DOCSLIB.ORG

Carte Blanche

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carte Blanche concert n°57 Conservatoire Dimanche 03 juillet 2011 20h30 carte blanche Roger Woodward / piano www.flaneriesreims.com Pour le bon déroulement des concerts et par respect pour les artistes, nous vous prions de bien vouloir éteindre vos téléphones portables et vous rappelons qu’il est interdit de filmer, d’enregistrer et de prendre des photos durant le concert. Nous vous remercions de votre compréhension. programme claude debussy (1862-1918) Estampes Préludes (livre 2) johaNN sebastiaN bach (1685-1750) 6e partita en mi mineur, BWV 830 À propos du concert Estampes est une œuvre pour piano composée par claude debussy en 1903. sa création eut lieu le 9 janvier 1904 par le pianiste Ricardo Viñes à Paris. il s’agit d’un triptyque de trois pièces assez courtes intitulées Pagodes, La soirée dans Grenade et Jardins sous la pluie. Estampes est sans doute la première œuvre pour piano majeure de debussy. celle qui définit son style, et annonce les Préludes à venir. Non seulement debussy invente une nouvelle technique pianistique, plus intime et délicate, par opposition aux prouesses techniques alors en vogue mais il redéfinit également le rôle du piano. celui-ci n’est plus cet instrument sentimental et passionnel tel que le voyaient les romantiques, il se mue en machine à rêve et en compagnon de voyages imaginaires. dans Estampes, c’est une palette de sonorités inconnues que découvre l’auditeur, à la fois douce, poétique, expressive et dénuée de tout maniérisme. les deux livres de Préludes pour piano furent composés entre 1909 et 1913. c’est en hommage aux préludes de Frédéric chopin que debussy choisit cette appellation pour ces compositions très libres. le compositeur n’a jamais souhaité réunir ces pièces dans une série ; il considérait chacune d’entre elles comme une œuvre à part entière. bien que considérés comme un sommet de la musique impressionniste, les Préludes de debussy doivent être regardés comme une invitation au voyage et à la rêverie plus que comme une peinture descriptive. les titres étaient choisis pour créer chez l’auditeur des associations d’images ou de sensations. les Partitas pour clavier de johann sebastian bach sont un groupe de six suites pour le clavecin composées entre 1726 et 1731. on les appelle aussi Suites allemandes, car elles adoptent la forme traditionnelle de la suite, avec les quatre danses traditionnelles : allemande, courante, sarabande et gigue et des pièces complémentaires. c’est au cours de ses premières années à leipzig que bach a entrepris d’écrire les quatre volumes de musique pour orgue et clavecin connus sous le nom de Clavier-Übung (exercices pour clavier), une entreprise ambitieuse destinée à démontrer de manière définitive sa maîtrise de plusieurs genres importants. les six partitas constituent la contribution ultime de bach au genre des suites pour clavier et elles surpassent ses suites anglaises et Françaises par leur variété, leur profondeur intellectuelle et leur virtuosité technique. biographie roger Woodward Figure majeure de la scène musicale classique et contemporaine, le pianiste australien Roger Woodward se distingue par son extrême virtuosité dans tous les répertoires, de bach à Xenakis. Passionné par la musique de son temps, il a travaillé avec olivier Messiaen, Pierre boulez, john cage, luciano berio, iannis Xenakis, arvo