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Suite Hébraïque
Features: Traditional Musical Materials in Ernest Bloch’s Works for Viola The Process of Variation in Volume 33 Number 2 Number 33 Volume Ligeti’s Sonata for Viola Solo Journal of the American ViolaSociety American the of Journal Viola V33 N2.indd 301 11/13/17 6:42 PM Viola V33 N2.indd 302 11/13/17 6:42 PM Journal of the American Viola Society A publication of the American Viola Society Fall 2017: Volume 33, Number 2 p. 3 From the Editor p. 5 From the President News & Notes p. 6 Announcements p. 7 Robert Bridges collection at the Primrose International Viola Archive Feature Articles p. 9 Transformation and Distortion: The Process of Variation in Ligeti’s Sonata for Viola Solo:Kevin Nordstrom makes a compelling case for his variation-based analysis of Loop and Facsar from Ligeti’s monumental sonata. p. 19 Ernest Bloch’s Suite Hébraïque and Meditation and Processional: Historical Overview and Analysis of Traditional Musical Materials: Bloch scholar Alexander Knapp provides a detailed and illuminating analysis of Bloch’s Jewish music for viola, along with an enlivening description of the 1950 Ernest Bloch Festival in Chicago. Departments p. 35 With Viola in Hand: Anne Lanzilotti and John Stulz discuss their approaches to performing modern viola repertoire, based around the repertoire listed for the Lucerne Festival Academy audition. p. 45 Orchestral Matters: Julie Edwards introduces us to the viola section of the Utah Symphony. p. 51 Recording Reviews: Carlos María Solare reviews CD’s from violists Melia Watras, Kim Kashkashian, Sheila Browne, and Roberto Díaz. -
Al Tempo Di Verdi Di Marcello Conati
Teatri e orchestre al tempo di Verdi di Marcello Conati 47 [... ] io per sistema faccio l' istromentale*** durante le prore a cembalo, e lo spartito non è mai intieramente finito che all 'antipro'Va generale (Verdi al Presidente degli Spettacoli della Fenice, Alvise Mocenigo, 25 maggio 1843) Le mie prime sere sono non recite ma*** battaglie: bisogna combattere i parti- ti, le preuensioni, ed il diaoolo che se li porti. (Verdi a Francesco Maria Piave, agosto 1845) *** In casa mia non ui è quasi musica, non sono mai andato in una Biblioteca musicale, mai da un'Editore per esaminare un pezso. Sto a giorno d'alcune delle migliori opere contemporanee, non mai studiandole, ma sentendole qualche oolta in teatro ed in tutto ciò t)~ uno scopo ch'Ella capisce Le ripe to adumque che io sono, fra i Maestri passati e presenti, il meno erudito di tutti. Intendiamoci bene, e sempre per non far blague: dico erudizione e non sapere musicale. Da questo lato mentirei se dicessi che nella mia gio-ventù, non abbia fatto lunghi e se-veri studj. Egli è per questo, che mi trooo a-ver la mano abbastanza forte a piegare la nota come desidero, ed abbastanza sicura per ottenere ordinariamente, gli effetti ch'io immagino; e quando scrioo qualche cosa d'irregolare, si è perché la stretta regola non mi dà quel che ooglio, e perché non credo nemmeno buone, tutte le regole finora adottate. Forse i Trattati di Contrappunto han bisogno di riforma. (Verdi a Filippo Filippi, 4 marzo 1869) La:vigna, era fortissimo nel contrappunto,*** qualche poco pedante, e non 'Ve- de'OO altra musica, che quella di Paisiello. -
Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett: -
Komponist Und Dirigent: Verdi Und Mariani Skladatelj in Dirigent: Verdi in Mariani
