2019 FALL CONCERTS Bravo!
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Season 2012-2013
27 Season 2012-2013 Sunday, October 28, at 3:00 The Philadelphia Orchestra 28th Season of Chamber Music Concerts—Perelman Theater Mozart Duo No. 1 in G major, K. 423, for violin and viola I. Allegro II. Adagio III. Rondo: Allegro William Polk Violin Marvin Moon Viola Dvorˇák String Quintet in E-flat major, Op. 97 I. Allegro non tanto II. Allegro vivo III. Larghetto IV. Finale: Allegro giusto Kimberly Fisher Violin William Polk Violin Marvin Moon Viola Choong-Jin Chang Viola John Koen Cello Intermission Brahms Piano Quartet No. 1 in G minor, Op. 25 I. Allegro II. Intermezzo: Allegro ma non troppo III. Andante con moto IV. Rondo alla zingarese: Presto Cynthia Raim Piano (Guest) Paul Arnold Violin Kerri Ryan Viola Yumi Kendall Cello This program runs approximately 2 hours. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. -
Schoo} Ofmusic
I I \ SHEPHERD SCHOOL CHAMBER ORCHESTRA I LARRY RACHLEFF, music director SUSAN LORETTE DUNN, soprano STEPHEN KING, baritone Friday, April 2C 2007 8:00 p.rn. Stude Concert Hall RICE UNNERSITY Schoo}~~ ofMusic I PROGRAM Divertissement Jacques Ibert Introduction. Allegro vivo (1890-1962) Cortege. Moderato molto Nocturne. Lento Valse. Animato assai Parade. Tempo di marcia Finale. Quasi cadenza. Vivo. Tempo di galop Cristian Macelaru, conductor ) Don Quichotte a Dulcinee Maurice Ravel (Trios poemes de Paul Morand) (1875-1937) Chanson romanesque (Moderato) Chanson epique (Molto moderato) Chanson a boire (Allegro) Stephen King, soloist Cinq melodies populaires grecques Maurice Ravel / ( orchestrated by Maurice Ravel and Manuel Rosenthal) Le reveil de la mariee (Moderato mo/to) La-bas, vers l'eglise (Andante) Que! galant m'est comparable (Allegro) Chanson des cueilleuses de lentisques (Lento) Tout gai! (Allegro) Susan Lorette Dunn, soloist / INTERMISSION Symphony No. 103 in E-flat Major, Franz Joseph Haydn "Drum Roll" (1732-1809) Adagio - Allegro con spirito - Adagio Andante piu tosto Allegretto Menuet Allegro con spirito I The reverberative acoustics of Stude Concert Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use of recording equipment are prohibited. SHEPHERD SCHOOL CHAMBER ORCHESTRA Violin I Double Bass (cont.) Horn (cont.) J Freivogel, Evan Ha/loin Juliann Welch concertmaster Edward Merritt Amanda Chamberlain Trumpet Ying Fu Flute Greg Haro Kaoru Suzuki Hilary -
08 De Noviembre De 2013 12A 12:00:00A 18:08 Sinfonía Op.3 No.4 En Mi Bem.May
PROGRAMACION DEL DIA: 08 NOVIEMBRE 2013 HORA PROGRAMA O TITULO DIRECTOR SOLISTA (S) 12:00:00a 00:00 Viernes, 08 de Noviembre de 2013 12A 12:00:00a 18:08 Sinfonía op.3 no.4 en Mi Bem.May. / Franz Ignaz Beck (1734-1809) Franz Ignaz Beck (1734-1809) Michael Schneider La Stagione Frankfurt 12:18:08a 18:26 Escenas infantiles op.15 p/piano / Robert Schumann (1810-1856) Robert Schumann (1810-1856) Catherine Collard-piano 12:36:34a 17:26 Kammermusik no.3 op.36 no.2 p/cello y orq. / Paul Hindemith (1895- Paul Hindemith (1895-1963) Riccardo Chailly Real del Concertgebouw Lynn Harrell-cello 12:54:00a 00:50 Identificación estación 01:00:00a 00:00 Viernes, 08 de Noviembre de 2013 1AM 01:00:00a 03:00 * CORTE INFORMATIVO * 01:03:00a 05:00 TODO LO QUE SOMOS ESTÁ EN LOS LIBROS (con Alicia Zendejas) 01:08:00a 22:53 Variaciones sinfónicas op.78 / Antonin Dvorak (1841-1904) Antonin Dvorak (1841-1904) Vaclav Neumann Filarmónica Checa 01:30:53a 03:32 Concierto no.2 p/violín y orq. / Bohuslav Martinu (1890-1959) Bohuslav Martinu (1890-1959) Vaclav Neumann Filarmónica Checa Josef Suk-violín 01:58:25a 00:50 Identificación estación 02:00:00a 00:00 Viernes, 08 de Noviembre de 2013 2AM 02:00:00a 06:00 ACENTOS 02:30:00a 03:00 AL HILO DEL TIEMPO (con Ernesto de la Peña) 02:57:00a 00:50 Identificación estación 03:00:00a 00:00 Viernes, 08 de Noviembre de 2013 3AM 03:00:00a 16:19 5 Piezas p/orq. -
