2017–18 ARTISTIC PARTNERSHIPS BEGIN in Program Conducted by PAAVO JÄRVI
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Rachmaninoff, Paganini, & the Piano; a Conversation
Rachmaninoff, Paganini, & the Piano; a Conversation Tracks and clips 1. Rachmaninoff in Paris 16:08 a. Niccolò Paganini, 24 Caprices for Solo Violin, Op. 1, Michael Rabin, EMI 724356799820, recorded 9/5/1958. b. Sergey Rachmaninoff (SR), Rapsodie sur un theme de Paganini, Op. 43, SR, Leopold Stokowski, Philadelphia Orchestra (PO), BMG Classics 09026-61658, recorded 12/24/1934 (PR). c. Fryderyk Franciszek Chopin (FC), Twelve Études, Op. 25, Alfred Cortot, Deutsche Grammophon Gesellschaft (DGG) 456751, recorded 7/1935. d. SR, Piano Concerto No. 3 in d, Op. 30, SR, Eugene Ormandy (EO), PO, Naxos 8.110601, recorded 12/4/1939.* e. Carl Maria von Weber, Rondo Brillante in E♭, J. 252, Julian Jabobson, Meridian CDE 84251, released 1993.† f. FC, Twelve Études, Op. 25, Ruth Slenczynska (RS), Musical Heritage Society MHS 3798, released 1978. g. SR, Preludes, Op. 32, RS, Ivory Classics 64405-70902, recorded 4/8/1984. h. Georges Enesco, Cello & Piano Sonata, Op. 26 No. 2, Alexandre Dmitriev, Alexandre Paley, Saphir Productions LVC1170, released 10/29/2012.† i. Claude Deubssy, Children’s Corner Suite, L. 113, Walter Gieseking, Dante 167, recorded 1937. j. Ibid., but SR, Victor B-24193, recorded 4/2/1921, TvJ35-zZa-I. ‡ k. SR, Piano Concerto No. 3 in d, Op. 30, Walter Gieseking, John Barbirolli, Philharmonic-Symphony Orchestra, Music & Arts MACD 1095, recorded 2/1939.† l. SR, Preludes, Op. 23, RS, Ivory Classics 64405-70902, recorded 4/8/1984. 2. Rachmaninoff & Paganini 6:08 a. Niccolò Paganini, op. cit. b. PR. c. Arcangelo Corelli, Violin Sonata in d, Op. 5 No. 12, Pavlo Beznosiuk, Linn CKD 412, recorded 1/11/2012.♢ d. -
Benjamin Grosvenor, Piano
BENJAMIN GROSVENOR, PIANO a formidable technician and a thoughtful, coolly assured interpreter - Allan Kozinn, New York Times, ...a skill and talent not heard since Kissins teenage Russian debut - Bryce Morrison, Gramophone Magazine British pianist Benjamin Grosvenor is internationally recognized for his electrifying performances and penetrating interpretations. An exquisite technique and ingenious flair for tonal colour are the hallmarks which make Benjamin Grosvenor one of the most sought-after young pianists in the world. His virtuosic command over the most strenuous technical complexities never compromises the formidable depth and intelligence of his interpretations. Described by some as a Golden Age pianist (American Record Guide) and one almost from another age (The Times), Benjamin is renowned for his distinctive sound, described as poetic and gently ironic, brilliant yet clear-minded, intelligent but not without humour, all translated through a beautifully clear and singing touch (The Independent). Benjamin first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of eleven. Since then, he has become an internationally regarded pianist performing with orchestras including the London Philharmonic, RAI Torino, New York Philharmonic, Philharmonia, Tokyo Symphony, and in venues such as the Royal Festival Hall, Barbican Centre, Singapores Victoria Hall, The Frick Collection and Carnegie Hall (at the age of thirteen). Benjamin has worked with numerous esteemed conductors including Vladimir Ashkenazy, Jií Blohlávek, Semyon Bychkov and Vladimir Jurowski. At just nineteen, Benjamin performed with the BBC Symphony Orchestra on the First Night of the 2011 BBC Proms to a sold-out Royal Albert Hall. -
