DOCSLIB.ORG

0 13491 30272 0 De 3027

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
0 13491 30272 0 De 3027 DE 3027 0 13491 30272 0 LUDWIG VAN BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58 (35:20) 1. Allegro moderato (19.46) 2. Andante con moto (9:58) 3. Rondo: Vivace (9:50) Symphony No. 5 in C Minor, Op. 67 (34:32) 4. Allegro con brio (7:50) 5. Andante con moto (9:58) 6. Allegro (5:23) 7. Allegro (11 :07 Total playing time: 70:02 Carol Rosenberger, piano Gerard Schwarz, conductor London Symphony Orchestra 2 Beethoven’s first three piano concertos toir in Vienna as Op, 58, with a dedication can be placed firmly within his “first -pe to Beethoven’s staunch friend, patron, and riod.” His two other works in this medi- pupil, Archduke Rudolph of Austria. um (in G, Op, 58, and in E flat, Op. 73) are separated from them both in point of After completing his Third Concerto (in time and, even more, in point of artistic C minor, Op. 37), Beethoven must have maturity, falling just as unequivocally into been conscious that he had not quite his “second period.” The Concerto No. 4 achieved that perfect balance between in G Major was written during some of soloist and orchestra that distinguishes the most active years of Beethoven’s cre- all but the very earliest of Mozart’s con- ative life, which saw the composition of certos, and it was in the Fourth Concerto the “Appassionata” Sonata, the second that he decided for the first time to let version of his opera Fidelio, the three Ra- the orchestra give pride of place to the zumovsky quartets, the Fourth Sympho- solo instrument, allowing the piano to ny and the Violin Concerto. He probably open the work by itself — following, started work on it in 1805 and completed and surpassing, the precedent set by it towards the end of the following year Mozart in 1777 in his Concerto in E (he offered it to the Leipzig publishers flat, K. 271. This solo takes the form Breitkopf & Härtel on July 5,1806, but it not of a grandiose flourish — though may not have been quite finished at the that was to come three years later in time). It was performed in March, 1807 at the ‘Emperor’ — but of a serene lit- a subscription concert in Prince Lobkow- tle passage that sets the mood for the itz’s palace in Vienna, at which the Fourth whole movement. When the orchestra Symphony and the Overture Coriolan takes up this theme, with its character- were also heard for the first time. Beetho- istic repeated notes, it is in the remote ven was himself the soloist. The concerto key of B major. With one exception, was published (in parts only) in August the other themes remain, primarily, 1808 by the Kunst-und lndustrie-Comp- the property of the orchestra. One is 3 the haunting second subject, a strid- Beethoven. It takes the form of a di- ing theme with an accompaniment of alogue between the orchestral strings reiterated triplets in the inner parts and the piano, and the nature of the and a pizzicato bass that imitates the dialogue — the orchestra at first stern rhythm of the theme itself; another is and imperious, the piano gentle and the shorter but no less beautiful mel- pleading — explains why Schumann ody played by the strings immediately took it to be a picture of Orpheus after the soloist’s first main entry. It is taming the wild animals with his in the course of this passage that the music. Beethoven was, as often in piano introduces (in B flat) the other his later piano sonatas, very precise subsidiary theme, espressivo, and sep- about the movement’s dynamic shad- arated from its accompaniment by al- ing. He specified that theuna corda most the entire width of the keyboard. pedal should be applied to the piano But it is the first theme that shapes the throughout (except for half a dozen music (especially that of the finely bars just before the end), and on the wrought development section), and instrument of his day this had a par- many of the piano’s entries resemble a ticularly delicate and beautiful effect, succession of variations on it. Beetho- which the modern piano is incapable ven himself provided two alternative of reproducing exactly. cadenzas for this movement. Despite its hushed beginning, the ro- The E minorAndante, although bust final Rondo, in which trumpets short in extent and having, like the and drums, hitherto silent, make Adagio molto of the “Waldstein” So- their first appearance in the concerto, nata, more the function of a prelude soon dispels all thoughts of Orpheus to the finale than of an independent we may have been entertaining, The slow movement, is one of the most serene second subject (in D), intro- remarkable passages in the whole of duced by the piano, momentarily re- 4 calls the mood of the first movement; superhuman strength and passion, a brief allusion is