April 2017 List
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Supporting European Art Forms, Oftentimes to the Exclusion of Other Art Forms, Artists, Arts Organizations, and Their Patrons, in Particular People of Color
SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER RENTAL REQUESTS: June 10, 2021 DAVIES SYMPHONY HALL San Francisco Symphony July 2021 $12,960.00 August 2021 $6,150.00 Rehearsals and performances for July and August. WAR MEMORIAL OPERA HOUSE San Francisco Opera Tech and Packing May 2021 $7,075.00 HERBST THEATRE American Bach Soloists $5,500.00 Baroque Summer Festival August 1, 6 & 7, 2021 New Year's Eve Concert December 31, 2021 UCSF School of Medicine August 8, 2021 $1,375.00 White Coat Ceremony San Francisco Performances $58,800.00 Alexander String Quartet w/ R. Greenberg September 5 & 11, 2021 Concert September 26, 2021 Catalyst Quartet w/ Stewart Goodyear October 7, 2021 Theo Bleckmann October 20, 2021 Brooklyn Rider w/ Nicholas Phan October 21, 2021 Jennifer Koh w/ Misty Mazzoli October 23, 2021 Jan Lisiecki October 27, 2021 Dover Quartet w/ Davone Tynes November 9, 2021 Catalyst Quartet w/ Anthony McGill November 11, 2021 Gift Concert November 16, 2021 Castalian Quartet November 17, 2021 Jonathan Biss December 11, 2021 Golda Schultz January 21, 2022 Alexander String Quartet w/ R. Greenberg January 22, 2022 Alexander String Quartet w/ R. Greenberg January 29, 2022 Steven Isserlis January 29, 2022 Andrew Tyson January 30, 2022 Catalyst Quartet w/ Dashon Burton February 11 , 2022 Dublin Guitar Quartet February 12, 2022 Alexander String Quartet w/ R. Greenberg February 19, 2022 Alexander String Quartet w/ R. Greenberg March 5, 2022 Isata Kanneh-Mason March 7, 2022 Alexander String Quartet w/ R. Greenberg March 12, 2022 Brooklyn -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Juilliard415 Kristian Bezuidenhout, Harpsichord and Director
Juilliard415 Kristian Bezuidenhout, Harpsichord and Director The Juilliard School presents Juilliard415 Kristian Bezuidenhout, Harpsichord and Director Recorded on April 10, 2021 Peter Jay Sharp Theater HENRY PURCELL Music of the Theater (1659-95) Overture to Dioclesian Hornpipe from King Arthur Rondeau Minuet from The Gordion Knot Untied First Act Tune from The Virtuous Wife Second Music from The Virtuous Wife Rondeau from The Indian Queen Chacony in G Minor J.S. BACH Contrapunctus XIV from The Art of Fugue, arr. for flute, oboe, (1685-1750) and four-part strings Harpsichord Concerto in D Minor, BWV 1052 Allegro Adagio Allegro GEORG PHILIPP Sonata à 5 for two violins, two violas, and basso continuo in TELEMANN G Minor, TWV 44:33 (1681-1767) Grave Allegro Adagio Vivace 1 Welcome to the 2020-21 Historical Performance season! The Historical Performance movement began as a revolution: a reimagining of musical conventions, a rediscovery of instruments, techniques, and artworks that inspire and teach us, and a celebration of diversity in repertoire. It is also a conversation with the past, a past whose legacy of racism and colonialism has silenced and excluded too many voices from being heard. We do not seek simply to recreate what might have been but to imagine what should be. We embrace Juilliard's values of equity, diversity, inclusion, and belonging through voices heard anew and historical works presented with empathetic perspectives, and we reject discrimination, exclusion, and marginalization. We recognize that we study and work on the traditional homeland of those who preceded us (see Juilliard's land acknowledgement statement, below). -
M. Suzuki & Bach Collegium Japan (BIS SACD)
BIS-SACD-1551 Cantatas:booklet 19/12/06 09:03 Page 2 BACH, Johann Sebastian (1685-1750) Cantatas 34 · Leipzig 1725 Wie schön leuchtet der Morgenstern, BWV 1 22'23 Kantate zum Fest Mariae Verkündigung (25. März 1725) Text: [1, 6] Philipp Nicolai 1599; [2-5] anon. Corno I, II, Oboe da caccia I, II, Violino concertato I, II, Violino I, II, Viola, Soprano, Alto, Tenore, Basso, Continuo 1 1. [Chorus]. Wie schön leuchtet der Morgenstern… 8'19 2 2. Recitativo (Tenore). Du wahrer Gottes und Marien Sohn … 0'58 3 3. Aria (Soprano). Erfüllet, ihr himmlischen göttlichen Flammen … 4'14 4 4. Recitativo (Basso). Ein ird’scher Glanz, ein leiblich Licht… 0'56 5 5. Aria (Tenore). Unser Mund und Ton der Saiten … 6'24 