Pärt… et avec des compositeurs allemands tels que Rolf Gehlhaar et Karlheinz stockhausen. autant de collaborations prestigieuses enregistrées par les maisons de disques eMi, decca et Rca et de nombreuses chaînes de télévision qui lui confèrent rapidement une notoriété internationale. soliste dans des orchestres tels que le leipzig Gewandhaus, les plus grands orchestres londoniens, les philharmoniques de los angeles et de New york ou le cleveland orchestra, il joue sous la direction des chefs les plus renommés tels que claudio abbado, Zubin Mehta, lorin Maazel, Kurt Masur et bien d’autres encore. son enregistrement du Clavier bien tempéré de bach a été choisi par Gramophone pour le numéro de février 2010 et est considéré par les critiques comme le nouvel album de référence après Gould et barenboïm. Roger Woodward a aussi reçu le prestigieux prix du deustchen schallplattenkritik pour son album consacré aux Partitas en Si mineur et en Mi mineur de bach (celestial harmonies) et ses enregistrements récents des Nocturnes de chopin, du Concerto en Fa Mineur et des Préludes de debussy ont été encensés par les critiques du monde entier. en tant que chambriste, il a travaillé avec ivry Gitlis, Philippe hirschhorn, le tokyo string Quartet et arditti string Quartet et collabore régulièrement avec l’alexander string Quartet. Résidant à san Francisco, il a reçu l’ordre du Mérite polonais, l’ordre de l’empire britannique, il est chevalier de l’ordre français des arts et des lettres et compagnon de l’ordre d’australie. discographie Roger Woodward Bach celestial harmonies - 2007 Roger Woodward Stundenbuch/ Book of Hours (compositeur : hans otte) celestial harmonies - 2007 Roger Woodward The complete nocturnes celestial harmonies - 2006 Roger Woodward Little Masterpiece abc classics - 2006 Roger Woodward Vom Klang des Lebens (Of the Sound of Life) (compositeur : Peter Michael hamel) celestial harmonies - 2006 Roger Woodward & alexander string Quartet Fragments Foghorn classics - 2006 Roger Woodward Art of Roger Woodward abc classics - 2005 Roger Woodward Kraanerg conductor - alpha centauri ensemble (compositeur : iannis Xenakis) etcetera - 2004 Concert pique-nique Pommery samedi 09/07 | 19h00 | Parc de Champagne Ouverture du Parc à partir de 17h00 Al Di Meola World Sinfonia feat. Gonzalo Rubalcaba Al Di Meola Dan Codazi guitare © Gonzalo Rubalcaba piano Fausto Beccalossi accordéon Kevin Seddiki seconde guitare Peter Kaszas batterie Francesco Cabras © DPZ (première partie) Thomas de Pourquery saxophones alto et soprano, voix, composition Daniel Zimmermann composition Maxime Delpierre guitare Sylvain Daniel basse David Aknin Sylvain Gripoix batterie © À l’occasion du concert pique-nique, Les Flâneries Musicales de Reims et CITURA vous offrent les navettes. Des bus assurent l’aller et retour des spectateurs depuis les principaux quartiers de Reims Métropole. De 17h à 21h30, un bus assurera la dessert du Parc des Expositions jusqu’au Parc de Champagne, toutes les 10 minutes environ. Au retour, des navettes partent du Parc de Champagne vers les quartiers et le Parc des Expositions dès la fin de la manifestation. Vous aurez la possibilité d’acheter votre pique-nique sur place. L’abus d’alcool est dangereux pour la santé, à consommer avec modération. Nos amis les animaux ne sont pas acceptés aux concerts, y compris au concert pique-nique. Tarif : 12 € en prévente et 15 € sur place