pessimism prevails. 'Tutti violins kick-start the second movement with a dramatic leap from their richest register, only yielding to keening solo oboe. 'The sobered strings leave the solo winds to mourn, yet, with characteristic Sawyers intensity, something is brewing at subterranean depths: eventually, the violas' chuntering is answered by full insistent brass, in a stormily ecstatic tantrum.
    [Show full text]
  • Halle, the City of Music a Journey Through the History of Music
    HALLE, THE CITY OF MUSIC A JOURNEY THROUGH THE HISTORY OF MUSIC 8 WC 9 Wardrobe Ticket office Tour 1 2 7 6 5 4 3 EXHIBITION IN WILHELM FRIEDEMANN BACH HOUSE Wilhelm Friedemann Bach House at Grosse Klausstrasse 12 is one of the most important Renaissance houses in the city of Halle and was formerly the place of residence of Johann Sebastian Bach’s eldest son. An extension built in 1835 houses on its first floor an exhibition which is well worth a visit: “Halle, the City of Music”. 1 Halle, the City of Music 5 Johann Friedrich Reichardt and Carl Loewe Halle has a rich musical history, traces of which are still Johann Friedrich Reichardt (1752–1814) is known as a partially visible today. Minnesingers and wandering musicographer, composer and the publisher of numerous musicians visited Giebichenstein Castle back in the lieder. He moved to Giebichenstein near Halle in 1794. Middle Ages. The Moritzburg and later the Neue On his estate, which was viewed as the centre of Residenz court under Cardinal Albrecht von Brandenburg Romanticism, he received numerous famous figures reached its heyday during the Renaissance. The city’s including Ludwig Tieck, Clemens Brentano, Novalis, three ancient churches – Marktkirche, St. Ulrich and St. Joseph von Eichendorff and Johann Wolfgang von Moritz – have always played an important role in Goethe. He organised musical performances at his home musical culture. Germany’s oldest boys’ choir, the in which his musically gifted daughters and the young Stadtsingechor, sang here. With the founding of Halle Carl Loewe took part. University in 1694, the middle classes began to develop Carl Loewe (1796–1869), born in Löbejün, spent his and with them, a middle-class musical culture.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 94, 1974-1975
    BOSTON SYMPHONY ORCHESTRA Founded in 1881 by HENRY LEE HIGGINSON SEIJI OZAWA Music Director COLIN DAVIS Principal Guest Conductor NINETY- FOURTH SEASON 1974-1975 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President PHILIP K.ALLEN SIDNEY STONEMAN JOHN L. THORNDIKE Vice-President Vice-President Treasurer VERNON R. ALDEN ARCHIE C. EPPS III JOHN T. NOONAN ALLEN G. BARRY MRS HARRIS FAHNESTOCK MRS JAMES H. PERKINS MRS JOHN M. BRADLEY HAROLD D. HODGKINSON IRVING W. RABB RICHARD P. CHAPMAN E.MORTON JENNINGS JR PAULC. REARDON ABRAM T. COLLIER EDWARD M. KENNEDY MRS GEORGE LEE SARGENT NELSON J. DARLING JR EDWARD G. MURRAY JOHN HOYT STOOKEY TRUSTEES EMERITUS FRANCIS W. HATCH PALFREY PERKINS HENRY A. LAUGHLIN ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR THOMAS W. MORRIS Executive Director Manager PAUL BRONSTEIN JOHN H. CURTIS MARY H. SMITH Business Manager Public Relations Director Assistant to the Manager FORRESTER C. SMITH DANIEL R. GUSTIN RICHARD C. WHITE Development Director Administrator of Assistant to Educational Affairs the Manager DONALD W. MACKENZIE JAMES F. KILEY Operations Manager, Operations Manager, Symphony Hall Tanglewood ELEANOR R. JONES Program Editor Copyright © 1974 by Boston Symphony Orchestra Inc. December SYMPHONY HALL BOSTON MASSACHUSETTS J 6 e 2 2 Meet Him In a Cloud of Chiffon Li Surely, he'll appreciate this graceful flow of gray / chiffon. Sc'oop necked and softly tiered skirted. • Ready to rise to an occasion. From our outstanding /Collection of long and short evening looks, ay or navy polyester chiffon. Misses sizes. $100 isses Dresses, in Boston and in Chestnut Hill Boston, Chestnut Hill, South \Shore, Northshore, Burlington, Wellesley BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS Principal Guest Conductor NINETY-FOURTH SEASON 1974-1975 THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC.
