Orchestral Repertoire

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ORCHESTRAL REPERTOIRE BARBER Andromache's Farewell 2+Pic,2+CA,2+BCl,2/4,3,3,1/Timp,Perc/Hp/Str BEETHOVEN Ah! Perfido - Op. 65 1,0,2,2/2,0,0,0/Str Missa Solemnis in D Major - Op. 123 2,2,2,2+CBsn/4,2,3,0/Timp/Org/Str Symphony No. 9 in D Minor - Op. 125 2+Pic,2,2,2+CBsn/4,2,3,0/Timp,Perc/Str BERLIOZ Herminie – H. 29 2,2,2,2/4,2,0,0/Timp,Perc/Str La Mort de Cléopâtre – H. 36 2(Pic),2,2,2/4,2,3,0/Timp/Str Les Nuit d’été – Op. 7 2,1,2,2/3,0,0,0/Hp/Str BRITTEN War Requiem Full: 3(Pic),3+CA,3(Eb + BCl),2+CBsn/6,4,3,1/Timp,Perc(4)/Pn, Harm/Str Chamber: 1(Pic),1(CA),1,1/1,0,0,0/Perc/Hp/2,1,1,1 BRUCKNER Te Deum in C Major - WAB 45 2,2,2,2/4,3,3,1/Timp/Org/Str DVORAK Te Deum – Op. 103 2,2+CA,2,2/4,2,3,1/Timp,Perc/Str GRIFFES The Three Poems of Fiona MacLeod 2,2,3,2/4,0,3,0/Timp/Hp/Str LAITMAN Becoming a Redwood 2,2,2,2/2,2,0,0/Timp/Str MAHLER Lieder eines fahrenden Gesellen Mahler Orchestration: 3(Pic),2(CA),3(BCl),2/4,2,3,0/Timp,Perc/Hp/Str Schönberg Orchestration: 1,0,1,0/0,0,0,0/Perc/Pn,Harm/Str Symphony No. 2, "Resurrection Symphony" 4(All,Pic),4(3/4CA),3(BCl)+2Eb,4(3/4CBsn)/10,6,4,1/Timp,Perc/ Org,Hp(2)/Str Symphony No. 8 in E-Flat Major, "Symphony of a Thousand" 5(Pic)+Pic,4+CA,3+Eb+BCl,4+CBsn/8,8,7,1/Timp(2),Perc(3)/Pn,Harm,Org, Mand,Cel,Hp(2)/Str MOZART Bella mia fiamma, addio! - K.528 1,2,0,2/2,0,0,0/Str Ch'io mi scordi di te - K.505 SoloPn/0,0,2,2/2,0,0,0/Str ROSSINI Stabat Mater 2,2,2,2/4,2,3,0/Timp/Str SHOSTAKOVICH Symphony No. 14 - Op. 135 0,0,0,0/0,0,0,0/Perc(3)/Cel/Str (10,4,3,2) STRAUSS Zueignung - Op. 10 Allerseelen - Op. 10 Die Nacht - Op. 10 2,2,2+BCl,2/4,2,1,0/Timp/Hp/Str Morgen! - Op. 27 0,0,0,0/4,0,0,0/Hp/Str Cäcilie - Op. 27 2,2,2,2/4,2,3,1/Timp/Hp/Str Ich trage meine Minne - Op. 32 2,2,2+BCl,2/4,2,1,0/Timp/Hp/Str Befreit - Op. 39 2,2,2+BCl,2/4,2,3,1/Timp/Harm,Hp/Str Freundliche Vision - Op. 48 2,0,0,2/4,2,2,0/Str Kling! - Op. 48 2,2,2+BCl,2/4,2,1,0/Timp/Hp/Str Frühlingsfeier - Op. 56 2+Pic,2+CA,2+BCl,2+CBsn/4,2,3,0/Timp,Perc/Hp/Str Einerlei - Op. 69 2,2,2+BCl,2/4,2,1,0/Timp/Hp/Str Vier letzte lieder 3(Pic)+Pic,2+CA,2+BCl,2+CBsn/4,3,3,1/Timp/Cel,Hp/Str Final Scene from Salome 3+Pic,2+CA+Heck,2(B♭)+2(A)+E♭Cl+BCl,3+CBsn/6,4,4,1/Timp,Perc(8-9)/ Cel,Harm,Org,2Hp/Str TURINA Canto a Sevilla 2+Pic,2,2,2/4,3,3,1/Timp,Perc/Hp/Str VERDI Requiem 3(Pic),2,2,4/4,8,3,1(Oph)/Timp,Perc/Str WAGNER Mild und Leise (Isolde’s Liebestod) 3(Pic),2+CA,2+BCl,3/4,3,3,1/Timp,Perc/Hp,Str Wesendonck Lieder 2,2,2,2/4,1,0,0/0/Str von WEBER Scena & Aria, “Misera Me!” - Op. 50 2,0,2,2/2,2,0,0/Str Recit & Rondo, “Il Momento s’Avvicina” - Op. 16 2,0,2,2/2,0,0,0/Str .