Tarif réduit : 50% pour les demandeurs d’emploi, et les jeunes de 14 à 25 ans sur présentation d’un justificatif www.flaneriesreims visiTes avanT-concerT Les visites avant-concert font du festival un lieu de rencontre entre un public, un lieu de concert et une programmation. En une heure, elles offrent la possibilité de découvrir un lieu de façon inédite et singulière. attention changement ! ● La prochaine visite avant-concert proposée au public : vendredi 08 / 07 | 20h30 | concert n°68 | 10€ initialement prévu dans la cuverie du champagne charles de cazanove aura lieu : lundi 18 juillet à 10h | Cathédrale Notre-Dame de Reims Visite animée par Pierre Méa, organiste au Centre des Congrès - Salle Royale Rencontre avec le musicien autour des orgues de la Cathédrale Kuniko Kato interprètera Steel drum works Tarifs et renseignements Les visites avant-concert sont offertes par Les Flâneries aux personnes qui assistent au concert. • Pour accéder à la visite et uniquement pour les concerts payants, il sera demandé de présenter le billet du concert. dimanche 10 / 07 | 17h30 | concert n°74 | 10€ Places limitées ! au centre des congrès Merci de nous contacter pour enregistrer votre inscription par téléphone au 03 26 36 78 05 Kuniko Kato interprètera Kuniko plays Reich - French Premiere exposition « Dessine-moi le carillon » | exposition des dessins d’élèves Cette année, Les Flâneries ont souhaité mettre à l’honneur le carillon de l’église Saint-Nicaise, instrument historique et remarquable situé au cœur de la cité-jardin du Chemin Vert. Les écoles élémentaires Gerbault et Pommery ont pris part au projet avec enthousiasme, soit 120 élèves du cycle 2 et du cycle 3. A la suite de nos interventions auprès des élèves - l’atelier en classe puis l’atelier à l’église Saint- Nicaise -, il leur a été demandé de dessiner un carillon. Dessin réalisé par Lisa, CP Ecole Pommery Ces dessins sont exposés à l’église Saint-Nicaise jusqu’à la fin du festival. Ouverture pour les scolaires sur réservation : merci de contacter Amélie au 03 26 36 78 05. Ouverture au public les dimanches 19 juin, 26 juin, 3 juillet, 10 juillet et 17 juillet de 15h à 17h. ÉVÈnements attention changement ! vendredi 08 / 07 | 20h30 | concert n°68 | 10€ initialement prévu dans la cuverie du champagne charles de cazanove aura lieu : au Centre des Congrès - Salle Royale Kuniko Kato interprètera Steel drum works • dimanche 10 / 07 | 17h30 | concert n°74 | 10€ au centre des congrès Kuniko Kato interprètera Kuniko plays Reich - French Premiere ÉVÈNEMENTS Projection I Auditorium du Conservatoire de Reims Quelque chose de riche et étrange, un film de Mark Kidel Suivi d’une table ronde sur le thème de Iannis Xenakis, l’homme et sa musique avec : Nouritza Matossian, biographe de Xenakis Mark Kidel, réalisateur Sharon Kanach, ancienne collaboratrice de Xenakis Jean Louis Villeval, modérateur © Michèle Danièle Mardi 12 juillet à 19h30 | entrée libre Exposition I Conservatoire de Reims Iannis Xenakis Réalisée par le CDMC (Centre de Documentation de la Musique Contemporaine) Conception : Katherine Vayne et Sharon Kanach du mardi 12 au samedi 16 juillet | entrée libre 4e cycle de Conférences | 18h30 | Auditorium II du Conservatoire de Reims L’histoire de la musique occidentale animé par Francis Albou En collaboration avec l’Opéra de Reims et le Conservatoire à Rayonnement Régional et en partenariat avec le Rectorat de Reims.