BRAHMS VIOLIN SONATAS 1—2—3 & SCHERZO Augustin Dumay & Louis Lortie Johannes Brahms 1833–1897
1 Johannes BRAHMS VIOLIN SONATAS 1—2—3 & SCHERZO Augustin Dumay & Louis Lortie Johannes Brahms 1833–1897 Violin Sonata no. 1 in G op.78 2 Violinsonate Nr. 1 G-dur / Sonate pour violon et piano n° 1 en sol majeur 3 1 I Vivace ma non troppo 11.23 2 II Adagio – Più andante – Adagio 7.57 3 III Allegro molto moderato 9.16 Violin Sonata no. 2 in A op.100 Violinsonate Nr. 2 A-dur / Sonate pour violon et piano n° 2 en la majeur 4 I Allegro amabile 8.57 5 II Andante tranquillo – Vivace – Andante – Vivace di più – Andante – Vivace 6.06 6 III Allegretto grazioso (quasi andante) 5.30 Violin Sonata no. 3 in D minor op.108 Violinsonate Nr. 3 d-moll / Sonate pour violon et piano n° 3 en ré mineur 7 I Allegro 8.31 8 II Adagio 4.50 9 III Un poco presto e con sentimento 3.01 10 IV Presto agitato 5.19 Scherzo in C minor WoO 2 (F–A–E Sonata) 11 Scherzo c-moll / Scherzo en ut mineur 5.32 Augustin Dumay violin, Louis Lortie piano Violin : Guarneri del Gesù, 1743–44 (ex-Kogan) & Bow : Pierre Patigny (ex-Grumiaux) Piano : Steinway Model D Eternal recurrence Augustin Dumay sees in the Regensonate a spiritual, melancholy mood, suggested by the Regenlied which runs through it and the fine summer rain that falls on the Black Forest. The ‘Thun’ Sonate seems more classical and more cheerful, whereas the impassioned, heroic Third Sonata reveals a symphonic spirit. Yet their internal richness 4 The secret of a fulfilled artistic life might be said to be found in that aspiration embraces all of life’s contradictions, and they represent a corresponding range of challenges 5 towards indefinite repetition, ever alike and yet different, in a cyclical process of constant for performers wishing to capture the works’ essence ‘in a clear, subtle fashion, without DE > P. -
Ludwig Van Beethoven (1770-1827)
21M011 (spring, 2006) Ellen T. Harris Lecture VII Ludwig van Beethoven (1770-1827) Like Monteverdi, who bridges the Renaissance and the Baroque, Beethoven stands between two eras, not fully encompassed by either. He inherited the Classical style through Mozart and Haydn, and this is represented in works from what is typically called his “first period” (to about 1800), during which time Beethoven performed actively as a virtuoso pianist. The “middle period” (about 1800 to 1818) saw Beethoven break through the classical templates as he wrestled with his increasing deafness, the growing inability to perform or conduct, and his disillusion with Napoleon, whom he had considered a hero of the French Revolution until Napoleon declared himself Emperor in 1804. 1802: Heiligenstadt Testament depicts Beethoven’s desolation over his deafness; 1803: composition of the 3rd Symphony, originally titled Bonaparte, but changed to Eroica after, 1804: Napoleon declares himself Emperor 1808: 5th Symphony in C minor, Op. 67 From Beethoven’s middle period come the works most often associated with Beethoven and with what is known of his personality: forceful, uncompromising, angry, willful, suffering, but overcoming extraordinary personal hardship, all of which traits are read into his music. The Romantic cult of the individual who represents himself in his music and of the genius who suffers for his art begins here with Beethoven. Beethoven’s “late period” (1818 to his death [1827]) becomes more introspective and abstract, as Beethoven’s deafness increasingly forces him to retreat into himself. Although the 9th Symphony dates from these years, it is the only symphony to do so, and, in many respects, is a throwback to the middle period. -
Affiches Et Programmes De Concerts Du Conservatoire National Supérieur De Musique (1959-1984)
