DOCSLIB.ORG

BBC Radio International Classical Music Catalogue Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BBC Radio International Classical Music Catalogue Contents BBC Radio International Classical Music Catalogue The BBC has been broadcasting the very best in classical music for an unrivalled eighty years and its reputation for uncompromising artistic standards and cutting-edge technology have ensured that it remains the leading global brand in quality classical music. BBC Radio International gives you access to the world’s largest catalogue of unique, high quality, live performances, including: BBC Proms and other prestigious festivals; major artists and talent from orchestras like the Berlin Philharmonic, through to conductors like Simon Rattle and solo artists like Alfred Brendel; plus world premieres of newly created musical scores from Maxwell Davies, Britten, Ades, Tavener and many more. Have a question or want to know more about a specific genre or programme? Contact: Larissa Abid, Ana Bastos or Laura Lawrence for more details. Contents New this month – June 2021 ......................................................................................... Error! Bookmark not defined. Proms ............................................................................................................................................................................... 2 The Proms Centenary Collection ............................................................................................................................... 29 BBC Live at Wigmore Hall .......................................................................................................................................... 33 BBC Live in Concert ..................................................................................................................................................... 40 BBC Special Projects ................................................................................................................................................... 49 BBC Great British Festivals ........................................................................................................................................ 51 Symphonic Masterwoks .............................................................................................................................................. 56 Chamber Music ............................................................................................................................................................. 61 Early Music .................................................................................................................................................................... 77 Opera ............................................................................................................................................................................. 83 Piano Music ................................................................................................................................................................... 88 Modern Masters ............................................................................................................................................................ 90 Christmas Music ........................................................................................................................................................... 92 *Please note that these genres offer a loose labelling system https://wspartners.bbc.com/article/classical-music 1 | Page Proms Proms 2020 1. Beethoven’s ‘Eroica’ CM682 1 x 75’ Sakari Oramo leads the BBC Symphony Orchestra for the first live Prom of the season. Beethoven’s epic ‘Eroica’ Symphony sits alongside Copland’s Quiet City, Eric Whitacre’s Sleep and a Basquiat-inspired world premiere from Hannah Kendall. Hannah Kendall: Tuxedo: Vasco 'de' Gama (BBC commission: world premiere) Eric Whitacre: Sleep Aaron Copland: Quiet City Beethoven: Symphony No. 3 in E flat major, ‘Eroica’ Proms 2020 2. The Symphonic Organ CM683 1 x 70’ Jonathan Scott takes control of the Royal Albert Hall’s mighty organ for a sonic extravaganza featuring his own ingenious arrangements of symphonic favourites. Works by Rossini, Elgar, Mascagni and Dukas lead to Saint- Saëns’s dramatic ‘Organ’ Symphony. Rossini arr. Jonathan Scott: The Thieving Magpie – overture Pietro Mascagni arr. Jonathan Scott: Cavalleria rusticana – Intermezzo Dukas arr. Jonathan Scott: The Sorcerer's Apprentice Saint-Saëns arr. Jonathan Scott: Symphony No. 3 in C minor, 'Organ' Proms 2020 3. Rattle, Uchida & the London Symphony Orchestra CM684 1 x 90’ Simon Rattle conducts the London Symphony Orchestra and pianist Mitsuko Uchida in a programme ranging from Elgar to Adès and Gabrieli to Kurtág. The climax is Vaughan Williams’s Fifth Symphony. Giovanni Gabrieli: Sacrae symphoniae (1597) – Canzon septimi et octavi toni a 12 Elgar: Introduction and Allegro Beethoven: Piano Sonata in C sharp minor, Op. 27 No. 2 (‘Moonlight’) – 1st mvt György Kurtág: … quasi una fantasia … Giovanni Gabrieli: Sacrae Symphoniae – Canzon noni toni a 12, C.183 Thomas Adès: Dawn BBC commission: world premiere Vaughan Williams: Symphony No. 5 in D major Proms 2020 4. Viennese Night CM685 1 x 75’ Crack open the champagne and don your evening dress as Bramwell Tovey and the BBC Concert Orchestra host a night of Viennese operetta marking 