Load more

Recommended publications
  • GEOFFREY TOZER in CONCERT Osaka 1994
    GEOFFREY TOZER IN CONCERT Osaka 1994 Mozart Concerto K 467 • Liszt Raussian Folk Song + Rigoletto + Nighingale Geoffrey Tozer in Concert | Osaka 1994 Osaka Symphony Orchestra Wolfgang Amedeus Mozart (1756-1791) Concerto for Piano and Orchestra no. 21 in C, K 467 1 Allegro 13’34” 2 Romance 6’40” 3 Rondo. Allegro assai 7’14” Franz Liszt (1811-1886) 4 Russian Folk Song 2’55” 5 Rigoletto 6’44” 6 Nightingale 4’04” Go to move.com.au for program notes for this CD, and more information about Geoffrey Tozer There are more concert recordings by Geoffrey Tozer … for details see: move.com.au P 2014 Move Records eoffrey Tozer was an artist of Churchill Fellowship (twice, Australia), MBS radio archives in Melbourne and the first rank, a consummate the Australian Creative Artists Fellowship Sydney, the BBC archives in London and musician, a concert pianist (twice, Australia), the Rubinstein Medal in archives in Israel, China, Hungary, and recitalist with few peers, (twice, Israel), the Alex de Vries Prize Germany, Finland, Italy, Russia, Mexico, Gpossessing perfect pitch, a boundless (Belgium), the Royal Overseas League New Zealand, Japan and the United musical memory, the ability to improvise, (United Kingdom), the Diapason d’Or States, form an important part of Tozer’s to transpose instantly into any key or (France), the Liszt Centenary Medallion musical legacy; a gift of national and to create on the piano a richly textured (Hungary) and a Grammy Nomination international importance in music. reduction of an orchestral score at sight. for Best Classical Performance (USA), Throughout his career Tozer resisted He was a superb accompanist and a becoming the only Australian pianist to the frequent calls that he permanently generous collaborator in chamber music.
    [Show full text]
  • 301278 Vol1.Pdf
    INTERPRETATIVE ISSUE PERFO CONTEMPORARY PIANO MUSIC J by\ Philip Thomas (Volume I) Submitted in partial fulfilment of the requirements for the degree of PhD in Performance Practice Department of Music University of Sheffield April 1999 SUMMARY This thesis explores practical and theoretical issues in interpreting contemporary notated piano music. Interpretative problems and approaches are discussed with a practical bias, using a varied selection of musical sources mostly from the last fifty years. The diversity of compositional styles and methods over this period is reflected in the diversity of interpretative approaches discussed throughout this thesis. A feature of the thesis is that no single interpretative method is championed; instead, different approaches are evaluated to highlight their benefits to interpretation, as well as their limitations. It is demonstrated how each piece demands its own approach to interpretation, drawing from different methodologies to varying degrees in order to create a convincing interpretation which reflects the concerns of that piece and its composer. The thesis is divided into four chapters: the first discusses the implications and ambiguities of notation in contemporary music; the second evaluates the importance of analysis and its application to performance and includes a discussion of the existing performance practice literature as well as short performer-based analyses of three pieces (Saxton's Piano Sonata, Tippett's Second Piano Sonata, and Feldman's Triadic Memories); the third chapter considers notions of style and performing traditions, illustrating the factors other than analysis that can 'inform' interpretation; and the fourth chapter draws together the processes demonstrated in the previous chapters in a discussion of the interpretative issues raised by Berio's Seguenza IV.
    [Show full text]
  • A Feldman Chronology by Sebastian Claren