M. WALTER • KOMPONIST UND DIRIGENT ... UDK 78.071.1Verdi:78.071.2Mariani DOI: 10.4312/mz.51.1.69-84 Michael Walter Oddelek za muzikologijo, Univerza v Gradcu Department for Musicology, University of Graz Komponist und Dirigent: Verdi und Mariani Skladatelj in dirigent: Verdi in Mariani Prejeto: 2. februar 2015 Received: 2nd February 2015 Sprejeto: 31. marec 2015 Accepted: 31st March 2015 Ključne besede: Giuseppe Verdi, Angelo Mariani, Keywords: Giuseppe Verdi, Angelo Mariani, Pietro Pietro Romani, direttore d’orchestra, maestro con- Romani, Direttore d’orchestra, Maestro concerta- certatore, dirigent tore, Dirigent IZVLEČEK ABSTRACT Zelo verjetno je, da je Verdi vodil vaje – kot mae- It is very likely that Verdi rehearsed the vocal stro concertatore – za péte dele svoje prve opere parts of his first opera Oberto (1839) as maestro Oberto (1839). Vendar pa ni imel vpliva na prvo concertatore. However, he had no influence on the uprizoritev, saj je to vodil prvi violinist oz. direttore first performance, since the performances were d’orchestra. V štiridesetih letih 19. stoletja, zlasti s led by the first violinist or direttore d’orchestra. Pietrom Romanijem in Angelom Marianijem, se In the 1840s began, especially with Pietro Romani je začel pojavljati pojem sodobnega dirigenta, ki and Angelo Mariani, the emergence of the modern je združil obe funkciji (maestro concertatore in conductor, who combined the maestro concerta- direttore d’orchestra) v eni osebi. Verdi je menil, da tore and direttore d’orchestra in one single person. je takšen dirigent najbolj primeren za postavljanje In Verdi’s opinion such a conductor was the best njegovih del. Toda Verdi je bil kaj kmalu razočaran, way to realize his scores. -
An Analysis of Honegger's Cello Concerto
AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S -
Giacomo Zucchi
Conservatorio di Musica “Niccolò Piccinni” Direttore onorario M° Riccardo Muti Presidente Dott.ssa Marida Dentamaro Direttore M° Gianpaolo Schiavo Direttore amministrativo Dott.ssa Anna Maria Sforza Produzione artistica del Conservatorio “Niccolò Piccinni” Referenti del progetto: Paolo Messa, Maurizio Lomartire Équipe del progetto: Paolo Messa, Maurizio Lomartire, Pasquale Lepore, Federico Biscione Un sentito ringraziamento al M° Vincenzo Anselmi per aver contribuito ad incrementare il repertorio per ensemble di viole. INTRODUZIONE È stato sufficiente un solo anno di assenza per far sentire, a noi docenti e ai nostri allievi, la sua mancanza. Fortunatamente il positivo riscontro ottenuto dalle edizioni 2014 e 2015 ha consentito che il nostro Conservatorio accogliesse nuovamente il progetto ViolaFest nell’ambito delle attività di produzione artistica e di ricerca. Al pari delle precedenti edizioni e, come sempre, in sinergia con l’Associazione Italiana della Viola (AIV), il ViolaFest si pone l’obiettivo della promozione e diffusione della viola, del suo repertorio e della sua didattica attraverso una serie di eventi - Masterclass, concerti, tavole rotonde - che mirano principalmente all’aggregazione tra studenti, strumentisti e docenti di viola affermati in ambito nazionale e internazionale. In linea con questa impostazione, l’edizione 2017, intitolata “La Viola Italiana”, vedrà la partecipazione di Anna Serova e Luca Sanzò, solisti di celebrata fama, e di Alessandro Cusatelli, compositore che al nostro strumento ha dedicato un concerto già entrato a pieno diritto nel grande repertorio violistico. L’ argomento scelto come traccia per quest’anno ci darà, fra l’altro, l’allettante opportunità di condividere con pubblico e colleghi la sorpresa che abbiamo provato nel recupero di composizioni cadute nell’oblio e che invece meriterebbero, come tantissime altre opere del repertorio strumentale dell’800 e ‘900 italiano ancora sepolte nella polvere delle biblioteche, una assai più dignitosa considerazione. -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op. -
Programnotes Brahms Double
Please note that osmo Vänskä replaces Bernard Haitink, who has been forced to cancel his appearance at these concerts. Program One HundRed TwenTy-SeCOnd SeASOn Chicago symphony orchestra riccardo muti Music director Pierre Boulez Helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 18, 2012, at 8:00 Friday, October 19, 2012, at 8:00 Saturday, October 20, 2012, at 8:00 osmo Vänskä Conductor renaud Capuçon Violin gautier Capuçon Cello music by Johannes Brahms Concerto for Violin and Cello in A Minor, Op. 102 (Double) Allegro Andante Vivace non troppo RenAud CApuçOn GAuTieR CApuçOn IntermIssIon Symphony no. 1 in C Minor, Op. 68 un poco sostenuto—Allegro Andante sostenuto un poco allegretto e grazioso Adagio—Allegro non troppo, ma con brio This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PhilliP huscher Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria. Concerto for Violin and Cello in a minor, op. 102 (Double) or Brahms, the year 1887 his final orchestral composition, Flaunched a period of tying up this concerto for violin and cello— loose ends, finishing business, and or the Double Concerto, as it would clearing his desk. He began by ask- soon be known. Brahms privately ing Clara Schumann, with whom decided to quit composing for he had long shared his most inti- good, and in 1890 he wrote to his mate thoughts, to return all the let- publisher Fritz Simrock that he had ters he had written to her over the thrown “a lot of torn-up manuscript years. -
Cello Concerto in B Minor, Op. 104 ANTONÍN DVORÁK
I believe Prokofiev is the most imaginative orchestrator of all time. He uses the percussion and the special effects of the strings in new and different ways; always tasteful, never too much of any one thing. His Symphony No. 5 is one of the best illustrations of all of that. JANET HALL, NCS VIOLIN Cello Concerto in B Minor, Op. 104 ANTONÍN DVORÁK BORN September 8, 1841, near Prague; died May 1, 1904, in Prague PREMIERE Composed 1894-1895; first performance March 19, 1896, in London, conducted by the composer with Leo Stern as soloist OVERVIEW During the three years that Dvořák was teaching at the National Conservatory of Music in New York City, he was subject to the same emotions as most other travelers away from home for a long time: invigoration and homesickness. America served to stir his creative energies, and during his stay, from 1892 to 1895, he composed some of his greatest scores: the “New World” Symphony, the Op. 96 Quartet (“American”), and the Cello Concerto. He was keenly aware of the new musical experiences to be discovered in the land far from his beloved Bohemia when he wrote, “The musician must prick up his ears for music. When he walks he should listen to every whistling boy, every street singer or organ grinder. I myself am often so fascinated by these people that I can scarcely tear myself away.” But he missed his home and, while he was composing the Cello Concerto, looked eagerly forward to returning. He opened his heart in a letter to a friend in Prague: “Now I am finishing the finale of the Cello Concerto. -
Rep List 1.Pub
Richmond Symphony Orchestra League Student Concerto Competition Repertoire Please choose your repertoire from the approved selections below. Guitar & percussion students are welcome to participate; Please contact Anne Hoffler, contest coordinator, at aahoffl[email protected] for repertoire approval no later than November 30. VIOLIN Faure Elegy, Op. 24 Bach All Violin concerti Haydn Cello Concerto No. 1 in C major Beethoven Violin Concerto in D major Haydn Cello Concerto No. 2 in D major Beethoven Romance No. 1 in G major Kabalevsky Cello Concerto No. 1 in G minor, Op. 49 Beethoven Romance No. 2 in F major Lalo Cello Concerto in D minor Bériot Scéne de Ballet, Op. 100 Rubinstein Cello Concerto No. 2 in D minor, Op.96 Bériot Violin Concerto No. 7 in G major Saint-Saëns Cello Concerto No. 1 in A minor, Op.33 Bériot Violin Concerto No. 9 in A minor Saint-Saëns Cello Concerto No. 2 in D minor, Op. 119 Bruch Violin Concerto No. 1 in G minor Schumann Cello Concerto in A minor Haydn All Violin concerti Shostakovich Concerto for Cello No. 1 Kabalevsky Violin Concerto in C Major, Op. 48 Stamitz All Cello concerti Lalo Symphonie Espagnole R. Strauss Romanze in F major Massenet Méditation from Thaïs Tchaikovsky Variations on a Rococo Theme, Op.33 Mendelssohn Violin Concerto in E minor, Op.64 Vivaldi All Cello concerti Mozart Violin Concerto No. 1 in B-flat major Mozart Violin Concerto No. 2 in D major BASS Mozart Violin Concerto No. 3 in G major Bottesini Double Bass Concerto No.2 in B minor Mozart Violin Concerto No. -
Giuseppe V Erdi | Messa Da R Equiem | Dimanche 15 No Vembre
DIMANCHE 15 NOVEMBRE – 20H Giuseppe Verdi Messa da Requiem Orchestra e Coro del Teatro alla Scala Daniel Barenboim, direction Barbara Frittoli, soprano Sonia Ganassi, mezzo-soprano Jonas Kaufmann, ténor Kwangchul Youn, basse | dimanche 15 novembre Bruno Casoni, chef de chœur Messa da Requiem Messa | Fin du concert vers 21h30. Giuseppe Verdi Verdi Giuseppe Giuseppe Verdi (1813-1901) Messa da Requiem, pour soli, chœur mixte et orchestre 1. Requiem e Kyrie (chœur, solistes) 2. Dies iræ (chœur) – Tuba mirum (chœur, basse) – Liber scriptus (mezzo–soprano, chœur) – Quid sum miser (soprano, mezzo-soprano, ténor) – Rex tremendae (solistes, chœur) – Recordare (soprano, mezzo-soprano) – Ingemisco (ténor) – Confutatis (basse) – Lacrimosa (solistes, chœur) 3. Offertorium (solistes) 4. Sanctus (double chœur) 5. Agnus Dei (soprano, mezzo-soprano, chœur) 6. Lux æterna (mezzo-soprano, ténor, basse) 7. Libera me (soprano, chœur) Composition : 1873-1874. Création : le 22 mai 1874 en l’église San Marco de Milan sous la direction du compositeur. Durée : environ 1h25. Lorsque meurt Rossini, le 13 novembre 1868, Verdi se montre très touché. Il lance auprès de son éditeur, Tito Ricordi, l’idée d’un Requiem à sa mémoire écrit par dix sommités musicales italiennes et exécuté le jour anniversaire de sa disparition, en son fief de Bologne. Lui-même s’octroie le finale, le Libera me. La Messe pour Rossini est composée, mais diverses raisons font échouer son exécution. Elle vivra cependant au travers de la Messa da Requiem, dans laquelle Verdi reprend tout naturellement le fragment inutilisé. Dès l’abandon du projet de la Messe pour Rossini, Verdi envisage d’écrire un Requiem. -
20Th-Century Repertory
Mikrokosmos List 641. - 2 - January 2019 ....20TH-CENTURY REPERTORY 1 Antheil: The Wish opera - Risley, Pickett, cond, Bomhard LOUISVILLE LOU 564 A 12 2 Arnold: Tam O'Shanter Ov; Beckus Ov; Sym 2 - Royal PO, cond.comp, Hollingsworth EPIC LC 3422 A 8 (gold US) 3 Babajanian: Heroic Ballad (comp.pno, USSR RSO, Rachlin)/ Tchaikovsky: Concert CLASSIC ED CE 7 A 8 Fant (Nikolayeva, USSR SSO, Kondrashin) 4 Bacharach: Casino Royale - cond.comp (Colgems US pressing) S RCA COSO 5005 A 50 5 Badings: Louisville Sym/B.Weber: Prel & Passacaglia/Sowerby: All on a Summer LOUISVILLE LOU 566 A 8 Day - Louisville Orch, Whitney 6 Barber: Melodies Passageres (Bernac, Poulenc); Dover Beach (S.Barber bar, Curtis NEW WORLD NW 229 A 10 SQ)/ N.Rorem: Songs (Gramm, Curtis, Bressler, Curtin, etc) (p.1978) M\S 7 Barber: Summer Music/Hindemith: Kleine Kammermusik/Jolivet: BIS LP 291 A 10 Serenade/Saeverud: Slatter - Bergen Wind Quintet (gatefold) 1984 S 8 Bax, Arnold: Fantasie Sonata (vla, hp); Vla Sonata - M.Thomas, S.McDonald hrp, KLAVIER KS 570 A++ 10 D.Stevenson pno (p.1982) S 9 Bennett: Guitar Con (cond.Atherton)/ Rawsthorne: Elegy/ Walton: 5 Bagatelles/ RCA ARL1 49 A 8 Berkeley: Theme & Variations - J.Bream guitar (p.1973) S 10 Berger, Arthur: Polyphony/Surinach: Ov Feria Magica/M.Kupferman: Sym 4 - LOUISVILLE LOU 584 A 8 cond.Whitney 11 Berio: Epifanie; Folk Songs - Berberian, Juilliard Ens, cond. comp. S RCA LSC 3189 A 10 12 Bernstein: Candide Ov; Sym Excs from On the Town, On the Waterfront, Fancy Free, DECCA PFS 4211 A 8 EW5 West Side Story - Royal PO, cond.E.Rogers