Rachmaninoff's Rhapsody on a Theme By
RACHMANINOFF’S RHAPSODY ON A THEME BY PAGANINI, OP. 43: ANALYSIS AND DISCOURSE Heejung Kang, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2004 APPROVED: Pamela Mia Paul, Major Professor and Program Coordinator Stephen Slottow, Minor Professor Josef Banowetz, Committee Member Steven Harlos, Interim Chair of Piano Jessie Eschbach, Chair of Keyboard Studies James Scott, Dean of the College of Music Sandra L. Terrill, Interim Dean of the Robert B. Toulouse School of Graduate Studies Kang, Heejung, Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43: Analysis and Discourse. Doctor of Musical Arts (Performance), May 2004, 169 pp., 40 examples, 5 figures, bibliography, 39 titles. This dissertation on Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43 is divided into four parts: 1) historical background and the state of the sources, 2) analysis, 3) semantic issues related to analysis (discourse), and 4) performance and analysis. The analytical study, which constitutes the main body of this research, demonstrates how Rachmaninoff organically produces the variations in relation to the theme, designs the large-scale tonal and formal organization, and unifies the theme and variations as a whole. The selected analytical approach is linear in orientation - that is, Schenkerian. In the course of the analysis, close attention is paid to motivic detail; the analytical chapter carefully examines how the tonal structure and motivic elements in the theme are transformed, repeated, concealed, and expanded throughout the variations. As documented by a study of the manuscripts, the analysis also facilitates insight into the genesis and structure of the Rhapsody. -
Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello
Saturday Evening, January 25, 2020, at 7:30 The Juilliard School presents Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello SAMUEL BARBER (1910–81) Toccata Festiva (1960) DANIEL FICARRI, Organ DMITRI SHOSTAKOVICH (1906–75) Cello Concerto No. 2 in G major, Op. 126 (1966) Largo Allegretto Allegretto DANIEL HASS, Cello Intermission CHRISTOPHER ROUSE (1949–2019) Processional (2014) JOHANNES BRAHMS (1833–97) Symphony No. 2 in D major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito Performance time: approximately 1 hour and 50 minutes, including an intermission This performance is made possible with support from the Celia Ascher Fund for Juilliard. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Juilliard About the Program the organ’s and the orchestra’s full ranges. A fluid approach to rhythm and meter By Jay Goodwin provides momentum and bite, and intricate passagework—including a dazzling cadenza Toccata Festiva for the pedals that sets the organist’s feet SAMUEL BARBER to dancing—calls to mind the great organ Born: March 9, 1910, in West Chester, music of the Baroque era. Pennsylvania Died: January 23, 1981, in New York City Cello Concerto No. 2 in G major, Op. 126 DMITRI SHOSTAKOVICH In terms of scale, pipe organs are Born: September 25, 1906, in Saint Petersburg different from every other type of Died: August 9, 1975, in Moscow musical instrument, and designing and assembling a new one can be a challenge There are several reasons that of architecture and engineering as complex Shostakovich’s Cello Concerto No. -
Ravel & Rachmaninoff