150 years since the birth of Franz Lehár. Johann Strauss II and other contemporaries also offer their own musical confections. With soprano Sophie Bevan and tenor Robert Murray. Lehár: The Merry Widow – overture Oscar Straus arr. Hanmer: The Chocolate Soldier Duet Lehár arr. Schneider: Giuditta – ‘Meine lippen, sie süssen so heiss’ 2 | Page Emmerich Kálmán arr. Schönherr: Countess Maritza – ‘Wenn es Abend wird’ … Grüss mir mein Wien’ Johann Strauss II: Die Fledermaus – overture Lehár arr. Harry Dexter: Paganini – Prelude and Violin Solo Richard Heuberger: Der Opernball - Rendezvous-Duettino (‘Im Chambre Séparée’) Lehár: Gold and Silver Waltz; Vilja (The Merry Widow); You are my heart’s delight (The Land of Smiles) Johann Strauss II: Pizzicato Polka; Die Fledermaus – Watch Duet arr. Stanford Robinson Proms 2020 5. London Sinfonietta CM686 1 x 75’ Leading contemporary chamber ensemble the London Sinfonietta returns to the Proms for a live showcase of gripping music of the past 50 years. Conducted by Geoffrey Paterson, the concert also features soloists Clíodna Shanahan (toy piano), and bassoonist Jonathan Davies. Philip Glass: Facades, for 2 saxophones and strings Julia Wolfe: East Broadway, for to piano and electronics Conlon Nancarrow arr. Yvar Mikhashoff: Studies for Player Piano: Study No. 6 Conlon Nancarrow arr. Yvar Mikhashoff: Player Piano Study No. 9 Tansy Davies: Neon Edmund Finnis: In situ Anna Meredith: Axeman, for solo bassoon Steve Reich: City Life, for chamber orchestra and sampled sounds Proms 2020 6. Proms at ... Salford Quays CM687 1 x 75’ Omer Meir Wellber pulls the strings of his BBC Philharmonic in a Prom partly inspired by puppet theatre – including a new work by Berlin-based Uzbek composer Aziza Sadikova. Plus Britten's Nocturne with leading British tenor Allan Clayton, and Haydn’s Symphony No. 80. Haydn: Philemon und Baucis – overture Aziza Sadikova: Marionettes (world premiere) Britten: Nocturne Haydn: Symphony No. 80 in D minor Proms 2020 7. Nicolas Benedetti & the Orchestra of the Age of Enlightenment 1 x 80’ Violinists Nicola Benedetti and Alina Ibragimova join period-instrument group the Orchestra of the Age of Enlightenment at London’s Royal Albert Hall for a celebration of Baroque concertos. Jonathan Cohen conducts. Vivaldi: Concerto in D minor for two violins, RV 514 Handel: Concerto grosso in B flat major, Op.3 No. 2 Vivaldi: Concerto in D major for two violins, RV 513 Handel: Radamisto – Passacaglia Vivaldi: Concerto in A minor for two oboes, RV 536 Charles Avison (after Scarlatti): Concerto grosso No. 5 in D minor J S Bach: Concerto in D minor for two violins, BWV 1043 Proms 2020 8. Anoushka Shankar and Jules Buckley: New Explorations CM689 1 x 90’ Sitarist and composer Anoushka Shankar and conductor/arranger Jules Buckley present innovative collaborations – with electronic music producer Gold Panda, percussionist Manu Delago and the strings of Britten Sinfonia. 3 | Page Proms 2020 9. Proms at ... City Halls, Glasgow CM690 1 x 75’ Stephen Hough joins Thomas Dausgaard and the BBC Scottish Symphony Orchestra at Glasgow’s City Halls, for a performance of Beethoven’s Piano Concerto No. 2. Also featured are Richard Strauss's Metamorphosen and a world premiere from Jay Capperauld. George Walker: Lyric for Strings Beethoven: Piano Concerto No. 2 in B flat major Jay Capperauld: Circadian Refrains (172 Days Until Dawn) – world premiere Richard Strauss: Metamorphosen Proms 2020 10. Laura Marling and 12 Ensemble CM691 1 x 90’ Singer-songwriter Laura Marling is joined at the Royal Albert Hall by pioneering London-based string group the 12 Ensemble for a set that includes songs from her Mercury Prize-nominated album Song for Our Daughter. Proms 2020 11. KOKOROKO CM692 1 x 90’ London jazz group KOKOROKO make their Proms debut live at the Royal Albert Hall. The 8-piece group, led by Sheila Maurice-Grey, draw from Afrobeat, highlife and jazz influences, as they celebrate West African music greats, and pay tribute to the unique music culture they grew up in. KOKOROKO Prom features some of their most popular works, including Carry Me Home, Baba Ayoola, Age of Ascent, Uman, Ti-De and Abusey Junction. Proms 2020 12. Proms at ... Hoddinott Hall, Cardiff CM693 1 x 90’ The BBC National Orchestra of Wales and conductor Ryan
Load more

Recommended publications
  • A Chronology of All Artists' Appearances with the Chamber
    75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 ​ Season, 1938 – 1939 ​ Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 ​ Season, 1939 – 1940 ​ The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 ​ Season, 1940 – 1941 ​ Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian Piano­String Quartet The Coolidge Quartet th 4 ​ Season, 1941 – 1942 ​ The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 ​ Season, 1942 – 1943 ​ The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 ​ Season, 1943 – 1944 ​ The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 ​ Season, 1944 – 1945 ​ The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 ​ Season, 1945 – 1946 ​ The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 ​ Season, 1946 – 1947 ​ The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 ​ Season, 1947 – 1948 ​ Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 ​ Season, 1948 – 1949 ​ The Alma Trio
    [Show full text]
  • Cds by Composer/Performer
    CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H.