    A Feldman Chronology by Sebastian Claren This chronology was originally published in German in, Sebastian Claren, Neither. Die Musik Morton Feldmans (Hofheim: Wolke Verlag, 2000) pp521-544. The English translation by Christine Shuttleworth was first published in, Morton Feldman Says: Selected Interviews and Lectures 1964-1987 (London: Hyphen Press, 2006) pp255-275. The text is made available here by kind permission of Sebastian Claren and Robin Kinross (Hyphen Press). 1926 Morton Feldman is born in Manhattan, New York, on 12 January 1926, the second son of Irving Feldman (1892-1982) and his wife Francis (1898-1985); his brother Harold is nine years older. Both parents are from Jewish families and were sent at the respective ages of eleven and three from Kiev in Russia, via Warsaw, to relatives in New York. Feldman’s father works as a foreman in a clothing company in Manhattan owned by his elder brother. Later, in the early 1940s he succeeds in making himself independent, with a company making children’s coats in Woodside, Queens (5202 39th Avenue), where Feldman grows up. Feldman later related that he had grown up in a wonderful middle- class environment in the suburbs of New York, in a very conventional apartment with conventional furniture.1 1935 At the age of nine, Feldman begins to compose; he takes piano lessons at the Third Street Settlement School on the Lower East Side of Manhattan. 1938 Aged twelve, Feldman is taught piano by Vera Maurina Press, the daughter of a well-off Russian attorney, who had been a friend of the wife of Alexander Scriabin, had studied in Germany with Ferruccio Busoni, Emil von Sauer and Ignaz Friedman, and founded the Russian Trio with her husband Michael Press and his brother David.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers Q-Z PRIAULX RAINIER (1903-1986) Born in Howick, Natal, South Africa. She sudied violin at the South African College of Music in Capetown and later in London at the Royal Academy of Music. At the latter school she also studied composition with John McEwen and subsequently joined its staff as a professor of composition. In Paris she was also taught by Nadia Boulanger. Among her other orchestral works are a Sinfonia da Camera, Violin Concerto and a Dance Concerto "Phala-Phala." Cello Concerto (1963-4) Jacqueline du Pré (cello)/Norman del Mar/BBC Symphony Orchestra (rec. 1964) ( + Elgar: Cello Concerto and Rubbra: Cello Sonata) BBC LEGENDS BBCL 42442 (2008) THOMAS RAJNA (b. 1928) Born in Budapest. He studied at the Franz Liszt Academy under Zoltan Kódaly, Sándor Veress and Leó Weiner. He went to London in 1947 where he studied at the Royal College of Music with Herbert Howells and later on had teaching position at the Guildhall School of Music and the University of Surrey. In 1970 he relocated to South Africa to accept a position at the University of Cape Town. He became a well- known concert pianist and composed for orchestra, chamber groups and voice. For orchestra there is also a Clarinet Rhapsody and a Suite for Strings. Piano Concerto No. 1 (1960-2) Thomas Rajna (piano)/Edgar Cree/South African Broadcasting Corporation Symphony Orchestra (rec. 1974) ( + 11 Preludes and Capriccio) AMARANTHA RECORDS 014 (2001) (original LP release: CLAREMONT GSE 602) (1985) Piano Concerto No.
    [Show full text]
  • Toru Takemitsu” Held in Tokyo (August)
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 T#ru Takemitsu: The Roots of His Creation Haruyo Sakamoto Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLOR IDA STATE UN IV ERSITY SCHOOL OF MUSIC TRU TAKEMITSU: THE ROOTS OF HIS CREATION By HARUYO SAKAMOTO A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2003 The members of the Committee approve the treatise of Haruyo Sakamoto defended on December 10, 2002. __________________________________ Leonard Mastrogiacomo Professor Directing Treatise __________________________________ Victoria McArthur Outside Committee Member __________________________________ Carolyn Bridger Committee Member __________________________________ James Streem Committee Member Approved: _______________________________________________________________________ Seth Beckman, Assistant Dean, School of Music The Office of Graduate Studies has verified and approved the above-named committee members. In memory of my mother whose love and support made it possible for me to complete my studies With all my love and appreciation iii ACKNOWLEDGEMENTS I wish to express my deepest appreciation to Professor Leonard Mastrogiacomo for his encouragement, support, and insightful advice for the completion of this treatise. I would also like to thank the members of my committee, Dr. Carolyn Bridger, Dr. Victoria McArthur, and Professor James Streem for their generous help, cooperation, and guidance. Dr. and Mrs. Stephen Van Camerik have been kind enough to offer assistance as editors. Lastly, but not least, I extend my heartfelt gratitude to my family and friends, who stood by me with love and understanding.