made to it towards how much more vividly must it have the end of the central development impressed contemporary audiences, episode, most of which is concerned barely twenty years after their first with a lively discussion of the main experience of the later symphonies of theme by both piano and orchestra. Mozart and Haydn? Beethoven origi- The last 150 bars of the movement nally intended it to follow directly on are devoted to a huge coda that both the Eroica (1803-4), and the earliest reviews the events of the movement sketches appear to date from 1805 or and includes the conventional op- earlier. However, he laid it aside in portunity for a cadenza which, in order to concentrate on what we now Beethoven’s own terse direction, know as the Fourth Symphony, an “must be short” — as indeed is the altogether more genial work, which one which he himself provided. was directly prompted by his engage- ment (subsequently broken off) to When the young Mendelssohn played Countess Therese von Brunsvik. It Beethoven’s Symphony No. 5 in C mi- was resumed in 1807, and completed nor on the piano to the aging Goethe either that year or early in 1808. The in Weimar, the poet exclaimed: “How first performance of both the C mi- big it is — quite wild! Enough to bring nor and the Pastoral symphonies took the house down about one’s ears! And place in Vienna on December 22, what must it be like with all the peo- 1808 (the program actually gave them ple playing at once?” Indeed, it would the reverse numbering to that which have been extraordinary if Goethe’s we know today) and the earlier work reaction had been any less emphatic, quickly established for itself a popu- for if we today continue to marvel at larity that has never diminished. the symphony’s uncompromising di- rectness of expression, at its almost 5 Schindler tells us that the composer los, The variations are linked by a sec- said of the opening bars of the first ondary theme, beginning in the main movement: “Thus Fate knocks at key by quickly bursting out into a tri- the door” — a characteristic remark umphant C major that seems to look which may or may not be genuine: forward to the finale. The transitions true or untrue, it has certainly not between the two tunes are contrived been lost on subsequent biographers with outstanding skill. The third move- and commentators. What is beyond ment is basically in the form of the question is that this one abrupt four- usual scherzo and trio, but with a strik- note motif unleashes a flood of tur- ing feature in its mysterious opening, bulent music, and that its presence which contrasts so strongly with the and influence persist throughout unrelenting drive of the scherzo theme the whole movement, even after its proper — a transformation of the fa- re-statement, fortissimo, by the two miliar “fate” motif into triple time. The horns, immediately after the first “trio” begins in a vein of gruff humor, great climax gives the signal for the strongly tinged with counterpoint. entry of a pliant second subject in E flat major. For all its apparent wild- Beethoven, with a stroke of true ge- ness, the movement is remarkably nius, makes the last return to the regular in structure (by comparison music of the scherzo, with its eerie with its counterpart in the Eroica, for use of pizzicato, and clipped arpeggio instance), with a terse development figures on violins and violas, and its section built exclusively on the “fate” long pianissimo succession of reit- motif, and a coda of relentless energy. erated drum taps, a direct link with the finale. This opens with a blaze The slow movement is a set of three of triumph that sweeps all before it variations on a richly eloquent theme in a tutti of expansive grandeur. It in A flat, first played by violas and cel- is in this movement that trombones 6 and contra-bassoon make their first such commendations as a Grammy appearance in the score (and in any Award nomination, Gramophone’s symphony by Beethoven); he told Critic’s Choice Award, Stereo Re- Count Franz von Oppersdorff: “The view’s Best Classical Compact Disc last movement is written for three and Billboard’s All Time Great Re- trombones and a piccolo — not for cording. three drums — but it will make more noise, and a noise of a better quali- Since her first concert tours, which ty, than if there were six.” Even here elicited high praise in New York, we can detect the presence of the Boston, London, Paris, Vienna, Ber- “fate” motif in the persistent use of lin and other capitals, Carol’s distin- triplet figures, and Beethoven also guished recital programs and guest turns back briefly to the strains of appearances with orchestras carried the scherzo at the end of the devel- her to most major European and opment, and immediately before the American cities.
