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Program Notes
NOTES ON THE PROGRAM Pro Musica March 23, 2017 Academy of St Martin in the Fields Aaron Copland (1900-1990) Quiet City Aaron Copland’s compositions are divided into three periods: the early jazz-inspired works, the severely avant-garde, and the “Americana” or populist style that produced his most beloved works such as Rodeo, Appalachian Spring, Lincoln Portrait, and Fanfare for the Common Man. While Quiet City of 1940 falls into Copland’s populist style, we should be cautious about that categorization causing us to miss the work’s purely musical qualities and genius. That said, we must recognize it as one of the most evocative pieces of Copland’s output. In this case, it paints a night in a sleepless city, presumably New York, Copland’s home. Based on Copland’s incidental music for Irwin Shaw’s failed play of the same name, Quiet City was premiered in 1941 by the Saidenberg Little Symphony in New York City. Copland himself commented that the work was “an attempt to mirror the troubled main character of Irwin Shaw’s play.” He also admitted that Quiet City “seems to have become a musical entity superseding the original reasons for its composition.” On Mozart and Shostakovich In light of the combination of Mozart and Shostakovich on this program, we offer the following thoughts: On the death of the American novelist Saul Bellow, The New York Times reported that Mr. Bellow once told a reporter that “for many years, Mozart was a kind of idol to me—this rapturous singing that’s always on the edge of sadness and melancholy and disappointment and heartbreak, but always ready for an outburst of the most delicious music.” One could say much of the same about the music of Shostakovich, thus pointing to the raison d’etre for combining these two composers on a program. -
2020-21 Season Brochure
2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No. -
PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and -
Classical Programs
CLASSICAL PROGRAMS Traditional symphonic programs include Peter’s orchestral arrangements of Janacek’s Six Operatic Suites in his premiere recording for Naxos with the New Zealand Symphony Orchestra; new arrangements of Mussorgsky’s Pictures from an Exhibition and Operatic Suites by Tchaikovsky to be released in fall/winter 2012 (also on Naxos) and featured in the movie documentary Bask ; new arrangements of Debussy’s Preludes to be released in September 2012; his arrangements of Brahms Hungarian Dances and works by Bizet, Granados, Albeniz, Handel, Schubert, Satie, Grieg and Tchaikovsky to name a few. Sample programs include… Dances from Around the World: A combination of original pieces and Breiner’s arrangements or the arrangements only. Program to be structured to suit audience and orchestra forces from the following works: - Arnold: English/Irish/Scottish/Cornish Dances - Bartok: Dances of Transsylvania /Rumanian Folk Dances - Borodin: Polovtsian Dances - Copland: Danzon Cubano - Dvorak: Slavonic Dances - Elgar: Three Bavarian Dances - Gorecki: Three Dances - Hindemith: Suite of French Dances - Janacek: Lachian Dances - Kodaly: Dances of Galanta / Marosszek - Mozart: German Dances - Skalkottas: Five Greek Dances - Smetana: Three Dances from Battered Bride - Villa-Lobos: Danses africaines / Danses des Indians For Audio samples please click here. …And Pictures: A program featuring Peter’s brand new and impressive arrangement of Mussorgsky’s warhorse – Pictures at an Exhibition in the second half, First half options: Etchings & Pictures …. Martinu: Estampes Haydn: Piano Concerto (conducted from piano) Stories & Pictures … Suk: Fairy Tale; or Stravinsky: Fairy’s Kiss; or Dvorak: Water Goblin/Golden Spinning Wheel/Midday Witch/ Mozart: Piano Concerto (conducted from piano) POPS PROGRAMS Programs can be structured to suit orchestra and audience from any era. -
Track 1 Juke Box Jury
CD1: 1959-1965 CD4: 1971-1977 Track 1 Juke Box Jury Tracks 1-6 Mary, Queen Of Scots Track 2 Beat Girl Track 7 The Persuaders Track 3 Never Let Go Track 8 They Might Be Giants Track 4 Beat for Beatniks Track 9 Alice’s Adventures In Wonderland Track 5 The Girl With The Sun In Her Hair Tracks 10-11 The Man With The Golden Gun Track 6 Dr. No Track 12 The Dove Track 7 From Russia With Love Track 13 The Tamarind Seed Tracks 8-9 Goldfinger Track 14 Love Among The Ruins Tracks 10-17 Zulu Tracks 15-19 Robin And Marian Track 18 Séance On A Wet Afternoon Track 20 King Kong Tracks 19-20 Thunderball Track 21 Eleanor And Franklin Track 21 The Ipcress File Track 22 The Deep Track 22 The Knack... And How To Get It CD5: 1978-1983 CD2: 1965-1969 Track 1 The Betsy Track 1 King Rat Tracks 2-3 Moonraker Track 2 Mister Moses Track 4 The Black Hole Track 3 Born Free Track 5 Hanover Street Track 4 The Wrong Box Track 6 The Corn Is Green Track 5 The Chase Tracks 7-12 Raise The Titanic Track 6 The Quiller Memorandum Track 13 Somewhere In Time Track 7-8 You Only Live Twice Track 14 Body Heat Tracks 9-14 The Lion In Winter Track 15 Frances Track 15 Deadfall Track 16 Hammett Tracks 16-17 On Her Majesty’s Secret Service Tracks 17-18 Octopussy CD3: 1969-1971 CD6: 1983-2001 Track 1 Midnight Cowboy Track 1 High Road To China Track 2 The Appointment Track 2 The Cotton Club Tracks 3-9 The Last Valley Track 3 Until September Track 10 Monte Walsh Track 4 A View To A Kill Tracks 11-12 Diamonds Are Forever Track 5 Out Of Africa Tracks 13-21 Walkabout Track 6 My Sister’s Keeper -
Korngold Violin Concerto String Sextet
KORNGOLD VIOLIN CONCERTO STRING SEXTET ANDREW HAVERON VIOLIN SINFONIA OF LONDON CHAMBER ENSEMBLE RTÉ CONCERT ORCHESTRA JOHN WILSON The Brendan G. Carroll Collection Erich Wolfgang Korngold, 1914, aged seventeen Erich Wolfgang Korngold (1897 – 1957) Violin Concerto, Op. 35 (1937, revised 1945)* 24:48 in D major • in D-Dur • en ré majeur Dedicated to Alma Mahler-Werfel 1 I Moderato nobile – Poco più mosso – Meno – Meno mosso, cantabile – Più – Più – Tempo I – Poco meno – Tempo I – [Cadenza] – Pesante / Ritenuto – Poco più mosso – Tempo I – Meno, cantabile – Più – Più – Tempo I – Meno – Più mosso 9:00 2 II Romanze. Andante – Meno – Poco meno – Mosso – Poco meno (misterioso) – Avanti! – Tranquillo – Molto cantabile – Poco meno – Tranquillo (poco meno) – Più mosso – Adagio 8:29 3 III Finale. Allegro assai vivace – [ ] – Tempo I – [ ] – Tempo I – Poco meno (maestoso) – Fließend – Più tranquillo – Più mosso. Allegro – Più mosso – Poco meno 7:13 String Sextet, Op. 10 (1914 – 16)† 31:31 in D major • in D-Dur • en ré majeur Herrn Präsidenten Dr. Carl Ritter von Wiener gewidmet 3 4 I Tempo I. Moderato (mäßige ) – Tempo II (ruhig fließende – Festes Zeitmaß – Tempo III. Allegro – Tempo II – Etwas rascher (Tempo III) – Tempo II – Allmählich fließender – Tempo III – Wieder Tempo II – Tempo III – Drängend – Tempo I – Tempo III – Subito Tempo I (Doppelt so langsam) – Allmählich fließender werdend – Festes Zeitmaß – Tempo I – Tempo II (fließend) – Festes Zeitmaß – Tempo III – Ruhigere (Tempo II) – Etwas rascher (Tempo III) – Sehr breit – Tempo II – Subito Tempo III 9:50 5 II Adagio. Langsam – Etwas bewegter – Steigernd – Steigernd – Wieder nachlassend – Drängend – Steigernd – Sehr langsam – Noch ruhiger – Langsam steigernd – Etwas bewegter – Langsam – Sehr breit 8:27 6 III Intermezzo. -
The Role of Contemporary Music in Instrumental Education
The role of contemporary music in instrumental education Mark Rayen Candasmy Supervisor Per Kjetil Farstad This Master’s Thesis is carried out as a part of the education at the University of Agder and is therefore approved as a part of this education. However, this does not imply that the University answers for the methods that are used or the conclusions that are drawn. University of Agder, 2011 Faculty of fine arts Department of music Abstract The role of contemporary music in instrumental education discusses the necessity of renewing the curriculum of all musical studies that emphasize performance and the development of the student's instrumental abilities. A portrait of Norwegian composer Ørjan Matre is included to help exemplify the views expressed, as well as the help of theoretical analysis. Key words: contemporary music, education, musicology, ørjan matre, erich wolfgang korngold, pedagogy The role of contemporary music in instrumental education is divided into six chapters. Following the introduction, the second chapter discusses the state of musical critique and musicology, describing the first waves of modernism at the turn of the century (19 th /20 th ) and relating it to the present reality and state of contemporary music. Conclusively, it suggests possibilities of bettering the situation. The third chapter discusses the controversial aspects of Erich Wolfgang Korngold's music and life, relating it to the turbulence of the musical life during his lifetime. Studying Korngold is a unique way to outline the contradictions within Western art music that were being established during his career. The fourth chapter is a portrait of Norwegian composer Ørjan Matre and includes an analysis of his work " Handel Mixtape s". -
Download Booklet
JOHANN SEBASTIAN BACH 1685–1750 1 Chromatic Fantasia arr. solo clarinet and Fugue BWV 903 arr. clarinet, marimba and bandoneon by R. Stoltzman 15.51 2 Chaconne arr. solo marimba by M. Stoltzman 16.51 from Partita in D minor for solo violin BWV 1004 MAURICE RAVEL 1875–1937 3 Pavane pour une infante défunte arr. clarinet and marimba 6.47 WILLIAM THOMAS MCKINLEY 1938–2015 4 Mostly Blues Nos. 2, 8 & 12 for clarinet and marimba 6.10 JOHN ZORN b.1953 5 Palimpsest for clarinet and marimba 4.44 ASTOR PIAZZOLLA 1921–1992 6 Tango–Étude No.5 arr. solo clarinet 2.30 7 Fuga y misterio arr. clarinet, marimba, bandoneon and bass 6.10 59.04 RICHARD STOLTZMAN clarinet MIKA STOLTZMAN marimba HÉCTOR DEL CURTO bandoneón PEDRO GIRAUDO double bass The Stoltzmans – Clarinet and Marimba ‘The combination of clarinet and marimba has a mysterious beauty,’ says Richard Stoltzman. ‘Partly it’s because both instruments generate music from pieces of wood, even though in very different ways. One involves blowing against a reed, the other striking with mallets – but together they create a wonderful musical mystery.’ The renowned clarinetist, a two-time Grammy Award winner, could equally well be talking about his relationship with his wife, the marimba player Mika Stoltzman. For all relationships have an element of mystery, sometimes light and sometimes dark, and it was during an experience of the latter kind – a painful divorce – that he began working with Mika. She had been a long-time admirer of the American’s work via his recordings and had previously invited him to perform at a music festival in her small hometown of Amakusa in Japan. -
Student Honors Recital
BUTI ADMINISTRATION Phyllis Hoffman, Executive and Artistic Director; Shirley Leiphon, Administrative Director Lisa Naas, Director of Operations and Student Life; David Faleris, Program Administrator Emily Culler, Development, Alumni Relations, and Outreach Officer Boston University Grace Kennerly, Publications Coordinator; Manda Shepherd, Office Coordinator; Mandy Kelly, Office Intern Ben Fox, Private Lessons Coordinator; Travis Dobson, Stage Crew Manager Tanglewood Institute Matthew Lemmel, Greg Mitrokostas, Andres Trujillo, Matt Visconti, Stage Crew Michael Culler & Shane McMahon, Recording Engineers; Xiaodan Liu, Piano Technician presents YOUNG ARTISTS ORCHESTRA FACULTY AND STAFF Ryan McAdams & Paul Haas, Conductors Miguel Perez-Espejo Cardenas, Violin Coach, String Chamber Music Coordinator Caroline Pliszka, Klaudia Szlachta, Hsin-Lin Tsai, Violin Coaches, String Chamber Music Mark Berger and Laura Manko, Viola Coaches, String Chamber Music Ariana Falk and Hyun Min Lee, Cello Coaches, String Chamber Music Brian Perry, Double Bass Coach, String Chamber Music Samuel Solomon, Percussion Coordinator and Coach; Michael Israelievitch, Percussion Coach David Krauss, Brass Coach, Brass Chamber Music; Kai-yun Lu, Winds Coach, Wind Chamber Music Student Honors Recital Clara Shin, Piano Chamber Music Coach Thomas Weaver, Staff Pianist Tiffany Chang, Orchestra and Chamber Music Manager Kory Major, Orchestra Librarian and Assistant Manager YOUNG ARTISTS WIND ENSEMBLE FACULTY AND STAFF David Martins & H. Robert Reynolds, Conductors Jennifer Bill, -
A B C a B C D a B C D A
24 go symphonyorchestra chica symphony centerpresent BALL SYMPHONY anne-sophie mutter muti riccardo orchestra symphony chicago 22 september friday, highlight season tchaikovsky mozart 7:00 6:00 Mozart’s fiery undisputed queen ofviolin-playing” ( and Tchaikovsky’s in beloved masterpieces, including Rossini’s followed by Riccardo Muti leading the Chicago SymphonyOrchestra season. Enjoy afestive opento the preconcert 2017/18 reception, proudly presents aprestigious gala evening ofmusic and celebration The Board Women’s ofthe Chicago Symphony Orchestra Association Gala package guests will enjoy postconcert dinner and dancing. rossini Suite from Suite 5 No. Concerto Violin to Overture C P s oncert reconcert Reception Turkish The Sleeping Beauty Concerto. The SleepingBeauty William Tell conducto The Times . Anne-Sophie Mutter, “the (Turkish) William Tell , London), performs London), , media sponsor: r violin Overture 10 Concerts 10 Concerts A B C A B 5 Concerts 5 Concerts D E F G H I 8 Concerts 5 Concerts E F G H 5 Concerts 6 Conc. 5 Concerts THU FRI FRI SAT SAT SUN TUE 8:00 1:30 8:00 2017/18 8:00 8:00 3:00 7:30 ABCABCD ABCDAAB Riccardo Muti conductor penderecki The Awakening of Jacob 9/23 9/26 Anne-Sophie Mutter violin tchaikovsky Violin Concerto schumann Symphony No. 2 C A 9/28 9/29 Riccardo Muti conductor rossini Overture to William Tell 10/1 ogonek New Work world premiere, cso commission A • F A bruckner Symphony No. 4 (Romantic) A Alain Altinoglu conductor prokoFIEV Suite from The Love for Three Oranges Sandrine Piau soprano poulenc Gloria Michael Schade tenor gounod Saint Cecilia Mass 10/5 10/6 Andrew Foster-Williams 10/7 C • E B bass-baritone B • G Chicago Symphony Chorus Duain Wolfe chorus director 10/26 10/27 James Gaffigan conductor bernstein Symphonic Suite from On the Waterfront James Ehnes violin barber Violin Concerto B • I A rachmaninov Symphonic Dances Sir András Schiff conductor mozart Serenade for Winds in C Minor 11/2 11/3 and piano bartók Divertimento for String Orchestra 11/4 11/5 A • G C bach Keyboard Concerto No. -
A Study of Tyzen Hsiao's Piano Concerto, Op. 53
A Study of Tyzen Hsiao’s Piano Concerto, Op. 53: A Comparison with Rachmaninoff’s Piano Concerto No. 2 D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Lin-Min Chang, M.M. Graduate Program in Music The Ohio State University 2018 D.M.A. Document Committee: Professor Steven Glaser, Advisor Dr. Anna Gowboy Dr. Kia-Hui Tan Copyright by Lin-Min Chang 2018 2 ABSTRACT One of the most prominent Taiwanese composers, Tyzen Hsiao, is known as the “Sergei Rachmaninoff of Taiwan.” The primary purpose of this document is to compare and discuss his Piano Concerto Op. 53, from a performer’s perspective, with the Second Piano Concerto of Sergei Rachmaninoff. Hsiao’s preferences of musical materials such as harmony, texture, and rhythmic patterns are influenced by Romantic, Impressionist, and 20th century musicians incorporating these elements together with Taiwanese folk song into a unique musical style. This document consists of four chapters. The first chapter introduces Hsiao’s biography and his musical style; the second chapter focuses on analyzing Hsiao’s Piano Concerto Op. 53 in C minor from a performer’s perspective; the third chapter is a comparison of Hsiao and Rachmaninoff’s Piano Concertos regarding the similarities of orchestration and structure, rhythm and technique, phrasing and articulation, harmony and texture. The chapter also covers the differences in the function of the cadenza, and the interaction between solo piano and orchestra; and the final chapter provides some performance suggestions to the practical issues in regard to phrasing, voicing, technique, color, pedaling, and articulation of Hsiao’s Piano Concerto from the perspective of a pianist. -
A Chinese Clarinet Legend Also in This Issue
Vol. 45 • No. 1 December 2017 Tao AChunxiao: Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet Sonata D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD. — JONATHAN GUNN REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Jessica Harrie [email protected] EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulflling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. Te ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. Te ICA is grateful for your generosity Karry Tomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017.