    [Show full text]
  • Relatório Anual De Atividades 2008
    Relatório Anual de Atividades 2008 1 FUNDAÇÃO OSESP Concertos A Orquestra Sinfônica do Estado de São Paulo – OSESP apresentou 99 concertos sinfônicos, em 2008, tendo iniciado suas atividades para o público em 06 de março e encerrado a temporada em 31 de dezembro. Os concertos de câmara dos grupos mantidos pela Fundação Osesp, que englobam Câmara, Quartetos, “Um Certo Olhar”, Coro e Convidados, totalizaram 41 apresentações. O público total dos concertos da OSESP (sinfônicos e câmara), na Sala São Paulo, foi de 149,7 mil pessoas em 2008, nem constante crescimento (+ 4,7% sobre 2007; + 25,2% sobre 2006). A programação e o respectivo público seguem abaixo: Capacidade Índice de Datas Programa/Regente/Solista Público Total * Ocupação 06/03, 07/03, 08/03 SSP 01: John Neschling, reg - Mahler: Sinfonia nº 2 3.837 3.657 95% 13/03, 14/03, 15/03 SSP 02: Rodolfo Fischer, reg - Nicolas Koeckert, violino 4.119 3.217 78% 20/03, 21/03, 22/03 SSP 03: John Neschling, reg - Olga Kern, piano 4.119 4.028 98% 27/03, 28/03, 29/03 SSP 04: Xian Zhang, reg - Prokofiev: Ivan, o terrível 3.837 3.502 91% 03/04, 04/04, 05/04 SSP 05: Sir Peter Maxwell Davies, reg - Mozart, Haydn e Davies 4.119 3.540 86% 10/04, 11/04, 12/04 SSP 06: John Neschling, reg - Arnaldo Cohen, piano 4.119 4.018 98% 17/04, 18/04, 19/04 SSP 07: John Neschling, reg - Arnaldo Cohen, piano 4.119 3.977 97% 24/04, 25/04, 26/04 SSP 08: John Neschling, reg - Jean-Philippe Collard, piano 4.119 3.429 83% 01/05, 02/05, 03/05 SSP 09: Victor Hugo Toro, reg - Boris Belkin, violino 3.837 3.679 96% 08/05, 09/05,
    [Show full text]
  • The Art of Making Mistakes
    The Art of Making Mistakes Misha Alperin Edited by Inna Novosad-Maehlum Music is a creation of the Universe Just like a human being, it reflects God. Real music can be recognized by its soul -- again, like a person. At first sight, music sounds like a language, with its own grammatical and stylistic shades. However, beneath the surface, music is neither style nor grammar. There is a mystery hidden in music -- a mystery that is not immediately obvious. Its mystery and unpredictability are what I am seeking. Misha Alperin Contents Preface (by Inna Novosad-Maehlum) Introduction Nothing but Improvising Levels of Art Sound Sensitivity Fairytales and Fantasy Music vs Mystery Influential Masters The Paradox: an Improvisation on the 100th Birthday of the genius Richter Keith Jarrett Some thoughts on Garbarek (with the backdrop of jazz) The Master on the Pedagogy of Jazz Improvisation as a Way to Oneself Main Principles of Misha's Teachings through the Eyes of His Students Words from the Teacher to his Students Questions & Answers Creativity: an Interview (with Inna Novosad-Maehlum) About Infant-Prodigies: an Interview (with Marina?) One can Become Music: an Interview (with Carina Prange) Biography (by Inna Novosad-Maehlum) Upbringing The musician’s search Alperin and Composing Artists vs. Critics Current Years Reflections on the Meaning of Life Our Search for Answers An Explanation About Formality Golden Scorpion Ego Discography Conclusion: The Creative Process (by Inna Novosad-Maehlum) Preface According to Misha Alperin, human life demands both contemplation and active involvement. In this book, the artist addresses the issues of human identity and belonging, as well as those of the relationship between music and musician.