    [Show full text]
  • CITATION DELIVERED by PROFESSOR K. R. Mckinnon
    -- / / CITATION DELIVERED BY PROFESSOR K. R. McKINNON, VICE­ CHANCELLOR OF THE UNIVERSITY OF WOLLONGONG ON THE OCCASION OF THE ADMISSION OF ROGER ROBERT WOODWARD TO THE DEGREE OF DOCTOR OF CREATIVE ARTS, HONORIS CAUSA, ON 9 OCTOBER 1992. Chancellor, I present to you Roger Robert Woodward. Roger Woodward was born just before Christmas in 1942. So, this is his 50th year; a very appropriate time for celebrating achievements. Roger's formative education was completed at the NSW Conservatorium of Music where he studied piano with Winifred Pope. His other mentors as a young man were the legendary Kenneth Long and Sir Eugene Goosens with whom he studied the layered and precise art of organ and church music. After graduation from the Conservatorium and then the Sydney Teachers College, Roger Woodward spent a short time as a teacher in the New South Wales Department of Education. In 1964, he won the ABC Instrumental and Vocal Competition Commonwealth Finals and, by 1965, he was enrolled in postgraduate studies in the Warsaw Academy of Music. In 1968, he won the 23rd International Chopin Festival in the composer's native Poland. His relationship with the works of Chopin was to be a long and loving one. Twenty years later, he performed Chopin's complete works from memory and his latest recording is devoted to Chopin. Artur Rubinstein has called Roger Woodward "one of the finest Chopin performers .... of our time". In 1976 he was appointed a Fellow of the Frederic Chopin Institute, Warsaw. ... two nodes in Roger Woodward' remarkable history as performer and '1f rh;poser could be represented, on one side, by the European classical and / comantic tradition and, on the other, by the "new world" of avant garde artists r~d composers.
    [Show full text]
  • Iannis Xenakis
    concert n°97 Conservatoire Lundi 18 juillet 2011 11h00 Iannis Xenakis Rohan de Saram / violoncelle Jean-Pierre Robert / contrebasse Lori Freedman / clarinettes Geneviève Renon / alto www.flaneriesreims.com Pour le bon déroulement des concerts et par respect pour les artistes, nous vous prions de bien vouloir éteindre vos téléphones portables et vous rappelons qu’il est interdit de filmer, d’enregistrer et de prendre des photos durant le concert. Nous vous remercions de votre compréhension. programme IaNNIS XeNakIS (1922-2001) Roscobeck (1996) - violoncelle et contrebasse IaNNIS XeNakIS Nomos Alpha (1966) - violoncelle solo IaNNIS XeNakIS Kottos (1977) - violoncelle solo IaNNIS XeNakIS Charisma (1971) - violoncelle et clarinette IaNNIS XeNakIS Embellie (1981) - alto solo IaNNIS XeNakIS Theraps (1975-1976) - contrebasse solo À propos du concert Iannis Xenakis (1922-2001) ne se contenta pas d’être un des compositeurs majeurs de notre temps, il fut l’un des derniers humanistes, alliant la musique et l’art à la spéculation mathématique, scientifique et philosophique. S’il suivit d’abord la voie ouverte par kodaly et Bartók, Xenakis emprunta, vers 1952-1953, un chemin plus aventureux où se mêlaient la force des musiques orales méditerranéennes et la nécessité de concevoir la matière sonore brute. Loin de la théorie sérielle qui, alors, dominait la première génération européenne, il élabora ses propres outils théoriques de composition. Depuis il n’a jamais cessé d’étonner le monde musical, réinventant sans cesse les concepts de temps ou d’espace dans la musique. Les œuvres de Xenakis trouvent leurs modèles structurels dans la nature et ses bruits (le vent, l’orage, la grêle sur une toile de tente…), dans le fracas des bombardements ou dans le chaos des mouvements de foule, autant de phénomènes dont la puissance engloutit l’individu, et dont la structure complexe peut être décrite mathématiquement.