Load more

Recommended publications
  • Wwciguide January 2019.Pdf
    From the President & CEO The Guide The Member Magazine for WTTW and WFMT Renée Crown Public Media Center Dear Member, 5400 North Saint Louis Avenue Happy New Year! This month, we are excited to premiere the highly anticipated Chicago, Illinois 60625 third season of the period drama Victoria from MASTERPIECE. Continuing the story of Victoria’s rule over the largest empire the world has ever known, you will Main Switchboard (773) 583-5000 meet fascinating new historical characters, including Laurence Fox (Inspector Member and Viewer Services Lewis) as the vainglorious Lord Palmerston, who crosses swords with the Queen (773) 509-1111 x 6 over British foreign policy. Websites Also on WTTW11, wttw.com/watch, and our video app this month, we know wttw.com you have been waiting for the return of Doc Martin. He’s back and the talk of wfmt.com the town is the wedding of the Portwenn police officer Joe Penhale and Janice Bone. On wttw.com, learn how the new season of Finding Your Roots uncovers Publisher Anne Gleason the ancestry of its subjects, and go behind the curtain for the first collaboration Art Director between Lyric Opera of Chicago and the Joffrey Ballet on their Orphée et Eurydice. Tom Peth WTTW Contributors On 98.7WFMT, wfmt.com/listen, and the WFMT app, the Metropolitan Opera Julia Maish on Saturday afternoons features Verdi’s Otello conducted by Gustavo Dudamel, Dan Soles WFMT Contributors Cilea’s Adriana Lecouvreur starring Anna Netrebko, Debussy’s enigmatic Pelléas Andrea Lamoreaux et Mélisande, and a new work by Nico Muhly based on Hitchcock’s filmMarnie .
    [Show full text]
  • Jewish Giants of Music
    AMERICAN JEWISH HISTORICAL SOCIETY Fall 2004/Winter 2005 Jewish Giants of Music Also: George Washington and the Jews Yiddish “Haven to Home” at the Theatre Library of Congress Posters Milken Archive of American Jewish Music th Anniversary of Jewish 350 Settlement in America AMERICAN JEWISH HISTORICAL SOCIETY Fall 2004/Winter 2005 ~ OFFICERS ~ CONTENTS SIDNEY LAPIDUS President KENNETH J. BIALKIN 3 Message from Sidney Lapidus, 18 Allan Sherman Chairman President AJHS IRA A. LIPMAN LESLIE POLLACK JUSTIN L. WYNER Vice Presidents 8 From the Archives SHELDON S. COHEN Secretary and Counsel LOUISE P. ROSENFELD 12 Assistant Treasurer The History of PROF. DEBORAH DASH MOORE American Jewish Music Chair, Academic Council MARSHA LOTSTEIN Chair, Council of Jewish 19 The First American Historical Organizations Glamour Girl GEORGE BLUMENTHAL LESLIE POLLACK Co-Chairs, Sports Archive DAVID P. SOLOMON, Treasurer and Acting Executive Director BERNARD WAX Director Emeritus MICHAEL FELDBERG, PH.D. Director of Research LYN SLOME Director of Library and Archives CATHY KRUGMAN Director of Development 20 HERBERT KLEIN Library of Congress Director of Marketing 22 Thanksgiving and the Jews ~ BOARD OF TRUSTEES ~ of Pennsylvania, 1868 M. BERNARD AIDINOFF KENNETH J. BIALKIN GEORGE BLUMENTHAL SHELDON S. COHEN RONALD CURHAN ALAN M. EDELSTEIN 23 George Washington RUTH FEIN writes to the Savannah DAVID M. GORDIS DAVID S. GOTTESMAN 15 Leonard Bernstein’s Community – 1789 ROBERT D. GRIES DAVID HERSHBERG Musical Embrace MICHAEL JESSELSON DANIEL KAPLAN HARVEY M. KRUEGER SAMUEL KARETSKY 25 Jews and Baseball SIDNEY LAPIDUS PHILIP LAX in the Limelight IRA A. LIPMAN NORMAN LISS MARSHA LOTSTEIN KENNETH D. MALAMED DEBORAH DASH MOORE EDGAR J.