    [Show full text]
  • Kebyart Is More Than Just Four Musicians
    The art of kebyar A quartet that is not only extremely Explosive contrasts of tempo, dynamics and colours well composed, and at the top of their game, but also musicians that are capable of moving beyond You have the potential to do These are the qualities that characterise gamelan gong kebyar technical perfection to reach musical anything. You are very sensitive music, when a group of different instruments are played communication.’ and you always give your all together for so long that they become one. The unique virtu- osity and energy of kebyar is adored by the Balinese com- Revista Musical Catalana to music. You are virtuoso.’ munity. Sergio Azzolini The most impressive thing was the agogic flexibility: each new phrase Kebyart, was created organically - playing in sync, the daily endeavour Kebyart, as though they were one - and held together, to create something a never-ending creating a space in which extraordinary Kebyart, unique interest in moments of music are brought to life.’ the search for musical roots excellence Musikdorf Ernen Magazine Kebyart, an explosion of energy and fresh air Kebyart, on stage an open space breathing as one The quartet showed It almost seemed for their profound understanding as if the young gentlemen creativity of the classical genre. were one and the same person, Simplicity, elegance, contrast so much did their musical and humour were the key tools phrases rise and fall in Kebyart, Kebyart, on which their performance a moving harmony, promoting breaking the limits was based. A truly excellent intertwining
    [Show full text]
  • Ibermúsica I7/I8 Serie Barbieri
    IBERMÚSICA I7/I8 SERIE BARBIERI B.7 EVGENY KISSIN KOPELMAN QUARTET SERIE BARBIERI 2017.2018 Auditorio Medio colaborador Nacional de Música © SASHA GUSOV B.7 EVGENY KISSIN Su profunda y poética calidad interpretativa y su extraordinario virtuosismo le han hecho merecedor de la veneración y admiración reservada a unos pocos. Actúa en escenarios internacionales y con grandes orquestas y directores, como Abbado, Ashkenazy, Barenboim, Dohnányi, Giulini, Levine, Maazel, Muti y Ozawa. Nacido en Moscú en 1971, comenzó a tocar el piano a los dos años. Estudió en la Escuela de Música Gnessin para Niños Prodigio, con Anna Kantor, su única profesora. A los once, dio su primer recital en Moscú. En 1984, interpretó los Conciertos para piano núms. 1 y 2 de Chopin, con la Filarmónica Estatal de Moscú y Kitaenko. Se presentó fuera de Rusia en 1985, en la ex Europa del Este; realizó su primera gira por Japón en 1986 y en 1988 actuó con Karajan y la Berliner Philharmoniker en el Concierto de Año Nuevo. En 1990, debutó en los BBC Proms y en Estados Unidos interpretando ambos conciertos de Chopin con la New York Philharmonic y Mehta. En 2017-2018, dará recitales en solitario en Nueva York, Chicago, Washington DC y Toronto y recitales y conciertos en Europa. Por primera vez, dará giras en Europa y Norteamérica con el Emerson String Quartet con actuaciones en Baden Baden, París, Múnich, Essen, Viena, Ámsterdam, Chicago, Boston, y Carnegie Hall. Sus premios incluyen el Premio Cristal de la Sala Sinfónica de Osaka (1986), Músico del Año de la Academia de Música Chigiana de Siena (1991), «Instrumentista del Año» de Musical America (1995), Premio Triumph de Rusia (1997), doctor honoris causa por la Manhattan School of Music; Shostakóvich de Rusia, miembro honorífico de la Royal Academy of Music de Londres y doctor honoris causa por las universidades de Jerusalén, Negev/Beersheba y Hong Kong.