    [Show full text]
  • 56 0809Englisch.Pdf
    A Wien Holding Company Intendant Roland Geyer General sponsors of the Theater an der Wien The Theater an der Wien recieves subsidies from the Cultural Department of the City of Vienna insNoten130x205_4c_E_TheaterRZ 04.06.2008 13:53 Uhr Seite 1 „WHOEVER HEARS BUTTERFLIES LAUGHING, KNOWS THE SCENT OF CLOUDS“ (Novalis) he butterfly is a wonderful symbol of transformation and freedom. And this is a requirement that art repeatedly demands, too. The mysterious Tmetamorphosis of the ugly caterpillar into the magnificent butterfly has sti- mulated man’s imagination from time immemorial. Everyone who watches Where does a butterfly is struck by its beauty, elegance and lightness. The ancient ability to think in images and symbols is inside each one of us – and in the world of opera, too. The opera is a treasure-house of the music call the tune? irrational. It unfolds “our imagination’s most beautiful alternative world.” Mozart himself confessed, “I need only to hear talk about opera, I need only to be in the theatre and hear voices – it suffices to transport me utterly.” The Theater an der Wien, the new opera house, is aiding a development in our city that no one can now fail to notice: more and more people with an interest in culture, and younger people too, are going to the opera! They are looking for a space where dreams and longings can unfold freely with great emotion and even pathos – and the opera provides a meeting place for them: everything appears bathed in “bright” light, and in this light one is drawn in by enchanting sounds.
    [Show full text]
  • Handel's Oratorios and the Culture of Sentiment By
    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
    [Show full text]
  • HANDEL: Coronation Anthems Winner of the Gramophone Award for Cor16066 Best Baroque Vocal Album 2009
    CORO CORO HANDEL: Coronation Anthems Winner of the Gramophone Award for cor16066 Best Baroque Vocal Album 2009 “Overall, this disc ranks as The Sixteen’s most exciting achievement in its impressive Handel discography.” HANDEL gramophone Choruses HANDEL: Dixit Dominus cor16076 STEFFANI: Stabat Mater The Sixteen adds to its stunning Handel collection with a new recording of Dixit Dominus set alongside a little-known treasure – Agostino Steffani’s Stabat Mater. THE HANDEL COLLECTION cor16080 Eight of The Sixteen’s celebrated Handel recordings in one stylish boxed set. The Sixteen To find out more about CORO and to buy CDs visit HARRY CHRISTOPHERS www.thesixteen.com cor16180 He is quite simply the master of chorus and on this compilation there is much rejoicing. Right from the outset, a chorus of Philistines revel in Awake the trumpet’s lofty sound to celebrate Dagon’s festival in Samson; the Israelites triumph in their victory over Goliath with great pageantry in How excellent Thy name from Saul and we can all feel the exuberance of I will sing unto the Lord from Israel in Egypt. There are, of course, two Handel oratorios where the choruses dominate – Messiah and Israel in Egypt – and we have given you a taster of pure majesty in the Amen chorus from Messiah as well as the Photograph: Marco Borggreve Marco Photograph: dramatic ferocity of He smote all the first-born of Egypt from Israel in Egypt. Handel is all about drama; even though he forsook opera for oratorio, his innate sense of the theatrical did not leave him. Just listen to the poignancy of the opening of Act 2 from Acis and Galatea where the chorus pronounce the gloomy prospect of the lovers and the impending appearance of the monster Polyphemus; and the torment which the Israelites create in O God, behold our sore distress when Jephtha commands them to “invoke the holy name of Israel’s God”– it’s surely one of his greatest fugal choruses.