6 6. Choral. Wie bin ich doch so herzlich froh … 1'18 Erhalt uns, Herr, bei deinem Wort, BWV 126 17'04 Kantate zum Sonntag Sexagesimae (4. Februar 1725) Text: [1, 3] Martin Luther 1542; [2, 4, 5] anon.; [6] Martin Luther 1529/Johann Walter 1566 Tromba, Oboe I, II, Violino I, II, Viola, Soprano, Alto, Tenore, Basso, Continuo, Organo 7 1. [Chorus]. Erhalt uns, Herr, bei deinem Wort … 2'44 8 2. Aria (Tenore). Sende deine Macht von oben … 4'44 9 3. Recitativo [& Choral] (Alto, Tenore). Der Menschen Gunst … 1'56 10 4. Aria (Basso). Stürze zu Boden, schwülstige Stolze! … 4'50 11 5. Recitativo (Tenore). So wird dein Wort und Wahrheit offenbar … 0'52 12 6. Choral. Verleih uns Frieden gnädiglich … 1'45 2 BIS-SACD-1551 Cantatas:booklet 19/12/06 09:03 Page 3 Herr Jesu Christ, wahr’ Mensch und Gott, BWV 127 19'21 Kantate zum Sonntag Estomihi (11. -
Shostakovich (1906-1975)
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Symphony No. 1 in F minor, Op. 10 (1923-5) Yuri Ahronovich/Moscow Radio Symphony Orchestra ( + Overture on Russian and Kirghiz Folk Themes) MELODIYA SM 02581-2/MELODIYA ANGEL SR-40192 (1972) (LP) Karel Ancerl/Czech Philharmonic Orchestra ( + Symphony No. 5) SUPRAPHON ANCERL EDITION SU 36992 (2005) (original LP release: SUPRAPHON SUAST 50576) (1964) Vladimir Ashkenazy/Royal Philharmonic Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15, Festive Overture, October, The Song of the Forest, 5 Fragments, Funeral-Triumphal Prelude, Novorossiisk Chimes: Excerpts and Chamber Symphony, Op. 110a) DECCA 4758748-2 (12 CDs) (2007) (original CD release: DECCA 425609-2) (1990) Rudolf Barshai/Cologne West German Radio Symphony Orchestra (rec. 1994) ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15) BRILLIANT CLASSICS 6324 (11 CDs) (2003) Rudolf Barshai/Vancouver Symphony Orchestra ( + Symphony No. -
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
Download Booklet
572813 bk Zemlinsky EU_572813 bk Zemlinsky EU 23/05/2013 13:45 Page 4 Escher String Quartet Alexander Adam Barnett-Hart, Violin I • Wu Jie, Violin II • Pierre Lapointe, Viola • Dane Johansen, Cello Championed by the Emerson String Quartet, the Escher String ZEMLINSKY Quartet players were BBC New Generation Artists from 2010- 2012, giving débuts at both the Wigmore Hall and the BBC Proms String Quartets • 1 at Cadogan Hall. In their home town of New York, the quartet recently completed a three-year Escher String Quartet Rising Stars residency at The Chamber Music Society of Lincoln Center. Within months of its inception in 2005, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet-in-Residence at each artist’s summer festival: the Young Artists Programme at Canada’s National Arts Centre; and the Perlman Chamber Music Program on Shelter Island, NY. Photo: Henry Fair In addition, the quartet has collaborated with artists such as Andrés Diaz, Lawrence Dutton, Kurt Elling, Leon Fleisher, Anja Lechner, Vadim Gluzman, Angela Yoffe, Gary Hoffman, Joseph Kalichstein, Kurt Muroki, Joseph Silverstein, Khatia Buniatishvili, Benjamin Grosvenor and Matthew Hunt, as well pop folk singer-songwriter Luke Temple. Recent performances include appearances at the Cheltenham, Lichfield and City of London Festivals, the Auditorium du Louvre in Paris, 92nd Street Y in New York, the Kennedy Center in Washington DC and the Ravinia and Caramoor festivals. Elsewhere, the quartet undertook a tour of China including Beijing, Shanghai and Hangzhou, and made its Australian début with Brett Dean at the Perth International Arts Festival. -
Magazin Saison 2015 /2016 November ––– Dezember
MAGAZIN SAISON 2015/2016 NOVEMBER ––– DEZEMBER Premieren: Der fliegende Holländer Der Graf von Luxemburg Wiederaufnahmen: Don Carlo Lucia di Lammermoor Die diebische Elster 1 ERHABEN WOHNEN. AUCH ÜBER DEN ZEITGEIST. TROGERSTRASSE 19, MÜNCHEN Wo Bogenhausen und Haidhausen zusammen kommen, wenige Schritte von der Prinzregentenstraße entfernt, ent- stehen 26 Zwei- bis Vier-Zimmer-Wohnungen von ca. 77 m bis ca. 218 m. Der Entwurf von Landau + Kindelbacher setzt Maßstäbe: Während das Vor der- gebäude subtil mit der Jugendstilnachbarschaft harmonisiert, zeichnet sich das Rückgebäude durch radikale Modernität aus. Off en konzipierte Grundrisse und Details wie Naturstein in den Bädern oder transparente Brüstungen voll- en den die