Affiches et programmes de concerts du Conservatoire national supérieur de musique (1959-1984). Répertoire analytique détaillé (AJ/37/696-AJ/37/698). Agnès Callu 1996 Archives nationales (France) Pierrefitte-sur-Seine 2016 1 https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_055346 Cet instrument de recherche a été rédigé dans le système d'information archivistique des Archives nationales. Ce document est écrit en français. Conforme à la norme ISAD(G) et aux règles d'application de la DTD EAD (version 2002) aux Archives nationales. 2 Mentions de révision : • 10/2016: Océrisation et reprise de l'introduction. Émeline ROTOLO 3 Archives nationales (France) INTRODUCTION Référence AJ/37/696-AJ/37/698 Niveau de description pièce Intitulé Affiches et programmes de concerts du Conservatoire national supérieur de musique (AJ/37/696 à AJ/37/698). Date(s) extrême(s) 1959-1984 Nom du producteur • Conservatoire national supérieur de musique et de danse de Paris Importance matérielle et support 427 affiches Localisation physique Pierrefitte-sur-Seine Conditions d'accès Librement communicable sous réserve de l'état matériel des documents. Conditions d'utilisation Reproduction selon la règle en salle de lecture. DESCRIPTION Présentation du contenu Cet ensemble d'éphémères se constitue principalement d'affiches et de programmes, mais également d'affichettes et de cartons d'invitation. Peu d'affiches subsistent antérieurement à 1966 à l'inverse des programmes. Ceux-ci sont principalement sur papier glacé, parfois illustrés. Quant aux affiches, à la mise en page et au format standardisés (60 cm x 40 cm), exclusivement typographiques avec des caractères noirs sur papier coloré sauf rares exceptions, elles constituent une collection presque continue à partir de 1967. -
Program Notes for a Graduate Recital in Piano Amy Jun Ming Chin Minnesota State University - Mankato
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato Theses, Dissertations, and Other Capstone Projects 2012 Program Notes for a Graduate Recital in Piano Amy Jun Ming Chin Minnesota State University - Mankato Follow this and additional works at: http://cornerstone.lib.mnsu.edu/etds Part of the Music Performance Commons Recommended Citation Chin, Amy Jun Ming, "Program Notes for a Graduate Recital in Piano" (2012). Theses, Dissertations, and Other Capstone Projects. Paper 195. This Thesis is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Program Notes for a Graduate Recital in Piano By Amy J. Chin Program Notes Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music In Piano Performance Minnesota State University, Mankato Mankato, Minnesota April 2012 Program Notes for a Graduate Recital in Piano Amy Jun Ming Chin This program notes has been examined and approved by the following members of the program notes committee. Dr. David Viscoli, Advisor Dr.Linda B. Duckett Dr. Karen Boubel Preface The purpose of this paper is to offer a biographical background of the composers, and historical and theoretical analysis of the works performed in my Master’s recital. This will assist the listener to better understand the music performed. Acknowledgements I would like to thank members of my examining committee, Dr. -
French Violin Performance from Franck to Ravel A
UNIVERSITY OF CALIFORNIA Los Angeles In Search of a Style: French Violin Performance from Franck to Ravel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Ji Young An 2013 © Copyright by Ji Young An 2013 ABSTRACT OF THE DISSERTATION In Search of a Style: French Violin Performance from Franck to Ravel by Ji Young An Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert Winter, Chair My dissertation focuses on issues of French sound and style in late nineteenth and early twentieth-century French violin repertoire. As a violinist who studied at the Paris Conservatory, I have long been puzzled as to why so little had been written about something that everyone seems to take for granted—so called French style. I attacked this elusive issue from three perspectives: 1) a detailed look at performance directions; 2) comparisons among