    [Show full text]
  • Frédéric Chopin (1810-1849)
    EAST-CENTRAL EUROPEAN & BALKAN CONCERTOS From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman Frédéric Chopin (1810-1849) Born in Źelazowa Wola, near Warsaw, in what was then the Duchy of Warsaw under Russian rule. A child prodigy, he studied at the Warsaw Lyceum and then the Warsaw Conservatory, where his principal teacher was Józef Elsner, who taught him music theory, figured bass, and composition. At age 20, he left Poland and settled in Paris the following year. In his short life, he secured his place as the world's preeminent composer for the piano. Piano Concerto No. 1 in E minor, Op. 11 (1830) Géza Anda (piano)/Ernest Bour/Southwest German Radio Symphony Orchestra, Baden-Baden (rec. 1952) ( + Brahms: Piano Concerto No. 2, Rachmaninov: Piano Concerto No. 2 and Schumann: Piano Concerto) HANSSLER CLASSIC HAEN 94208 (2 CDs) (2009) Géza Anda (piano)/Alceo Galliera/Philharmonia Orchestra (rec. 1956) ( + Ballade No. 1 and 12 Etudes) TESTAMENT SBT 1066 (1996) (original LP release: COLUMBIA 33C 1057/ANGEL 35631) (1958) Martha Argerich (piano)/Claudio Abbado/London Symphony Orchestra ( + Liszt: Piano Concerto No. 1) DEUTSCHE GRAMMOPHON THE ORIGINALS 449719-2 (1999) (original LP release: DEUTSCHE GRAMMOPHON SLPM 139383) (1968) Martha Argerich (piano)/Charles Dutoit/Montreal Symphony Orchestra (included in collection: "Martha Argerich Edition - Concertos") EMI CLASSICS 94031-2 (4 CDs) (2011) (original CD release: EMI CLASSICS 556798-2 (1999) Martha Argerich (piano)/Jacek Kaspszyk/Orchestra della Svizzera Italiana (included in collection: "Martha Argerich and Friends - Live From Lugano Festival 2010") EMI CLASSICS 70836-2 (3 CDs) (2011) Martha Argerich (piano)/James Levine/London Symphony Orchestra ( + Bartók: Piano Sonata and Schumann: Fantasia, Op.
    [Show full text]
  • Peter Serkin, Piano Thema — Vivace I
    CAL PERFORMANCES PRESENTS PROGRAM Tuesday, May 8, 2012, 8pm Hertz Hall Ludwig van Beethoven (1770–1827) Thirty-Three Variations on a Waltz by Anton Diabelli, Op. 120 (1819, 1822–1823) Peter Serkin, piano Thema — Vivace I. Alla Marcia maestoso II. Poco Allegro III. L’istesso tempo IV. Un poco più vivace PROGRAM V. Allegro vivace VI. Allegro ma non troppo e seriouso VII. Un poco più allegro Oliver Knussen (b. 1952) Variations for Piano, Op. 24 (1989) VIII. Poco vivace IX. Allegro pesante e risoluto X. Presto XI. Allegretto Toru Takemitsu (1930–1996) For Away (1972) XII. Un poco più moto XIII. Vivace XIV. Grave e maestoso XV. Presto scherzando Charles Wuorinen (b. 1938) Adagio (2011) XVI. Allegro XVII. Allegro XVIII. Poco moderato XIX. Presto INTERMISSION XX. Andante XXI. Allegro con brio — meno allegro XXII. Allegro molto (alla “Notte e giorno faticar” from Mozart’s Don Giovanni) XXIII. Allegro assai XXIV. Fughetta. Andante X X V. A llegro XXVI. (Piacevole) Funded by the Koret Foundation, this performance is part of Cal Performances’ XXVII. Vivace 2011–2012 Koret Recital Series, which brings world-class artists to our community. XXVIII. Allegro XXIX. Adagio ma non troppo Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. XXX. Andante, sempre cantabile XXXI. Largo, molto espressivo XXXII. Fuga. Allegro XXXIII. Tempo di Minuetto moderato 20 CAL PERFORMANCES CAL PERFORMANCES 21 PROGRAM NOTES PROGRAM NOTES Oliver Knussen (b. 1952) Contemporary Music Group, and holder of adage that East and West would never meet by of 1957, inspired by the death of his friend and Variations for Piano, Op.