    [Show full text]
  • Download Booklet
    RIMSKY-KORSAKOV Symphonies Nos. 1 and 3 Berlin Radio Symphony Orchestra Gerard Schwarz Nikolay Andreyevich Rimsky-Korsakov (1844-1908) Finale. The slow movement was eventually written on greeted without any great interest. The newly acquired Symphony No. 1 in E minor, Op. 1 • Symphony No. 3 in C major, Op. 32 board ship off Gravesend, where his naval duties had taken technical competence was praised with unusual warmth him. For this movement he made use of a folk-song Pro by César Cui, but seemed to others too academic, a Nikolay Andreyevich Rimsky-Korsakov originally intended counterpoint and orchestration, he set to work to make Tatarski Polon (On the Tatar Captivity), a theme provided criticism echoed by Tchaikovsky after a Moscow a naval career, following the example of his elder brother. good these defects in his own musical formation with by Balakirev. The Trio of the Scherzo movement was performance under Nikolay Rubinstein. He revised the He showed some musical ability even as a very small remarkable success. This led him, as the only real added in the autumn of 1865 and the symphony, then in its symphony completely in 1886, two years after his first child, but at the age of fourteen entered the Naval Cadet professional of the nationalist group dominated by original key of E flat minor, was performed under Balakirev revision of the First Symphony. College in St Petersburg in pursuit of a more immediately Balakirev, to undertake the completion and, often, the at one of the concerts of the Free Music School in St The symphony starts with a slow introduction in which attractive ambition.
    [Show full text]
  • Sampler Linernts 8 559406.Indd
    Cover Art A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews first arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. My personal interest in music and deep abiding commitment to synagogue life and the Jewish people united as I developed an increasing appreciation for the quality and tremendous diversity of music written for or inspired by the American Jewish experience. Through discussions with contemporary Jewish composers and performers during the 1980s, I realized that while much of this music had become a vital force in American and world culture, even more music of specifically Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve, and transmit the collective memory contained within this music, the Milken Archive of American Jewish Music was founded in 1990. This project would unite the Jewish people’s eternal love of music with their commitment to education, a commitment shared by the Milken Family Foundation since our founding in 1982. The passionate collaboration of many distinguished artists, ensembles, and recording producers has created a vast repository of musical resources to educate, entertain, and inspire people of all faiths and cultures.