NOTES ON THE PROGRAM BY LAURIE SHULMAN, ©2017 2018 Winter Festival America, Inspiring: Ravel & Rachmaninoff ONE-MINUTE NOTES Martinů: Thunderbolt P-47. A World War II American fighter jet was the inspiration for this orchestral scherzo. Martinů pays homage to technology, the machine age and the brave pilots who risked death, flying these bombers to win the war. Ravel: Piano Concerto in G Major. Ravel was enthralled by American jazz, whose influence is apparent in this jazzy concerto. The pristine slow movement concerto evokes Mozart’s spirit in its clarity and elegance. Ravel’s wit sparkles in the finale, proving that he often had a twinkle in his eye. Rachmaninoff: Symphonic Dances. Rachmaninoff’s final orchestral work, a commission from the Philadelphia Orchestra, brings together Russian dance and Eastern European mystery. Listen for the “Dies irae” at the thrilling close. MARTINŮ: Thunderbolt P-47, Scherzo for Orchestra, H. 309 BOHUSLAV MARTINŮ Born: December 8, 1890, in Polička, Czechoslovakia Died: August 28, 1959, in Liestal, nr. Basel, Switzerland Composed: 1945 World Premiere: December 19, 1945, in Washington, DC. Hans Kindler conducted the National Symphony. NJSO Premiere: These are the NJSO premiere performances. Duration: 11 minutes Between 1941 and 1945, Republic Aviation built 15,636 P-47 Thunderbolt fighter planes. Introduced in November 1942, the aircraft was a bomber equipped with machine guns. British, French and American air forces used them for the last three years of the war. Early in 1945, the Dutch émigré conductor Hans Kindler commissioned Bohuslav Martinů—himself an émigré from Czechoslovakia who had resided in the United States since March 1941—to write a piece for the National Symphony Orchestra. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Tue, Jan 26, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:39 Mozart Adagio in B minor, K. 540 Mitsuko Uchida 00264 Philips 412 616 028941261625 00:13:3945:17 Dvorak Cello Concerto in B minor, Op. du Pre/Swedish Radio 07040 Teldec 85340 685738534029 104 Symphony/Celibidache 01:00:2631:11 Beethoven String Quartet No. 9 in C, Op. Tokyo String Quartet 04508 Harmonia 807424 093046742362 59 No. 3 Mundi 01:32:3708:09 Mozart Adagio & Fugue in C minor for Berlin 06660 DG 0005830 028947759546 Strings K. 546 Philharmonic/Karajan 01:42:1618:09 Telemann Paris Quartet No. 11 Kuijken 04867 Sony 63115 074646311523 Bros/Leonhardt 02:01:5529:22 Mozart Sinfonia Concertante in E flat, Frang/Rysanov/Arcang 12341 Warner 08256462 825646276776 K. 364 elo/Cohen Classics 76776 02:32:1726:39 Brahms Clarinet Trio in A minor, Op. Stoltzman/Ax/Ma 02937 Sony 57499 074645749921 114 Classical 03:00:2611:52 Liszt Mephisto Waltz No. 1 Evgeny Kissin 06623 RCA 58420 828765842020 03:13:1834:42 Strauss, R. Symphony in D minor Hong Kong 03667 Marco Polo 8.220323 73009923232 Philharmonic/Scherme rhorn 03:49:0009:52 Schubert Overture to Rosamunde, D. Leipzig Gewandhaus 00217 Philips 412 432 028941243225 797 Orchestra/Masur 04:00:2215:04 Haydn Piano Sonata No. 50 in D Julia Cload 02053 Meridian 84083 N/A 04:16:2628:32 Mozart Symphony No. 29 in A, K. 201 Prague Chamber 05596 Telarc 80300 089408030024 Orch/Mackerras 04:45:58 12:20 Webern In the Summer Wind Philadelphia 10424 Sony 88725417 887254172024 Orchestra/Ormandy 202 04:59:4806:23 Lehar Merry Widow Waltz Richard Hayman 08261 Naxos 8.578041- 747313804177 Symphony 42 05:07:11 21:52 Rachmaninoff Rhapsody on a Theme of Entremont/Philadelphia 04207 Sony 46541 07464465412 Paganini, Op. -
11 7 Thseason