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RICHARD STRAUSS SALOME Rehearsal Room Vida Miknevičiūtė (Salome) PRESENTING VICTORIAN OPERA PRESENTS PARTNER SALOME OPERA in ONE ACT
RICHARD STRAUSS SALOME Rehearsal Room Vida Miknevičiūtė (Salome) PRESENTING VICTORIAN OPERA PRESENTS PARTNER SALOME OPERA IN ONE ACT Composer Richard Strauss Librettist Hedwig Lachmann Based on Oscar Wilde’s play Salomé Conductor Richard Mills AM Director Cameron Menzies Set Designer Christina Smith Costume Designer Anna Cordingley Lighting Designer Gavan Swift Choreographer Elizabeth Hill-Cooper CAST Salome Vida Miknevičiūtė Herod Ian Storey Jochanaan Daniel Sumegi Herodias Liane Keegan Narraboth James Egglestone Page of Herodias Dimity Shepherd Jews Paul Biencourt, Daniel Todd, Soldiers Alex Pokryshevsky, Timothy Reynolds, Carlos E. Bárcenas, Jerzy Kozlowski Raphael Wong Cappadocian Kiran Rajasingam Nazarenes Simon Meadows, Slave Kathryn Radcliffe Douglas Kelly with Orchestra Victoria Concertmaster Yi Wang 22, 25, 27 FEBRUARY 2020 Palais Theatre Original premiere 9 December 1905, Semperoper Dresden Duration 90 minutes, no interval Sung in German with English surtitles PRODUCTION PRODUCTION TEAM Production Manager Eduard Inglés Stage Manager Whitney McNamara Deputy Stage Manager Marina Milankovic Assistant Stage Manager Geetanjali Mishra MUSIC STAFF Repetiteurs Phoebe Briggs, Phillipa Safey ACKNOWLEDGEMENTS Surtitles courtesy of Opera Australia ResolutionX, BAACLight Theatre, Lilydale Theatre Company © Anna Cordingley, Costume Designer P. 4 VICTORIAN OPERA 2020 SALOME ORCHESTRA CONCERTMASTER Sarah Cuming HORN Yi Wang * Philippa Gardner Section Principal Jasen Moulton VIOLIN Tania Hardy-Smith Chair supported by Mr Robert Albert Principal
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English Translation of the German by Tom Hammond
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A Survey and Guide to the Most Frequently Programmed Lieder In
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Richard Strauss's Ariadne Auf Naxos
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Tbeatthe HEAT!
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Richard Strauss
Richard Strauss Meister der Inszenierung Bearbeitet von Daniel Ender 1. Auflage 2014. Buch. 349 S. Hardcover ISBN 978 3 205 79550 6 Format (B x L): 13,5 x 21 cm Weitere Fachgebiete > Musik, Darstellende Künste, Film > Musikwissenschaft Allgemein > Einzelne Komponisten und Musiker Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Daniel Ender Richard Strauss Meister der Inszenierung BÖHLAU VERLAG WIEN · KÖLN · WEIMAR Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Umschlagabbildung: Richard Strauss, 1929 (© ullstein bild – Laszlo Willinger) © 2014 by Böhlau Verlag Ges.m.b.H & Co. KG, Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Umschlaggestaltung: Michael Haderer, Wien Layout: Bettina Waringer, Wien Korrektorat: Katharina Krones, Wien Druck und Bindung: CPI Moravia Gedruckt auf chlor- und säurefreiem Papier ISBN 978-3-205-79550-6 Inhalt Ein öffentliches Leben. Zur Einleitung Ein Kind seiner Zeit . 9 Die inszenierte Biographie . 18 Selbst- und Fremdbilder . 23 1. Vom Epigonen zum Genie „Ein sogenannter Charakter“. Umwelt und Familie. 33 „Nicht von hervorstechender Originalität“. Der Weg in die Öffentlichkeit . .42 „Zum Zukunftsmusiker gestempelt“.