    [Show full text]
  • MADEMOISELLE - Première Audience
    MADEMOISELLE - Première Audience Unknown Music of NADIA BOULANGER DE 3496 1 DELOS DE 3496 NADIA BOULANDER DELOS DE 3496 NADIA BOULANDER MADEMOISELLE – Première Audience Unknown Music of NADIA BOULANGER SONGS: Versailles* ♦ J’ai frappé ♦ Chanson* ♦ Chanson ♦ Heures ternes* ♦ Le beau navire* ♦ Mon coeur* ♦ Doute ♦ Un grand sommeil noir* ♦ L’échange ♦ Soir d’hiver ♦ Ilda* ♦ Prière ♦ Cantique ♦ Poème d’amour* ♦ Extase* ♦ La mer* ♦ Aubade* ♦ Au bord de la route ♦ Le couteau ♦ Soleils couchants ♦ Élégie ♦ O schwöre nicht* ♦ Was will die einsame Thräne? ♦ Ach, die Augen sind es wieder* ♦ Écoutez la chanson bien douce WORKS FOR PIANO: Vers la vie nouvelle ♦ Trois pièces pour piano* • • MADEMOISELLE - PREMIÈRE AUDIENCE MADEMOISELLE - PREMIÈRE AUDIENCE WORKS FOR CELLO AND PIANO: Trois pièces WORKS FOR ORGAN: Trois improvisations ♦ Pièce sur des airs populaires flamands Nicole Cabell, soprano • Alek Shrader, tenor Edwin Crossley-Mercer, baritone • Amit Peled, cello François-Henri Houbart, organ • Lucy Mauro, piano A 2-CD Set • Total Playing Time: 1:48:27 * World Premiere Recordings DE 3496 ORIGINAL ORIGINAL DIGITAL © 2017 Delos Productions, Inc., DIGITAL P.O. Box 343, Sonoma, CA 95476-9998 (800) 364-0645 • (707) 996-3844 [email protected] • www.delosmusic.com MADEMOISELLE – Première Audience Unknown Music of NADIA BOULANGER CD 1 (54:12) ‡ 4. Was will die einsame Thräne? (2:32) ‡ 5. Ach, die Augen sind es wieder* (2:09) SONGS † 6. Écoutez la chanson bien douce (6:03) † 1. Versailles* (3:05) † 2. J’ai frappé (1:59) WORKS FOR PIANO ‡ 3. Chanson* (1:26) 7. Vers la vie nouvelle (4:30) ‡ 4. Chanson (2:02) Trois pièces pour piano* (3:22) † 5.
    [Show full text]
  • THE UNIVERSITY SYMPHONY and SEATTLE SYMPHONY MAESTRO
    2009-2010 presents Side- by- Side THE UNIVERSITY SYMPHONY and SEATTLE SYMPHONY MAESTRO GERARD SCHWARZ, conductor with guest artist FRANÇOISE PAPILLON, piano February 23, 2010 8:00 PM Meany Theater PROGRAM PIANO CONCERTO NO. 4 IN G MAJOR, OP. 58..................................... L. V. BEETHOVEN (1770-1827) Françoise Papillon, piano INTERMISSION EIN HELDENLEBEN ("A HERO'S LIFE"), OP. 40 .................................. RICHARD STRAUSS (1864-1949) BEETHOVEN’S PIANO CONCERTO NO. 4 IN G, Op. 58 was the last concerto composed for Beetho- ven himself as soloist. It was premiered in the Theater an der Wien on December 22, 1808, at a concert of epic proportions: the program also included the premieres of his Choral Fantasy and both the fifth and sixth symphonies, as well as selections from the Mass in C, the concert aria Ah! perfidio and the obligatory keyboard improvisations by the composer. Contemporary accounts have the concert lasting four hours. A more typical concerto would begin with the full orchestra stating the themes of the exposi- tion loud and clear before the soloist enters. Here however the piano opens the piece with a relaxed, peaceful solo statement, almost as if the composer is still sketching ideas. The four-note rhythmic motive may sound familiar since Beethoven also employed it in his fifth symphony and the Appassionata sonata, Op. 57. Although spirited, the first movement retains a sense of peace throughout. The second movement, however, disturbs that peace abruptly with a stark, almost militaristic unison string entrance. The piano responds with a distant, almost angelic theme. This exchange continues, slowly coming together like an argument transforming into a discus- sion, a gradual meeting of the minds.