2016- 17 (117TH SEASON) Repertoire Bach Cantata No. 150, “Nach Dir, Herr, verlanget Feb. 23-25, 2017 mich”* Violin Concerto No. 1 Mar. 15-16, 2017 Bartók Bluebeard’s Castle Mar. 2-4, 2017 Bates Alternative Energy* Apr. 6-9, 2017 Beethoven Piano Concerto No. 4 Feb. 2-4, 2017 Selections from The Creatures of Prometheus Apr. 6-9, 2017 Symphony No. 2 Dec. 8-10, 2016 Symphony No. 3 (“Eroica”) Mar. 10-12, 2017 Symphony No. 6 (“Pastoral”) Nov. 25-27, 2016 Violin Concerto Nov. 3-5, 2016 Berg Violin Concerto Mar. 10-12, 2017 Berlioz Le Corsaire Overture Oct. 7-8, 2016 Harold in Italy Jan. 26-27, 2017 Symphonie fantastique Sep. 22-24, 2016; Oct. 7-8, 2016 Bernstein Prelude, Fugue, and Riffs Mar. 30-Apr. 1, 2017 Symphony No. 1 (“Jeremiah”) May 3-6, 2017 Brahms Symphony No. 1 Oct. 27-29, 2016 Symphony No. 2 Nov. 3-5, 2016 Symphony No. 3 Feb. 17-19, 2017 Symphony No. 4 Feb. 23-25, 2017 Brahms/transcr. Selections from Eleven Choral Preludes Feb. 23-25, 2017 Glanert (world premiere of transcriptions) Britten War Requiem Mar. 23-25, 2017 Canteloube Selections from Songs of the Auvergne Jan. 12-14, 2017 Chabrier Joyeuse Marche** Jan. 12-14, 2017 – more – January 2016—All programs and artists subject to change. PAGE 2 The Philadelphia Orchestra 2016-17 Season Repertoire Chopin Piano Concerto No. 1 Jan. 19-24, 2017 Piano Concerto No. 2 Sep. 22-24, 2016 Dutilleux Métaboles Oct. 27-29, 2016 Dvořák Symphony No. 8 Mar. 15-16, 2017 Symphony No. -
Gold Medal 2018
Thursday 10 May 7pm, Barbican Hall Gold Medal 2018 Finalists Ljubica Stojanovic Dan-Iulian Drut¸ac Joon Yoon Guildhall Symphony Orchestra James Judd conductor Guildhall School of Music & Drama Barbican Founded in 1880 by the Gold Medal 2018 City of London Corporation Please try to restrain from coughing until the normal breaks in the performance. Chairman of the Board of Governors Thursday 10 May 2018 If you have a mobile phone or digital watch, Deputy John Bennett 7pm, Barbican Hall please ensure that it is turned off during the Principal performance. The Gold Medal, the Guildhall School’s premier Lynne Williams In accordance with requirements of the award for musicians, was founded and endowed Vice–Principal and Director of Music licensing authority, sitting or standing in in 1915 by Sir H. Dixon Kimber Bt MA Jonathan Vaughan any gangway is not permitted. No cameras, tape recorders, other types of Please visit our website at gsmd.ac.uk Finalists recording apparatus may be brought into the auditorium. It is illegal to record any Ljubica Stojanovic piano performance unless prior arrangements Dan-Iulian Drut¸ac violin have been made with the Managing Director Joon Yoon piano and the concert promoter concerned. No eating or drinking is allowed in the The Jury auditorium. Smoking is not permitted Donagh Collins anywhere on the Barbican premises. Kathryn Enticott Paul Hughes Barbican Centre James Judd Silk St, London EC2Y 8DS Jonathan Vaughan (Chair) Administration: 020 7638 4141 Box Office Telephone Bookings: Guildhall Symphony Orchestra 020 7638 8891 (9am-8pm daily: booking fee) James Judd conductor barbican.org.uk The Guildhall School is part of Culture Mile: culturemile.london The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal winners since 1915 Gold Medal 2018 Singers 1979 Patricia Rozario 1947 Mary O White Ljubica Stojanovic piano 1915 Lilian Stiles-Allen 1981 Susan Bickley 1948 Jeremy White Prokofiev Piano Concerto No. -
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. -
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 -
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. -
The Blake Collection in Memory of Nancy M
The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma.