The Music Scene Fall 2004 Issue
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Peter Grimes Benjamin Britten
Peter Grimes Benjamin Britten THEATER 16/17 FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m. any day of the week. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
9 July 2018 21H20-22H30 Concert of Classical Music Programme Ruben Muradyan (Piano) Sergei Rachmaninov Melody Op
International Conference on New Frontiers in Physics ICNFP 2018 OAC, Kolymbari, Crete, 4-12.07.2018 9 July 2018 21h20-22h30 Concert of Classical Music Programme Ruben Muradyan (Piano) Sergei Rachmaninov Melody Op. 21, N 9, D major , Svetlana NOR (Violin) for cello and piano Vladimir Nor (cello), Ruben Muradyan (piano) Vladimir NOR (Cello) Pyotr Tchaikovsky Pezzo capriccioso, in B-minor, Op. 62, RUBEN MURADYAN (piano), RUSSIA for cello and piano (1882) Graduated from Moscow Conservatory, class of A.A. Nasedkina Vladimir Nor (cello), Ruben Muradyan (piano) and L.N. Vlasenko. Won K. Kana International Competition in Paris, got a diploma at the International Chamber Music Alexander Glazunov Competition in Finale Ligure (Italy). Professor at the Department Grand Adagio from "Raymonda" ballet of Piano and Organ, GMPI MM Ippolitov-Ivanov and a piano Svetlana Nor (violin), Ruben Muradyan (piano) teacher at Ippolitov-Ivanov Music school and at the Art School Piano "Spring". Giving concerts and master classes in Russia, Henri Vieuxtemps Armenia, Germany, France and Australia. Participating "Fantasy" on "The Nightingale" as the jury of various regional, national and international competitions. by Alyabyev, G minor, Op. 24 Svetlana Nor (violin), Ruben Muradyan (piano) SVETLANA NOR (violin), RUSSIA Graduated from Moscow Gnessin Secondary Music School Pyotr Tchaikovsky (violin class of Elena Koblyakova-Mazor) and from Gnessin Trio in A minor for piano, violin, Musical Pedagogical Institute (violin class of Miroslav Rusin and cello, Op. 50 (1882) and quartet class of Prof. Valentin Berlinsky). For twenty years is playing in Alyabiev Quartet together with her husband "In memory of a great artist" Vladimir Nor. -
Limited Edition 150 Th Anniversary of the Moscow Tchaikovsky Conservatory
Limited Edition 150 th Anniversary of the Moscow Tchaikovsky Conservatory This production is made possible by the sponsorship of BP Это издание стало возможным благодаря спонсорской помощи компании BP Richter Live in Moscow Conservatory 1951 – 1965 20 VOLUMES (27 CDs) INCLUDES PREVIOUSLY UNRELEASED RECORDINGS VOLUME 1 0184/0034 A D D MONO TT: 62.58 VOLUME 2 0184/0037A A D D MONO TT: 59.18 Sergey Rachmaninov (1873 – 1943) Ludwig van Beethoven (1770 – 1827) Twelve Preludes: Piano Concerto No. 1 in C major, op. 15 1 No. 2 in F sharp minor, op. 23 No. 1 3.43 1 1. Allegro con brio 16.40 2 No. 20 in A major, op. 32 No. 9 2.25 2 2. Largo 11.32 3 No. 21 in B minor, op. 32 No. 10 5.15 3 3. Rondo. Allegro scherzando 8.50 4 No. 23 in G sharp minor, op. 32 No. 12 2.10 Sergey Prokofiev (1891 – 1953) 5 No. 9 in A flat major, op. 23 No. 8 2.54 Piano Concerto No. 5 in G major, op. 55 6 No. 18 in F major, op. 32 No. 7 2.03 4 1. Allegro con brio 5.07 7 No. 12 in C major, op. 32 No. 1 1.12 5 2. Moderato ben accentuato 3.54 8 No. 13 in B flat minor, op. 32 No. 2 3.08 6 3. Toccata. Allegro con fuoco 1.52 9 No. 3 in B flat major, op. 23 No. 2 3.13 7 4. Larghetto 6.05 10 No. -
Borodin String Quartet
UNIVERSITY MUSICAL SOCIETY BORODIN STRING QUARTET Mikhail Kopelman, Violinist Dmitri Shebalin, Violist Andrei Abramenkov, Violinist Valentin Berlinsky, Cellist Tuesday Evening, February 18, 1992, at 8:00 Rackham Auditorium, Ann Arbor, Michigan PROGRAM Quartet in C minor, Op. 51, No. 1 .......... Brahms Allegro Romanze: poco adagio Allegretto molto moderate e comodo, un poco piu animate Finale: allegro IN TERMISSION Quartet No. 15 in E-flat minor, Op. 144 Shostakovich Elegy: adagio Serenade: adagio Intermezzo: adagio Nocturne: adagio Funeral March: adagio molto Epilogue: adagio, adagio molto The Borodin Quartet is represented by Mariedi Anders Artists Management, San Francisco. The University Musical Society is a member of Chamber Music America. Activities of the UMS are supported by the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts. Twenty-sixth Concert of the 113th Season Twenty-ninth Annual Chamber Arts Series Program Notes Quartet in C minor, as an uneasy, sinister, shadowy one. The contrasting central trio section, Un poco piu Op. 51, No. 1 animate, is a folklike tune accompanied by JOHANNES BRAHMS (1833-1897) unusual sounds from the open strings of the he musical manner that Brahms second violin and viola. In the Allegro finale, adopted as a young man and the Brahms refers again to the Scherzo, but the skill that he showed when he was musical materials are most closely related to only 20 years old, led Schumann those that open the Quartet, and the whole to proclaim him "a musician is presented with a concentrated force that chosenT to give ideal expression to his times." recalls and balances the entire opening move Even when he was young, Brahms had found ment. -
The Ultimate On-Demand Music Library
2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P. -
Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the first time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection. -
Eugene Ormandy Commercial Sound Recordings Ms
Eugene Ormandy commercial sound recordings Ms. Coll. 410 Last updated on October 31, 2018. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 October 31 Eugene Ormandy commercial sound recordings Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 - Page 2 - Eugene Ormandy commercial sound recordings Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, Eugene, 1899-1985 -
Mozart: Requiem
LSO Live Mozart Requiem Sir Colin Davis Marie Arnet Anna Stéphany Andrew Kennedy Darren Jeffery London Symphony Chorus London Symphony Orchestra Mozart Requiem, K626 (1791) Page Index Marie Arnet soprano 3 Track listing Anna Stéphany alto 4 English notes Andrew Kennedy tenor 5 French notes Darren Jeffery bass 6 German notes 7 Composer biography Sir Colin Davis conductor 8 Text London Symphony Orchestra 10 Conductor biography London Symphony Chorus 11 Artist biographies 13 Orchestra and Chorus personnel lists 14 LSO biography James Mallinson producer Daniele Quilleri casting consultant Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd balance engineers Ian Watson and Jenni Whiteside for Classic Sound Ltd editors A high density DSD (Direct Stream Digital) recording Recorded live at the Barbican, London 30 September and 3 October 2007 © 2008 London Symphony Orchestra, London UK P 2008 London Symphony Orchestra, London UK 2 Track listing Introitus and Kyrie 1 No 1 Requiem and Kyrie (chorus, soprano) 7’12’’ p8 Sequence 2 No 2 Dies irae (chorus) 1’44’’ p8 3 No 3 Tuba mirum (soprano, alto, tenor, bass) 3’38’’ p8 4 No 4 Rex tremendae (chorus) 2’13’’ p8 5 No 5 Recordare (soprano, alto, tenor, bass) 6’03’’ p8 6 No 6 Confutatis maledictis (chorus) 2’44’’ p8 7 No 7 Lacrimosa (chorus) 2’59’’ p8 Offertorium 8 No 8 Domine Jesu (chorus, soprano, alto, tenor, bass) 4’16’’ p8 9 No 9 Hostias (chorus) 4’36’’ p9 Sanctus 10 No 10 Sanctus (chorus) 1’47’’ p9 Benedictus 11 No 11 Benedictus (chorus, soprano, alto, tenor, bass) 4’29’’ p9 Agnus Dei and Communio 12 No 12 Agnus Dei (chorus, soprano) 8’46’’ p9 TOTAL 50’35’’ 3 Wolfgang Amadeus Mozart (1756–91) Jesu’ and the ’Hostias’ were written separately. -
Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet -
Kimberly Barber--Mezzo-Soprano
KIMBERLY BARBER, MEZZO-SOPRANO COMPLETE PERFORMANCE ARCHIVE Operatic and concert performances: 2019 “I never saw another butterfly: Music of the Holocaust”; Recital with Pianist Anna Ronai and Flutist Ulrike Anton; Richmond Hill Centre for the Performing Arts, Richmond Hill, ON, November 7, 2019 Gala Concert: Opening of CASP Conference; Edmonton, AB; mezzo-soprano Elizabeth Turnbull and others; October 16, 2019 Faculty Showcase: Music at Noon; Pianist Anna Ronai, Penderecki String Quartet, Pianists Anya Alexeyev and Glen Carruthers, vocalist Glenn Buhr; Maureen Forrester Recital Hall, Wilfrid Laurier University, Waterloo, ON; September 12, 2019 Mysterious Barricades: The Stories We Tell; Kitchener Public Library Theatre, Kitchener, ON; Pianist Anna Ronai, Penderecki String Quartet, Trumpeter Guy Few and others; Sept 10, 2019 (coast-to-coast livestream Sept. 14-21, 2019) Closing concert Festival de Fourvière; Chateau LaCroix-Laval, Lyon, France; Pianists Franck Avitabile and Catherine Garonne, cellist Yannick Callier; Aug 4, 2019 Opening concert Festival de Fourvière; Hôtel de Ville, Lyon, France; Three Songs of James Joyce, op. 10, Samuel Barber; Pianist Laetitia Bougnol; Aug 1, 2019 Concert Lyrique, NSVI, Église Ste-Claire, Riviere-Beaudette, QC; Pianist Michael Shannon, Mezzo-soprano Maria Soulis and others; July 3, 2019 Église Ste-Madeleine, Rigaud, QC, July 6, 2019 Mme. de la Haltière, Cendrillon, Jules Massenet; Conductor Leslie De’Ath, Soprano Emily Vondrejs, Mezzo-soprano Dominie Boutin and others; Theatre Auditorium WLU, Waterloo, -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.