    [Show full text]
  • American Classics David Stock Yehudi Wyner
    The Milken Archive of American Jewish Music AMERICAN CLASSICS AMERICAN CLASSICS DAVID STOCK YEHUDI WYNER The Mirror Passover Offering Tants un Maysele A Little Miracle featuring renowned soloists, including: Richard Stoltzman, clarinet Daniel Stepner, violin Carol Wincenc, flute Elizabeth Shammash, mezzo-soprano Ronald Thomas, cello Rundfunk-Sinfonieorchester Berlin Gerard Schwarz, conductor 8.559423 8.559440 Yizkor YEHUDI WYNER MAX HELFMAN THE MIRROR DI NAYE HAGODE Seattle Symphony Gerard Schwarz, conductor AMERICAN CLASSICS GERSHON KINGSLEY Y’rusha Voices from the Shadow Soloists: Amy Goldstein Mary Catherine George Larry Picard Tekiah Matthew Walley Jazz Psalms Shabbat for Today (excerpts) Richard Stoltzman, clarinet Shiru Ladonai (excerpts) Soloists: Lisa Vroman Cantor Howard M. Stahl Stephen Burns, trumpet Harry Goz The Kingsley Singers and Ensemble Gershon Kingsley, conductor Pittsburgh New Music Ensemble David Stock, conductor 8.559435 8.559444 GERSHON KINGSLEY JUDITH LANG ZAIMONT VOICES FROM THE SHADOW SACRED SERVICE View all current Milken Archive releases at www.milkenarchive.org The complete Naxos American Classics catalog available at www.naxos.com SStock_Covertock_Cover 99422.indd422.indd 11-2-2 33/22/06/22/06 111:38:531:38:53 AAMM Stock_LinerNts 9422.indd, Spread 2 of 12 - Pages (2, 23) 3/22/06 11:37 AM A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Credits Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution The Milken Family Foundation was established by brothers Lowell and Michael Milken in 1982 with the mission to discover and seeking to take part in a visionary democratic society, their experiences found voice in their music.
    [Show full text]
  • Theme& Variations
    Theme& Variations Beethoven Sonata Op. 109 Schubert Impromptu Op. 142#3 Mozart Sonata K. 331 Carol Rosenberger, piano DE 3452 1 0 13491 34522 2 Ludwig van Beethoven (1770-1827): Sonata in E, Op. 109 (22:58) 1. Vivace, ma non troppo (4:04) 2. Prestissimo (2:42) 3. Andante molto cantabile ed espressivo (16:12) 4. Franz Schubert (1797-1828): Impromptu in B-Flat, Op. 142 No. 3 (13:10) Wolfgang Amadeus Mozart (1756-1791): Sonata in A, K. 331 (25:56) 5. Andante grazioso (15:10) 6. Menuetto (7:12) 7. Alla Turca (3:34) Total Playing Time: 62:04 Carol Rosenberger, piano Recorded May, 1997, First Congregational Church, Los Angeles, California Executive Producer: Amelia Haygood Recording Producer: Andrew Keener Recording Engineers: John Eargle, Je! Mee Editing: Peter S. Myles, Ramiro Belgardt Production Assistants: Phyllis Bernard, Catharine Jaap Cover Photo: Ken Veeder; Design and Layout: Lonnie Kunkel Boesendorfer Imperial Concert Grand Piano Piano Technician: Richard Davenport © 2015 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 [email protected] • www.delosmusic.com Made in USA 2 recorded this program in 1997, Now, some 17 years a$er the release of as a “Companion Disc” for a chil- “…such Stu! as Dreams…” it has been dren’s album entitled “…such Stu! suggested to me that it is time for the Ias Dreams…” "e children’s CD itself “Companion Disc” to have its own iden- was a sequel to the earlier “Perchance to tity as an all-ages CD.