Ausnahme-Architektur. „Eines der schönsten Kauf- objekte 2015“ EnEV 2014 EA-B · HZG BHKW Beratung und provisionsfreier Verkauf: 089 415595-15 2Bj. (EA) 2016 www. bauwerk . de 45 kWh/(m²a) Energieeffi zienzklasse A Bauwerk Capital GmbH & Co . KG , Prinzregentenstraße 22 , 80538 München BWC_AZ_T19_EngelslBayStaatsoper_210x297_f39.indd 1 07.10.15 11:00 Wir bedanken uns herzlich für die Die Oper Frankfurt ist »Opernhaus des Jahres« 2015 großzügige finanzielle Unterstützung Internationale Kritikerumfrage der Fachzeitschrift Opernwelt bei unseren Partnern. Bestes Theater-Gesamtprogramm der Saison 2014 / 2015 Hauptförderer Überzeugende Gesamtleistung des Opernhauses und Würdigung von Ur- und Erstaufführungen Bernd Loebe als herausragendem Opernmanager. Autorenumfrage des Theatermagazins Die Deutsche Bühne Damit nimmt die Oper Frankfurt seit der Intendanz von Bernd Loebe ERHABEN WOHNEN. erstmals den Spitzenplatz bei beiden Kritikerumfragen ein. AUCH ÜBER DEN ZEITGEIST. Hauptförderer Opernstudio TROGERSTRASSE 19, MÜNCHEN Wo Bogenhausen und Haidhausen zusammen kommen, wenige Schritte von der Prinzregentenstraße entfernt, ent- Inhalt stehen 26 Zwei- bis Vier-Zimmer-Wohnungen von ca. -
Escher String Quartet String Quartets: No
MENDELSSOHN · ESCHER STRING QUARTET STRING QUARTETS: NO. 5 IN E FLAT MAJOR & NO. 6 IN F MAJOR Front cover from left: Pierre Lapointe, Adam Barnett-Hart, Aaron Boyd, Dane Johansen BIS-2160 BIS-2160 booklet cover.indd 1 2016-01-29 14:29 MENDELSSOHN BARTHOLDY, Felix (1809–47) Quartet No.5 in E flat major 34'50 Op.44 No.3, MWV R28 (1837–38) 1 I. Allegro vivace 13'22 2 II. Scherzo. Assai leggiero e vivace 4'05 3 III. Adagio non troppo 8'34 4 IV. Molto allegro con fuoco 8'40 from Four Pieces for String Quartet, Op.81 5 3. Capriccio (Andante con moto – Allegro fugato assai vivace) in E minor, MWV R32 (1843) 5'37 6 4. Fugue (A tempo ordinario) in E flat major, MWV R23 (1827) 5'00 Quartet No.6 in F minor, Op.80, MWV R37 (1847) 25'02 7 I. Allegro vivace assai – Presto 7'05 8 II. Allegro assai 4'14 9 III. Adagio 7'52 10 IV. Finale. Allegro molto 5'44 TT: 71'17 Escher String Quartet Adam Barnett-Hart violin · Aaron Boyd violin Pierre Lapointe viola · Dane Johansen cello 3 he quartet has always been regarded as the purest and noblest of mu sical genres, which in particular heightens, educates, refines our appre cia tion ‘Tof music and, with the tiniest of means, achieves the ut most. Its clarity and transparency, which no trickery can cloak, make quartet music the surest yard- stick for measuring genuine composers; in renouncing the sensual lures of sound effects and contrasts, it highlights the gift of musical invention and the art of exploiting a musical idea. -
September 2019 Catalogue Issue 41 Prices Valid Until Friday 25 October 2019 Unless Stated Otherwise
September 2019 Catalogue Issue 41 Prices valid until Friday 25 October 2019 unless stated otherwise ‘The lover with the rose in his hand’ from Le Roman de la 0115 982 7500 Rose (French School, c.1480), used as the cover for The Orlando Consort’s new recording of music by Machaut, entitled ‘The single rose’ (Hyperion CDA 68277). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, As summer gives way to autumn (for those of us in the northern hemisphere at least), the record labels start rolling out their big guns in the run-up to the festive season. This year is no exception, with some notable high-profile issues: the complete Tchaikovsky Project from the Czech Philharmonic under Semyon Bychkov, and Richard Strauss tone poems from Chailly in Lucerne (both on Decca); the Beethoven Piano Concertos from Jan Lisiecki, and Mozart Piano Trios from Barenboim (both on DG). The independent labels, too, have some particularly strong releases this month, with Chandos discs including Bartók's Bluebeard’s Castle from Edward Gardner in Bergen, and the keenly awaited second volume of British tone poems under Rumon Gamba. Meanwhile Hyperion bring out another volume (no.79!) of their Romantic Piano Concerto series, more Machaut from the wonderful Orlando Consort (see our cover picture), and Brahms songs from soprano Harriet Burns. Another Hyperion Brahms release features as our 'Disc of the Month': the Violin Sonatas in a superb new recording from star team Alina Ibragimova and Cédric Tiberghien (see below).