    [Show full text]
  • The Time Is Now Thethe Timetime Isis Nownow Music Has the Power to Inspire, to Change Lives, to Illuminate Perspective, 20/21 SEASON and to Shift Our Vantage Point
    20/21 SEASON The Time Is Now TheThe TimeTime IsIs NowNow Music has the power to inspire, to change lives, to illuminate perspective, 20/21 SEASON and to shift our vantage point. featuring FESTIVAL Your seats are waiting. Voices of Hope: Artists in Times of Oppression An exploration of humankind’s capacity for hope, courage, and resistance in the face of the unimaginable PERSPECTIVES Rhiannon Giddens “… an electrifying artist …” —Smithsonian PERSPECTIVES Yannick Nézet-Séguin “… the greatest generator of energy on the international podium …” —Financial Times PERSPECTIVES Jordi Savall “… a performer of genius but also a conductor, a scholar, a teacher, a concert impresario …” —The New Yorker DEBS COMPOSER’S CHAIR Andrew Norman “… the leading American composer of his generation ...” —Los Angeles Times Left: Youssou NDOUR On the cover: Mirga Gražinytė-Tyla carnegiehall.org/subscribe | 212-247-7800 Photos: NDOUR by Jack Vartoogian, Gražinytė-Tyla by Benjamin Ealovega. Box Office at 57th and Seventh Rafael Pulido Some of the most truly inspiring music CONTENTS you’ll hear this season—or any other season—at Carnegie Hall was written in response to oppressive forces that have 3 ORCHESTRAS ORCHESTRAS darkened the human experience throughout history. Perspectives: Voices of Hope: Artists in Times of Oppression takes audiences Yannick Nézet-Séguin on a journey unique among our festivals for the breadth of music 12 these courageous artists employed—from symphonies to jazz to Debs Composer’s popular songs and more. This music raises the question of why, 13 Chair: Andrew Norman no matter how horrific the circumstances, artists are nonetheless compelled to create art; and how, despite those circumstances, 28 Zankel Hall Center Stage the art they create can be so elevating.
    [Show full text]
  • All 1-800-667-5356
    2006-2007 SEASON BOSTON SYM PHONY RCH ESTRA JAMES LEVINE MUSIC DIRECTOR BERNARD HAITINK SEIJI OZAWA MUSIC DIRECTOR LAUREATE ******>» Lead a richer life. «k 4fm fc^^^^^*! John Hancock is proud to support the Boston Symphony Orchestra, A CD Manulife Financial Company w / h// # A World-Class Alcohol and Drug Treatment Program 111!; View from The McLean Center, Princeton, MA E McLEAN CENTER IS A T FERNSIDE A comprehensive residential treatment program. Expertise in treating co-occurring psychiatric disorders. Highly discreet and individualized care for adults. Exceptional accommodations in a peaceful, rural setting. McLean Hospital: A Legacy of Compassionate Care and Superb Clinical Treatment www.mclean.harvard.edu • 1-800-906-9531 McLean Hospital is a psychiatric teachingfacility PARTOERS. ofHarvard Medical School, an affiliate of Healthcare Massachusetts General Hospital and a member of Partners HealthCare. REASON #57 extremely targeted cancer treatment There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like the Keith C. Field CyberKnife® Center, home to the only CyberKnife in Massachusetts. This revolutionary, non-invasive system uses image-guided robotics to deliver radiation treatments with unprecedented accuracy. From advanced cancer care to world class sports medicine, you'll always find precisely the care you need at Beth Israel Deaconess. Find out more at www.bidmc.harvard.edu or call 1-800-667-5356. A teaching hospital of Beth Israel Deaconess Harvard Medical School Medical Center Affiliated | Hospital of the Red Sox with Joslin Clinic | A Research Partner of Dana-Farber/Harvard Cancer Center Official Boston James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007 Trustees of the Boston Symphony Orchestra, Inc.