    [Show full text]
  • 1. 101 Strings: Panoramic Majesty of Ferde Grofe's Grand
    1. 101 Strings: Panoramic Majesty Of Ferde Grofe’s Grand Canyon Suite 2. 60 Years of “Music America Loves Best” (2) 3. Aaron Rosand, Rolf Reinhardt; Southwest German Radio Orchestra: Berlioz/Chausson/Ravel/Saint-Saens 4. ABC: How To Be A Zillionaire! 5. ABC Classics: The First Release Seon Series 6. Ahmad Jamal: One 7. Alban Berg Quartett: Berg String Quartets/Lyric Suite 8. Albert Schweitzer: Mendelssohn Organ Sonata No. 4 In B-Flat Major/Widor Organ Symphony No. 6 In G Minor 9. Alexander Schneider: Brahms Piano Quartets Complete (2) 10. Alexandre Lagoya & Claude Bolling: Concerto For Classic Guitar & Jazz Piano 11. Alexis Weissenberg, Georges Pretre; Chicago Symphony Orchestra: Rachmaninoff Concerto No. 3 12. Alexis Weissenberg, Herbert Von Karajan; Orchestre De Paris: Tchaikovsky Concerto #2 13. Alfred Deller; Deller Consort: Gregorian Chant-Easter Processions 14. Alfred Deller; Deller Consort: Music At Notre Dame 1200-1375 Guillaume De Machaut 15. Alfred Deller; Deller Consort: Songs From Taverns & Chapels 16. Alfred Deller; Deller Consort: Te Deum/Jubilate Deo 17. Alfred Newman; Brass Of The Hollywood Bowl Symphony Orchestra: Hallelujah! 18. Alicia De Larrocha: Grieg/Mendelssohn 19. Andre Cluytens; Paris Conservatoire Orchestra: Bizet 20. Andre Kostelanetz & His Orchestra: Columbia Album Of Richard Rodgers (2) 21. Andre Kostelanetz & His Orchestra: Verdi-La Traviata 22. Andre Previn; London Symphony Orchestra: Rachmaninov/Shostakovich 23. Andres Segovia: Plays J.S. Bach//Edith Weiss-Mann Harpsichord Bach 24. Andy Williams: Academy Award Winning Call Me Irresponsible 25. Andy Williams: Columbia Records Catalog, Vol. 1 26. Andy Williams: The Shadow Of Your Smile 27. Angel Romero, Andre Previn: London Sympony Orchestra: Rodrigo-Concierto De Aranjuez 28.
    [Show full text]
  • Download Booklet
    557649bk Alwyn US 7/12/05 3:21 pm Page 1 William ALWYN Symphony No. 4 • Sinfonietta Royal Liverpool Philharmonic Orchestra David Lloyd-Jones 557649bk Alwyn US 7/12/05 3:21 pm Page 4 Royal Liverpool Philharmonic Orchestra The Royal Liverpool Philharmonic Orchestra gives over sixty concerts from September to June in Liverpool’s Philharmonic Hall and presents concerts throughout the United Kingdom, in addition to tours abroad. Members of the orchestra are involved in a number of innovative community education projects. One of the oldest concert-giving organizations in the world, the RLPO dates back to 1840. In 1957 it acquired the title ‘Royal’, and in 1991 it was the first organization to be granted the freedom of the City of Liverpool. The first professional conductor of the Liverpool Philharmonic, in 1844, was Jakob Zeugheer, followed by Alfred Mellon, Max Bruch, Charles Hallé, Frederic Hymen Cowen, and Thomas Beecham. In 1942 Malcolm Sargent became resident conductor, followed in 1948 by Hugo Rignold as music director. Subsequent incumbents have included Efrem Kurtz and John Pritchard, Walter Weller, David Atherton, Marek Janowski and Libor Pe‰ek, the last appointment bringing a continuing connection with the Czech Republic. He was followed by Petr Altrichter, and Gerard Schwarz was appointed music director in 2001. David Lloyd-Jones David Lloyd–Jones began his professional career in 1959 on the music staff of the Royal Opera House, Covent Garden, and soon became much in demand as a freelance conductor for orchestral and choral concerts, opera, BBC broadcasts and TV studio opera productions. He has appeared at the Royal Opera House (Boris Godunov with both Christoff and Ghaiurov), Welsh National Opera, Scottish Opera and the Wexford, Cheltenham, Edinburgh and Leeds Festivals, and with the major British orchestras.
