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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Download Booklet
PIANISTS, PSYCHIATRISTS AND PIANO CONCERTOS Sergei Rachmaninov (1873-1943) Piano Concerto No. 2 in C minor, Op. 18 “I play all the right notes, but not necessarily in the right order.” That flat-G-C-G, whereas his right could easily encompass C (2nd finger!)-E 1 Moderato 11. 21 2 Adagio sostenuto 12. 03 was how Eric Morecambe answered the taunt of conductor ‘Andrew (thumb)-G-C-E. 3 Allegro scherzando 11. 51 Preview’ (André Previn), who was questioning his rather ‘unusual’ treat- Yet although Rachmaninoff appeared to be a born pianist, he had ment of the introductory theme of Edvard Grieg’s Piano Concerto. set his heart on a career as composer and conductor. Only after fleeing Edvard Grieg (1843-1907) Nowadays, the sketch from the 1971 Christmas show of the famous from Russia following the outbreak of the revolution, did he realise that Piano Concerto in A minor, Op. 16 comedy duo Morecambe and Wise has attained cult status and can be he would not be able to earn a living as a composer, that his lack of tech- 4 Allegro molto moderato 13. 43 viewed on the Internet. Many years later, Previn let slip that taxi-drivers nique would impede a career as a conductor, and that the piano could 5 Adagio 6. 34 still regularly addressed him as ‘Mr Preview’. In fact, the sketch was not well play a much larger role in his life. The many recordings (including 6 Allegro moderato molto e marcato 10. 51 the first to parody Grieg’s indestructible concerto: that honour belongs all his piano concertos and his Paganini Rhapsody) that form a resound- to Franz Reizenstein, with his Concerto Popolare dating from 1959. -
Boston Symphony Orchestra Concert Programs, Season 112, 1992-1993
One Hundred and Twelfth Season 1992-93 BOSTON SYMPHONY ORCHESTRA k*\ i SEIJI OZAWA, MUSIC DIRECTOR THE ART OF SEI KO Bracelets, cases, and casebacks finished in 22 karat gold. E.B. HORN i Jewelers Since 1839 429 WASHINGTON ST. BOSTON 02108 617-542-3902 • OPEN MON. AND THURS. TIL 7 " "(.'' :' '.'.'.''.'.V '« -:..'" » " Seiji Ozawa, Music Director One Hundred and Twelfth Season, 1992-93 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Nina L. Doggett R. Wdlis Leith, Jr. Peter A. Brooke Dean Freed Mrs. August R. Meyer James F. Cleary Avram J. Goldberg Molly Beals Millman John F. Cogan, Jr. Thelma E. Goldberg Mrs. Robert B. Newman Julian Cohen Julian T. Houston Peter C. Read William F. Connell Mrs. BelaT. Kalman Richard A. Smith Wdliam M. Crozier, Jr. Allen Z. Kluchman Ray Stata Deborah B. Davis Harvey Chet Krentzman Trustees Emeriti Vernon R. Alden Archie C. Epps Irving W. Rabb Philip K. Allen Mrs. Harris Fahnestock Mrs. George R. Rowland Allen G. Barry Mrs. John L. Grandin Mrs. George Lee Sargent Leo L. Beranek Mrs. George I. Kaplan Sidney Stoneman Mrs. John M. Bradley Albert L. Nickerson John Hoyt Stookey AbramT. Collier Thomas D. Perry, Jr. John L. Thorndike Nelson J. Darling, Jr. Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R. -
Shostakovich Cello Concertos
SHOSTAKOVICH CELLO CONCERTOS MARC COPPEY Polish National Radio Symphony Orchestra LAWRENCE FOSTER DMITRI SHOSTAKOVICH CELLO CONCERTO NO. 1 in E-flat major, Op. 107 I. Allegretto 6:09 II. Moderato 11: 0 8 III. Cadenza 5:40 I V. Allegro con moto 5:01 CELLO CONCERTO NO. 2 in G minor, Op. 126 I. Largo 12:58 II. Allegretto 4:18 III. Allegretto 14:53 t is not common for a great composer to dedicate two concertos to the cello. Cellists Ican be grateful to Shostakovich, who gave us a uniquely powerful and highly contrasted diptych. The First Concerto is one of the most played and popular cello concertos of all time, comprising explosive rhythmical energy and ultimate virtuosity alongside heartbreaking melodies. It is also sarcastic when Shostakovich quotes a distorted version of “Souliko”, Stalin’s favourite song, opposite the “D-S-C-H[=B]”-motif dominating the piece. The Second Concerto, less often performed, is one of Shostakovich’s greatest masterpieces, typical of his later style. It is characterized by a lyrical and often meditative spirit as much as by a contrasting strong symphonic power. The unity of its structure impresses, although it is composed of very different material including street songs, fanfares and dances, making it a total work of art. Performing these two masterpieces by Shostakovich in the same concert is rarely done as it is a great challenge for all the musicians involved. I am thrilled to share the stage with such great artists as Lawrence Foster and the Polish National Radio Symphony Orchestra to perform and record these highlights of the cello repertoire and twentieth century music. -