    [Show full text]
  • Dossier Do Festival De Música Cidade De Lugo Cos
    Festival de Música Cidade de Lugo XXXVIII Semana do Corpus abril-xuño 2010 sábado 17 de abril de 2010 mércores 19 de maio de 2010 Aniversario Pergolesi Aniversario Chopin: a influencia do bel canto en Chopin ROMINA BASSO mezzosoprano MARÍA ESPADA soprano ORPUS LA RISONANZA KENNEDY MORETTI piano C FABIO BONIZZONI director Bellini, Donizetti, Rossini e Chopin Caldara, Bononcini, Durante, Domenico Scarlatti e Pergolesi Círculo das Artes, 20:30 Círculo das Arte, 20:30 venres 21 de maio de 2010 ANA DO luns 19 de abril de 2010 Sonatas de Bach M A música de cámara: o óboe e o trío de cordas CARLOS MÉNDEZ contrabaixo E S IRINA GRUIA violín FERNANDO LÓPEZ PAN clave ANNE SCHLOSSMACHER viola Fundación Caixa Galicia, 20:30 THOMAS PIEL violoncello VIII sábado 22 de maio de 2010 ESTHER VIÚDEZ óboe Istampitta, a danza na Idade Media Mozart, Britten, Webern e Dohnanyi EVO Fundación Caixa Galicia, 20:30 Círculo das Artes, 21:00 xoves 22 de abril de 2010 luns 24 de maio de 2010 Carnaval, Schumann e o piano romántico Membra Jesu Nostri de Buxtehude ANDREA LUCCHESINI piano CORO DA UNIVERSIDADE DE SANTIAGO Schumann, Schubert, Scarlatti... CAPELA COMPOSTELANA UGO 2010 - XXX Conservatorio Prof. de Música, 20:30 L MIRO MOREIRA director martes 27 de abril de 2010 Igrexa de San Pedro, 20:30 Os ciclos de cancións de Britten (3) mércores 26 de maio de 2010 RONAN COLLETT barítono Himno para violas ROGER VIGNOLES piano ENSEMBLE PLUS IDADE IDADE DE Britten, Poulenc e Ives Runchak, Pereiro, Buide e Rosinskij C Conservatorio Prof. de Música, 20:30 Conservatorio Prof.
    [Show full text]
  • 95.3 Fm 95.3 Fm
    October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op.
    [Show full text]
  • Handel-House-Talent-2017-Booklet.Pdf
    ABOUT THE PROGRAMME The programme will run from 30 September 2017 to 31 October 2018 with an end of year concert in December 2018. Over the course of the year the group of successful candidates will be offered: • At least two opportunities for each participant to perform at a Handel House concert, including working with Handel House staff on planning these concerts • An individual open masterclass for each participant, with a leading professional of their instrument, including feedback and tuition. Other participants of the scheme and members of the public will be invited to observe • A group tutorial by baroque specialist Laurence Cummings focusing on interpreting baroque pieces for performance • Two specialist workshops at Handel House on practical topics associated with becoming a successful professional musician (devising concert programmes, communicating with audiences, promotion, dealing with agents, managing finances etc). External experts will be invited to lead these • Opportunities to practise and rehearse at Handel House in their own time – HANDEL HOUSE whenever rehearsal space is available • A final showcase concert at the end of the year for the six participants, to an invited audience including people with interest and influence in the world of classical music performance. This concert is to be devised, talent organised and created by the participants as a group, with back-up from Handel House staff where needed • Promotion as ‘alumni’ of the HH Talent Programme on our website, on Handel House will select singers and programme notes provided at Handel House concerts and other marketing instrumentalists with a particular interest in material produced by Handel House performing music from the baroque period to benefit from this free, year-long programme.
    [Show full text]
  • Romans Inspiration the Source of Classic Improvisation Supervisor
    UPPSALA UNIVERSITY The Department of Musicology Pär Sandmark Östa Byväg 45 740 45 Tärnsjö Romans Inspiration The Source of Classic improvisation Supervisor: Professor Sten Dahlstedt The Department of musicology Table of contents Chapter 1: Sid. 1.1. Issues 3 1.1.2. The conceptual explanations 3 1.2 Previous research 4 1.3 Method 5 1.4 Demarcation 6 1.5 Order 7 Chapter 2: Background 7 2.1 18th century Sweden 7 2.1.1 Romance living history 7 2.2 Environment description of Romans surroundings 8 2.2.2. The working environment in the country 8 2.2.3 Church environment in the 18th century 9 2.3 Music as a science 10 Chapter 3: Investigation 11 3.1 Introduction 11 3.2 Carolina handwriting library 11 3. The examination of individual autograph manuscripts 15 3.3.1. The concepts of improvisation and composition 15 3.3.2. Källkritisk study in harmonik 18 3.3.3 Rhythmic study 23 3.4 Romans Improvisations material – Corelli's music 27 3.4.1. Contemporary recording of Corelli's music 28 .3.4.2 Comparison of Corelli and Roman 29 3.5 Method of composition analysis 30 Chapter 4: Discussion 35 Chapter 5: Summary 40 Chapter 6: Conclusions 41 The source and bibliography 42 Annexes 1-5 45 1. Introduction 1.1. Issues Bach, Mozart and Beethoven improvised. If today's technology with recording had been invented in their time we would have had lots of interesting music to listen to which documents and fraya of how the old masters of improvisation.
    [Show full text]
  • Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
    Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote.
    [Show full text]