    [Show full text]
  • CHAN 9949 Front.Qxd 18/7/07 10:57 Am Page 1
    CHAN 9949 Front.qxd 18/7/07 10:57 am Page 1 CHAN 9949 CHANDOS FINZI & LEIGHTON CELLO CONCERTOS Raphael Wallfisch Raphael Wallfisch Royal Liverpool Philharmonic Orchestra • Vernon Handley Royal Scottish National Orchestra • Bryden Thomson CHAN 9949 BOOK.qxd 18/7/07 11:04 am Page 2 Gerald Finzi (1901–1956) Cello Concerto, Op. 40 39:03 in A minor • in a-Moll • en la mineur 1 I Allegro moderato 15:51 2 II Andante quieto 13:34 3 III Rondo: Adagio – Allegro giocoso 9:38 Lebrecht Collection Lebrecht Raphael Wallfisch cello Royal Liverpool Philharmonic Orchestra Malcolm Stewart leader Vernon Handley Kenneth Leighton (1929–1988) Cello Concerto, Op. 31 32:24 4 I Allegro con moto – Meno mosso 12:32 5 II Scherzo and Trio: Allegro molto e ritmico (il più presto possibile) – Moderato e dolce 9:35 6 III Lentissimo: molto sostenuto 10:14 TT 71:32 Raphael Wallfisch cello Gerald Finzi Royal Scottish National Orchestra Edwin Paling leader Bryden Thomson 3 CHAN 9949 BOOK.qxd 18/7/07 11:04 am Page 4 Leighton: Cello Concerto, Op. 31 the second subject. The climax subsides, and Finzi/Leighton: Cello Concertos The Cello Concerto, Leighton’s seventh towards the end the solo cello’s inward reverie concertante work, was begun in Naples during is hauntingly coloured by the sul ponticello (on the summer of 1955 and was completed the the bridge) string tremolandi which underpin Finzi: Cello Concerto, Op. 40 swinging the harmony round in its second bar following spring. Leighton uses a brilliant it. Ultimately the movement dies away to Finzi completed this work for the Cheltenham to a major chord; with this reaching out, and orchestral pallette, tending to write for nothing, the strings muted.
    [Show full text]
  • Download Booklet
    559219 bk Pasatieri 15/03/2004 10:44am Page 12 AMERICAN CLASSICS Also available on American Classics: THOMAS PASATIERI Letter to Warsaw Jane Eaglen, Soprano Music of Remembrance • Gerard Schwarz 8.559177 8.559153 8.559219 12 559219 bk Pasatieri 15/03/2004 10:44am Page 2 Thomas Pasatieri (b. 1945) Letter to Warsaw World première: 10th May, 2004, Benaroya Hall, approximately 350,000 Jews found themselves Seattle, WA at Music of Remembrance’s Holocaust imprisoned. Jews from elsewhere in Poland and from Also available on American Classics: Remembrance concert. Letter to Warsaw was composed other parts of the Reich were resettled into the ghetto. By for soprano Jane Eaglen and conductor Gerard Schwarz. early 1941 the ghetto held over 440,000 souls. Over thirty It is dedicated to Music of Remembrance’s founder and percent of Warsaw’s population was crammed into less artistic director, Mina Miller. than three percent of the city’s total area. The Warsaw ghetto contained three sectors. The In January 2003, MOR Artistic Director Mina Miller “little ghetto” had some modern apartment houses along approached me about writing a song-cycle based on six wide streets where one could find the occasional shop, unpublished texts by the Polish cabaret artist Pola Braun. and for a time even cafés, restaurants and cinemas. Its These texts were composed while Braun was incarcerated population included an intelligentsia and some in the Warsaw ghetto and in the concentration camp comparatively affluent families. In contrast, the “big Majdanek. They were originally set to music that no ghetto” further north was a “jungle of oppressed longer exists.
    [Show full text]