    [Show full text]
  • Trevor Pinnock Journey
    TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music ANTONIO DE CABEZÓN (c.1510–1566) GIROLAMO FRESCOBALdi (1583–1643) 1. Diferencias sobre 15. Toccata nona ................................ 4:32 ‘El canto del caballero’ .................. 3:10 16. Balletto primo e secondo .............. 5:39 from Toccate d’intavolatura di cimbalo et WILLIAM BYRD (c.1540–1623) organo,1637 2. The Carman’s Whistle .................. 3:58 GEORGE FRIDERIC HAndel (1685–1759) THOMAS TaLLIS (c.1505–1585) 17. Chaconne in G major, HWV 435 ... 6:36 3. O ye tender babes ........................ 2:37 DOMENICO SCARLAtti (1685–1757) JOHN Bull (1562/3–1628) Three Sonatas in D major, K. 490–92 4. The King’s Hunt ............................ 3:25 18. Sonata, K. 490: Cantabile ............ 5:02 JAN PIETERSZOON SWEELINCK 19. Sonata, K. 491: Allegro ................ 4:57 (1562–1621) 20. Sonata, K. 492: Presto ................. 4:17 5. Variations on ‘Mein junges Leben hat ein End’, SwWV 324 .............. 6:10 Total Running Time: 68 minutes JOHANN SEBASTIAN BACh (1685–1750) French Suite No. 6 in E major, BWV 817 6. Prélude ......................................... 1:31 7. Allemande .................................... 3:28 8. Courante ...................................... 1:47 9. Sarabande ................................... 3:22 10. Gavotte ........................................ 1:07 11. Polonaise ...................................... 1:20 12. Bourrée ........................................ 1:41 13.
    [Show full text]
  • WH Monthly Diary: May/April 2018
    APR/ MAY 2017/18 SEASON www.wigmore-hall.org.uk 2 • SEPTEMBER-OCTOBER www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office TICKETS 36 Wigmore Street, London W1U 2BP Unless otherwise stated, tickets are divided into five prices ranges: In Person ■ Stalls C – M Highest price 7 days a week: 10am – 8.30pm. ■ Stalls A – B, N – P 2nd highest price Days without an evening concert 10am – 5pm. ■ Balcony A – D 2nd highest price No advance booking in the half hour prior to ■ Stalls BB, CC, Q – S 3rd highest price a concert. ■ Stalls AA, T – V 4th highest price ■ Stalls W – X Lowest price By Telephone: 020 7935 2141 7 days a week: 10.00am–7.00pm. AA AA Days without an evening concert: AA STAGE AA AA AA 10.00am–5.00pm. BB BB There is a non-refundable £3.00 administration CC CC A A charge for each transaction. B B C C D D Online: www.wigmore-hall.org.uk E E F FRONT FRONT F STALLS STALLS 7 days a week; 24 hours a day. G G There is a non-refundable £2.00 administration H H I I charge. J J K K L L Standby Tickets M M N N Standby tickets for students, senior citizens and O O P P the unemployed are available from one hour Q Q before the performance (subject to availability) R R S S with best available seats sold at the lowest price. REAR REAR T STALLS STALLS T U U NB standby tickets are not available for V V Lunchtime and Coffee Concerts.
    [Show full text]
  • Programa2017.Pdf
    l mes de julio trae cada año a Cantabria un nuevo Encuentro de Música y Academia. Son ya 17 las ediciones que cumple una iniciativa que ha convertido la excelencia en su sello Ede garantía al servicio de la formación y la difusión musical. Del 1 al 27 de julio, las aulas del Conservatorio Jesús de Monasterio volverán a acoger a los grandes maestros del panorama internacional para ofrecer un intercambio único a los jóvenes talentos de las doce escuelas europeas más prestigiosas. Un encuentro entre la experiencia de grandísimos artistas consagrados y el entusiasmo y el potencial de las nuevas figuras llamadas a triunfar en los escenarios del futuro. Y junto a la academia, la difusión musical más allá de las aulas para acercar a los cántabros momentos inolvidables en medio centenar de conciertos que llegarán al Palacio de Festivales de Cantabria, al Palacio de La Magdalena y la iglesia de Santa Lucía, en Santander, pero también a otra veintena de localidades cántabras, como Torrelavega, Comillas, Santillana del Mar o Laredo. Tenemos por delante un mes para disfrutar de la Música con mayúsculas, desde el concierto inaugural a cargo de la Orquesta Sinfónica Freixenet, dirigida por el maestro Csaba, a los homenajes al pianista Bashkirov y al maestro Rostropovich, pasando por el concierto extraordinario para familias, que acercará la música de Stravinsky al público de todas las edades. Sobran razones y argumentos para sumarse un año más al Encuentro y estoy seguro de que los cántabros y los muchos visitantes que se encuentran entre nosotros en estas fechas estivales sabrán disfrutarlo y valorarlo como merece.
    [Show full text]
  • CUL Keller Archive Catalogue
    HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles.
    [Show full text]