Program Summary (20 February 2014)
Program Summary (20 February 2014) At 8:20 pm, President Byrnes introduced George Barnstone, who organized the introduction of guests. Our speaker, Carl Cunningham, was introduced by Dr. Don Looser. (Dr. Looser is vice-president emeritus of Houston Baptist University, and author of An Act of Providence, which is a history of HBU’s first 50 years.) Carl Cunningham is the retired fine arts critic for the Houston Post,a position he held for 30 years until the Post folded in 1995. Carl arrived in Hous- ton when Jones Hall opened in 1966. Carl was affiliated with the University of St. Thomas for nearly 20 years. Carl’s degree was from Notre Dame. Carl is co-author of two books on the Houston Symphony. The title of this evening’s talk was The Houston Symphony: Celebrating a Century.Themember- ship warmly welcomed the speaker. This is the 663rd meeting of the Houston Philosophical Society. Carl began by explaining that he wrote about half of the book, together with colleagues Terry Brown and Ginny Garrett. Terry and Ginny assembled an impressive collection of stories and pictures as part of the Symphony’s history. The first symphony director was Julien Blitz from 1913-1916. Julien had moved to the warm climate of Houston several years earlier. The symphony resulted from a friendship of Blitz and Ima Hogg. The venue was the Majestic Theater, which is now part of the Houston Chronicle building downtown. Blitz resigned when the orchestra was not able to expand beyond the 34 members. The orchestra disbanded at the end of WWI, and only started up again in 1931. -
Aber Der Richtige
Richard Strauss Aber der Richtige... Violin Concerto Miniatures Arabella Steinbacher WDR Symphony Orchestra Lawrence Foster Maybe it is because of my name, which my parents gave me as great Strauss lovers, that his music touches me so much. Born into a world full of singing, as a child I used to sit under the grand piano in my "music cave" while my father rehearsed with singers. The famous duet from Arabella, which my parents engraved in our banisters, has accompanied me since I can remember. This duet was finally the impetus to record an album with only works by Richard Strauss. Of course, even if the sung lyrics are missing, I have dared to sing these songs on my violin and hope that singers will forgive me. I hope you enjoy traveling through this Romantic sound world. Yours, Richard Strauss (1864-1949) Violin Concerto in D minor op. 8 (1882) 1 Allegro 15. 10 2 Lento, ma non troppo 6. 09 3 Rondo 8. 30 4 Romanze (Cello-Romanze, for violin) (1883) 9. 36 5 Little Scherzino op 3. No 4 (1881) * 4. 12 6 Zueignung op 10. No. 1 (1885) 1. 34 7 Traum durch die Dämmerung op. 29 No. 1 (1895) 2. 46 8 Cäcilie op. 27 No. 2 (1894) 2. 27 9 Wiegenlied op 41. No. 1 (1900) 4. 30 10 From “Arabella” (1933): “Aber der Richtige...“ * 5. 09 * Arranged by Peter von Wienhardt Total playing time: 60. 35 Arabella Steinbacher, violin WDR Symphony Orchestra Conducted by Lawrence Foster But the right one for me Arabella Steinbacher. -
Boston Symphony Orchestra Concert Programs, Summer, 2005
anglewood - ORIGINS GAU€RV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 i^^H^H^H^m Wfi? Burning Tree Estates! " ^fWf —-r- m& II •HI I^Sror HI! an inviting opportunity in the Berkshires: our exclusive community of fifteen [ Comforts of Home ] tastefully unique homes. Classic New duality of Life ] England designs, abundant with luxury [ 5rai"<? of Community ] amenities, are built with the discerning homeowner in mind. Each is majestically sited on private wooded acres along tranquil streets. Please schedule an appointment to explore our distinctive designs and the remaining lots available at Burning Tree Estates. For more information please call lli|-{Si4~3 or visit Burning Tree Road BOSTON SYMPHONY ORCHESTRA One Hundred and Twenty- Fourth Season, 2004-05 TANGLEWOOD 2005 Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman Edward Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer Harlan E. Anderson Eric D. Collins Edmund Kelly Edward I. Rudman George D. Behrakis Diddy Cullinane, George Krupp Hannah H. Schneider Gabriella Beranek ex-officio R. Willis Leith, Jr. Thomas G. Sternberg Mark G. Borden William R. Elfers Nathan R. Miller Stephen R. Weber Jan Brett Nancy J. Fitzpatrick Richard P. Morse Stephen R. Weiner Samuel B. Bruskin Charles K. Gifford Ann M. Philbin, Robert C. Winters Paul Buttenwieser Thelma E. Goldbere James F. Cleary Life Trustees Vernon R. -
SEASON THOMAS ADÈS Overture
2017 2018 SEASON David Robertson, conductor Friday, January 12, 2018 at 10:30AM Augustin Hadelich, violin Saturday, January 13, 2018 at 8:00PM THOMAS ADÈS Powder Her Face Suite (1995/2017 SLSO co-commission) (b. 1971) Overture – Scene with Song – Wedding March – Waltz – Ode – Paperchase – Hotel Manager’s Aria “It is too late” – Finale BRITTEN Violin Concerto, op. 15 (1939) (1913–1976) Moderato con moto – Vivace – Passacaglia: Andante lento (un poco meno mosso) Augustin Hadelich, violin INTERMISSION SHOSTAKOVICH Symphony No. 1 in F minor, op. 10 (1925) (1906–1975) Allegretto; Allegro non troppo Allegro Lento – Lento; Allegro molto 23 ACKNOWLEDGMENTS The 2017/2018 Classical Series is presented by World Wide Technology, The Steward Family Foundation, and Centene Charitable Foundation. These concerts are sponsored by St. Louis College of Pharmacy. The concert of Friday, January 12 is underwritten in part by a generous gift from Renee and Bruce Michelson. The concert of Saturday, January 13 is underwritten in part by a generous gift from Norman and Susan Gilbert. David Robertson is the Beofor Music Director and Conductor. Augustin Hadelich is the Carolyn and Jay Henges Guest Artist. Pre-Concert Conversations are sponsored by Washington University Physicians. 24 NEW VOICES BY BENJAMIN PESETSKY TIMELINKS Thomas Adès, Benjamin Britten, and Dmitri Shostakovich were all under the age of 30 when they wrote the pieces on today’s program. Adès’s 1925 F. Scott Fitzgerald opera, Powder Her Face, and Shostakovich’s publishes The Great Gatsby. Symphony No. 1 launched their composers to fame, receiving international performances soon 1939 Marian Anderson after their premieres. -
Boston Symphony Orchestra Concert Programs, Season 121, 2001-2002
Bring your Steinway: With floor plans from 2,300 Phase One of this magnificent to over 5,000 square feet, property is 100% sold and you can bring your Concert occupied. Phase Two is now Grand to Longyear. being offered by Sotheby's Enjoy full-service, single- International Realty and floor condominium living at its Hammond Residential Real absolute finest, all harmoniously Estate. Priced from $1,500,000. located on an extraordinary eight-acre Call Hammond Real Estate at gated community atop prestigious (617) 731-4644, ext. 410. Fisher Hill. LONGYEAK at ^Jrisner Jiill BROOKLINE SOTHEBY'S IIIIIHillll» prophritesinc. International Realty REAL ESTAT Somethingfor any occasion.. r v.- rmffl&^*-%%& mi ^H :*-rff^„iS^ cw :' ;:-: <*HH"WCSkV ^H .1 *nt* M I l^B I 5*£$3&i BSS*8? ;' ?"^0-4> ..Vi f? i r^A*i J>- ! ; ^m^i $ DAVIE^yCOMPANY Sellers & Collectors of Beautiful Jewelry 232 Boylston Street, Chestnut Hill, MA 02467 617-969-6262 (Tel) 1-800-DAVIDCO 617-969-3434 (Fax) www.davidandcompany.com - . Every car has its moment. This one has thousands per second. f -»< H !,*•.'•". The new 3 Series. Pure drive, The New BMW 3 Series From $27,745* Test drive The Ultimate Driving Machine® bmwusa.com The Ultimate 1-800-334-4BI Driving Machine* at your authorized BMW center Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twenty-first Season, 2001-02 SALUTING SEUI OZAWA IN HIS FAREWELL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Deborah Davis Berman, Vice-Chairman Vincent M. -
0848033066644.Pdf
Béla Bartók Concerto for Orchestra, Sz. 116, BB 127 Houston Symphony Orchestra / Leopold Stokowski, Conductor 1 I. Introduzione 09:00 2 II. Giuoco delle coppie 05:54 3 III. Elegia 06:38 4 IV. Intermezzo interrotto 03:58 5 V. Finale 09:00 BARTÓK The late Béla Bartók planned his Concerto The Concerto for Orchestra belongs to for Orchestra so that each group of instru- an important group of works which Bartók CONCERTO FOR ORCHESTRA ments gets a chance to shine. They shine wrote during those last five tragic years with particular luminosity in this stunning in America, when he was plagued by ill- LEOPOLD STOKOWSKI new performance by a fine American orches- ness and acute poverty. It was composed in CONDUCTING THE HOUSTON tra, directed by a man famous all his life as October 1943, on a commission from the SYMPHONY ORCHESTRA an orchestral colorist and reproduced with Koussevitzky Music Foundation, established flawless realism by Everest. by the late Serge Koussevitzky in memory of his wife Natalie. The work was given its The case of Béla Bartók is a tragic one. For world premiere by the Boston Symphony years, he carried on painstaking research, in Orchestra, Koussevitzky conducting, on conjunction with his colleague and fellow December 1, 1944. On that occasion, Bartók Hungarian, Zoltan Kodaly. During that time, provided the orchestra’s program annotator, the two men unearthed, collected and made John N. Burk, with the following informa- known to the outside world the true folk tion: music of Hungary, Rumania and Yugoslavia, separating it from the influences of Gypsy “The general mood of the work repre- music, with which it had become infiltrated. -
LOS ANGELES PHILHARMONIC Discography
LOS ANGELES PHILHARMONIC Discography SONY CLASSICAL Esa-Pekka Salonen, conductor BACH: Transcriptions (by Elgar, Mahler, Schoenberg, Stokowski, Webern) BARTÓK: Concerto for Orchestra; Music for Strings, Percussion, and Celesta BARTÓK: Piano Concertos 1, 2, and 3 (Yefim Bronfman, piano) ** BRUCKNER: Symphony No. 4, “Romantic” DEBUSSY: Prélude à l’après-midi d’un faune; La mer; Images pour orchestre DEBUSSY: Trois nocturnes (Women of the Los Angeles Master Chorale); Le martyre de St. Sébastien (Fragments symphoniques); La damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale) HERRMANN: Suites from Psycho, Marnie, Vertigo, Fahrenheit 451, and Taxi Driver; Prelude to The Man Who Knew Too Much; Overture to North by Northwest; excerpts from Torn Curtain LUTOSLAWSKI: Symphony No. 2; Piano Concerto (Paul Crossley, piano); Chantefleurs et Chantefables (Dawn Upshaw, soprano); Fanfare for Los Angeles Philharmonic LUTOSLAWSKI: Symphony No. 3; Les espaces du sommeil (John Shirley-Quirk, baritone); Symphony No. 4 ** MAHLER: Symphony No. 3 (Anna Larsson, contralto; Paulist Boy Choristers of California) MAHLER: Symphony No. 4 (Barbara Hendricks, soprano) MAHLER: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone) MARSALIS: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; singers) PROKOFIEV: Violin Concertos Nos. 1 and 2; STRAVINSKY: Violin Concerto (Cho-Liang Lin, violin) REVUELTAS: Music of Silvestre Revueltas (including La noche de los mayas, Sensemayá) SALONEN: -
View Program Notes
23 Season 2019-2020 Thursday, February 27, at 7:30 The Philadelphia Orchestra Friday, February 28, at 2:00 Saturday, February 29, at 8:00 Edward Gardner Conductor Paul Jacobs Organ Britten Sinfonia da Requiem, Op. 20 I. Lacrymosa— II. Dies irae— III. Requiem aeternam Daugherty Once Upon a Castle, symphonie concertante for organ and orchestra I. The Winding Road to San Simeon II. Neptune Pool III. Rosebud IV. Xanadu First Philadelphia Orchestra performances Intermission Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 Elgar Variations on an Original Theme, Op. 36 (“Enigma”) Enigma (Theme): Andante I. C.A.E. II. H.D.S.-P. III. R.B.T. IV. W.M.B. V. R.P.A. VI. Ysobel VII. Troyte VIII. W.N. IX. Nimrod X. Dorabella: Intermezzo XI. G.R.S. XII. B.G.N. XIII. ***: Romanza XIV. E.D.U.: Finale This program runs approximately 1 hour, 50 minutes. These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. Please join us following the February 27 and 29 concerts for a free Organ Postlude featuring Peter Richard Conte. Elgar from Organ Sonata in G major, Op. 28: I. Allegro maestoso Britten Prelude and Fugue on a Theme of Vittoria Elgar/arr. Conte Sospiri, Op. 70 Elgar/arr. Conte Empire March 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent orchestras.