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Richard Lert Papers 0210
http://oac.cdlib.org/findaid/ark:/13030/kt638nf3ww No online items Finding Aid of the Richard Lert papers 0210 Finding aid prepared by Rebecca Hirsch The processing of this collection and the creation of this finding aid was funded by the generous support of the National Historic Publications and Records Commission. USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California, 90089-0189 213-740-5900 [email protected] June 2010 Finding Aid of the Richard Lert 0210 1 papers 0210 Title: Richard Lert papers Collection number: 0210 Contributing Institution: USC Libraries Special Collections Language of Material: English Physical Description: 58.51 Linear feet70 boxes Date (inclusive): 1900-1981 Abstract: This collection consists of Richard Lert's video and audio recordings of performances, rehearsals and lectures, personal papers and his music score library. Lert was born in Vienna and trained as an orchestral conductor in Germany. He moved to the United States in 1932 with his family and was the conductor of the Pasadena Symphony Orchestra from 1932 until his retirement in 1972. creator: Lert, Richard, 1885-1980 Biographical Note Richard Lert was born September 19, 1885, in Vienna, Austria. He trained as an orchestral conductor under Arthur Nikisch and began his career in Darmstadt, Germany, where he met and married his wife, Vicki Baum, in 1916. They had two sons. Lert held posts in Frankfurt, Kiel and Hannover before becoming the music director of the Berlin National Opera. Lert and his family moved to Los Angeles in 1932, where he became the music director of the Pasadena Symphony Orchestra.
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Der Späte Strauss Und Seine Frühen Lieder
Richard Strauss – Der Komponist und sein Werk MÜNCHNER VERÖFFENTLICHUNGEN ZUR MUSIKGESCHICHTE Begründet von Thrasybulos G. Georgiades Fortgeführt von Theodor Göllner Herausgegeben seit 2006 von Hartmut Schick Band 77 Richard Strauss Der Komponist und sein Werk Überlieferung, Interpretation, Rezeption Bericht über das internationale Symposium zum 150. Geburtstag München, 26.–28. Juni 2014 Richard Strauss Der Komponist und sein Werk Überlieferung, Interpretation, Rezeption Bericht über das internationale Symposium zum 150. Geburtstag München, 26.–28. Juni 2014 Herausgegeben von Sebastian Bolz, Adrian Kech und Hartmut Schick Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de Juni 2017 Allitera Verlag Ein Verlag der Buch&media GmbH, München © 2017 Buch&media GmbH, München © 2017 der Einzelbeiträge bei den AutorInnen Satz und Layout: Johanna Conrad, Augsburg Printed in Germany · ISBN 978-3-86906-990-6 Inhalt Vorwort . 9 Abkürzungsverzeichnis ............................................. 13 Richard Strauss in seiner Zeit Hans-Joachim Hinrichsen Des Meisters Lehrjahre. Der junge Richard Strauss und seine Meininger Ausbildungszeit bei Hans von Bülow ................................................ 17 Dietmar Schenk Berlins »Richard-Strauss-Epoche«. Richard Strauss und das Musikleben im kaiserlichen Berlin .............. 37 Dörte Schmidt Meister – Freunde – Zeitgenossen. Richard Strauss und Gerhart Hauptmann ............................. 51 Albrecht Dümling »… dass die Statuten der Stagma dringend zeitgemässer Revision
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1 the Alps, Richard Strauss's Alpine Symphony and Environmentalism
Note: This is an expanded version of an article appearing in the journal Green Letters (2011); it is intended for a literary rather than musical readership, and the punctuation and spellings are British. The Alps, Richard Strauss’s Alpine Symphony and Environmentalism By Brooks Toliver Introduction After love and death, nature may well be European music’s preferred theme; it figures significantly in troubadour cansos, pastoral madrigals and operas, tone poems, impressionistic preludes, and elsewhere. In light of this it is puzzling how seldom actual nature is invoked in musical discourse. Composers—Richard Strauss among them—have been known to seek out nature in the manner of landscape painters, but there is no similar tradition among the critics, who ground nature-music and their judgments of it not in nature but in other music and criticism. When confronted with the vivid imagery of Strauss’s Alpine Symphony (1915), contemporaries wrote primarily of the aesthetics of vivid imagery, relegating the images themselves to the level of anecdote. Musicologists are quite adept at exploring the relationship of works to cultural constructions of nature, but relatively few have brought real environments into the discussion of canonical music. There has as yet been no serious consideration of how the Alps might be critical to an appreciation of the Alpine Symphony, nor has anyone theorized what the consequences of the Alpine Symphony might be for the Alps. Surely it is worth asking whether it metaphorically embodies sustaining or destructive relationships to the environment it represents, if it respects or disrespects nonhuman nature, and if love of nature is contingent on a symbolic domination of it, to name just three questions.
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THROUGH LIFE and LOVE Richard Strauss
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RICHARD STRAUSS Torino, 2-25 febbraio 2018 Un progetto di CITTÀ DI TORINO TEATRO REGIO TORINO RICHARD-STRAUSS-ARCHIV GARMISCH RICHARD-STRAUSS-INSTITUT GARMISCH-PARTENKIRCHEN ASSOCIAZIONE AMICI DEL REGIO ARIANNA PER LA MUSICA AMBAscIATA DELLA REPUBBLICA FEDERALE DI GERMANIA A ROMA BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO ASSOCIAZIONE ABNUT - AMICI BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO CONSERVATORIO “GIUSEPPE VERDI” DI TORINO ORCHESTRA FILARMONICA DI TORINO ASSOCIAZIONE BARETTI UNIONE MUSICALE ORCHESTRA DA CAMERA “GIOVANNI BATTISTA POLLEDRO” ACCADEMIA DEL SANTO SPIRITO I MUSICI DI SANTA PELAGIA ACCADEMIA CORALE STEFANO TEMPIA ASSOCIAZIONE CONCERTANTE - PROGETTO ARTE&MUSICA CIRCOLO DEGLI ARTISTI ORCHESTRA SINFONICA NAZIONALE DELLA RAI GOETHE-INSTITUT TURIN ACCADEMIA DI MUSICA DI PINEROLO UNIVERSITÀ DEGLI STUDI DI TORINO - CENTRO STUDI SUL TEATRO MUSICALE IL CIRCOLO DEI LETTORI ASSOCIAZIONE CULTURALE ORGANALIA ACADEMIA MONTIS REGALIS MARCHESATO OPERA FESTIVAL - COMUNE DI SALUZZO - FONDAZIONE SCUOLA APM DI SALUZZO ASSOCIAZIONE ANTIDOGMA MUSICA MUSEO NAZIONALE DEL CINEMA INPOETICA - FESTIVAL TRASVERSALE DELLE ARTI Dopo il successo del Festival Alfredo Casella, che nel 2016 si è aggiudicato il Premio Abbiati dell’Associazione Nazionale dei Critici Musica- li per l’originalità del progetto, e del Festival Antonio Vivaldi l’anno scorso, il 2018 è l’an- no di Richard Strauss. Al compositore tedesco più in vista e di successo nella prima metà del Novecento viene dunque dedicato il terzo festi- val monografico, interdisciplinare e collegiale realizzato a Torino: interdisciplinare perché nei 33 appuntamenti che lo costituiscono sono coin- volte più forme artistiche; collegiale perché tutto il programma è frutto di una vasta sinergia che coinvolge circa trenta istituzioni culturali. Richard Strauss (1864-1949) ebbe un forte lega- me con l’Italia e la sua cultura, come testimonia la mostra documentaria allestita per l’occasione e che significativamente inaugura il Festival.
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