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers D-H BENJAMIN DALE (1885-1943) Born in London. An accomplished organist siince childhood, he entered the Royal Academy of Music at age 15 where he studied composition under Frederick Corder. He had early success as a composer and teacher including an appointment as Professor of Harmony at the Royal Academy of Music. He composed orchestral, chamber, instrumental, vocal and choral works, including a Concertstück (Concert Piece) for Organ and Orchestra (1904). Romance for Viola and Orchestra (from Suite, Op.2) (1906, orch. 1910) Sarah-Jane Bradley (viola)/Stephen Bell/The Hallé ( + Clarke: Viola Concerto, Walthew: A Mosaic in Ten Pieces and Warner: Suite in D minor) DUTTON EPOCH CDLX7329 (2016) SIR JOHN DANKWORTH (1927-2010) Born in Woodford, Essex into a musical family. He had learned to play various instruments bedore attending London's Royal Academy of Music. He became world famous as a jazz composer, saxophonist and clarinetist, and writer of film scores. He oten oerformed with his wife, the singer Cleo Laine. Clarinet Concerto "The Woolwich" Emma Johnson (clarinet)/Philip Ellis/BBC Concert Orchestra ( + Reade: Suite From The Victorian Kitchen Garden, Todd: Clarinet Concerto and Hawes: Clarinet Concerto) NIMBUS ALLIANCE NI6328 (2016) CHRISTIAN DARNTON (1905-1981) Born in Leeds. His musical education was extensive including studies with Frederick Corder at the Brighton School of Music, Harold Craxton at the Matthay School, composition with Benjamin Dale and Harry Farjeon at Cambridge and Gordon Jacob at the Royal College of Music, private lessons with Charles MusicWeb International Updated: August 2020 British & Commonwealth Concertos D-H Wood and Cyril Rootham and further studies with Max Butting in Germany.
    [Show full text]
  • Xenakis in America
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Xenakis in America Charles Wolcott Turner Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/120 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Xenakis in America by Charles Turner A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 Copyright © 2014 Charles W. Turner All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Joseph Straus ________________ ________________________________ Date Chair of the Examining Committee Norman Carey ________________ ________________________________ Date Acting Executive Officer David Olan Stephen Blum Anne-Sylvie Barthel-Calvet James Harley Supervisory Committee The City University of New York iii Abstract Xenakis in America by Charles Turner Adviser: David Olan Iannis Xenakis had a long-standing interest in the U.S., but given the five years he spent here, little has been written about his experiences. This study attempts, through archival research and interviews, to document Xenakis’ time in the United States. Its subject is his relationship to American cultural institutions, and in what lured Xenakis here for musical composition and research.
    [Show full text]
  • News Section
    54 Letters to the Editor Sargent, on 2 April 1958, which - when it is ever did not live to pursue in successive works - referred to nowadays - seems to be condemned although it would be fascinating to hear the Cello as having been a poor performance under a Concerto, which was completed by him in draft. conductor who evidently did not understand My original impressions of this Symphony the work. have been borne out over the years, and it was However, the BBC possesses a recording of refreshing to be reminded of the first time I heard the broadcast of this premiere, which has been re- it, under Sargent - whose talk on the Symphony broadcast in the past 18 months. This re-hearing in the BBC's Music Magazine the preceding of a performance which has come to be dismissed Sunday, i.e. before the work was heard, spoke of suggests that, at very least, the first three it as being 'great music'. Perhaps it was the work's movements in this premiere were exceptionally first reviewers, rather than the conductor, who well interpreted by Sargent: only in the last failed to grasp the Symphony's originality and movement, surely taken too quickly, would one importance. agree with those who condemned him. I was present at this premiere, and have retained my 1 Exford Road original impression that in this work RVW was London moving into a new creative phase which he sadly SE12 9HD News Section Composers ELLIOTT CARTER. Symphonia (premiere of complete trilogy)—25 April/Manchester. ISCM New Music Days/ JOHN ADAMS.
    [Show full text]