recordings by artists close to this period (Jacques Thibaud, Zino Francescatti, as well as contemporary French artists such as Philippe Graffin and Guillaume Sutre); and 3) interviews with three living French violinists (Olivier Charlier, Régis Pasquier, and Gérard Poulet) with strong ties to this tradition. After listening to countless historical recordings, I settled on three pivotal works that illustrate the emergence and full flowering of the French style: César Franck’s Violin Sonata (1886), Claude Debussy’s Violin Sonata (1917), and ii Maurice Ravel’s Tzigane: Rapsodie de Concert pour Violon et Piano (1924). Each of them presents specific challenges: notational and stylistic issues in Franck’s Violin Sonata, Debussy’s performance directions in his Violin Sonata, and notational and interpretive issues in Ravel’s Tzigane that led to a separate, orally-transmitted French tradition. -
Summary of Three Dissertation Recitals
Summary of Three Dissertation Recitals by Ji Hyang Gwak A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance) in the University of Michigan 2020 Doctoral Committee: Professor Christopher Harding, Chair Associate Professor Christine Aidala Assistant Professor Matthew Bengtson Lecturer Amy I-Lin Cheng Professor Logan Skelton Associate Professor Aleksandra Vojcic Ji Hyang Gwak [email protected] © Ji Hyang Gwak 2020 DEDICATION Praises to God for loving me and giving me strength throughout my studies. Heartfelt gratitude to Professor Christopher Harding for giving me the privilege to work under the guidance of such a devoted and supportive mentor. Lastly, to my family for their unconditional love and support. ii TABLE OF CONTENTS DEDICATION ii LIST OF FIGURES iv ABSTRACT v RECITAL I Recital I Program 1 Recital I Program Notes 2 RECITAL II Recital II Program 6 Recital II Program Notes 7 RECITAL III Recital III Program 15 Recital III Program Notes 16 BIBLIOGRAPHY 22 iii LIST OF FIGURES Figures 1.1 Vine Piano Sonata No. 1/i mm. 18-21 5 2.1 Haydn Piano Sonata Hob. XVI: 34/i, first and second theme 7 2.2 Haydn Piano Sonata Hob. XVI: 34/ii mm. 1-4 8 2.3 Likhuta Rondo mm. 9-11 12 3.1 Mozart Piano Concerto K. 488/ii mm.1-5 18 3.2 Mozart Piano Concerto K. 488/ii mm. 38-44 18 3.3 Mozart Piano Sonata K. 332/ii mm. 24-27 9 3.4 Mozart Piano Sonata K. 284/iii var. -
The French Flute Tradition
The French Flute Tradition by Liesl Stoltz Dissertation presented as partial fulfilment of the requirements for the degree Master of Music (Performance) Faculty of Humanities University of Cape Town Supervisor: Prof. James May February 2003 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town DECLARATION I, the undersigned, declare that this dissertation is my own, unaided work. It is being submitted in part fulfilment of the requirements for the degree of Master of Music (Performance). It has not been previously submitted in its entirety or in part for any degree or examination at any other university. ~. : ~~o!f\ ......... ......~~ '.. ~Q~3 ..... Liesl StoI'tZ ii ABSTRACT The French flute tradition is remarkable and is admired by flautists, teachers and students of the flute all over the world. The dissertation researched the development of this tradition from the pre-Baroque period through to the modern era and tried to determine the underlying factors that stimulated its development specifically in France. The first key was added to the flute in France and with this the Hotteteres created the blueprint for the modern flute of today. During the Classical period the conservative French retarded the development of the instrument and the repertoire for the flute by initially rejecting additional keys. -
Musiciennes:Women Musicians in France During the Interwar Years
Musiciennes: Women Musicians in France during the Interwar Years, 1919-1939 Laura Ann Hamer Submitted for the Degree of Doctor of Philosophy Cardiff University, 2009 UMI Number: U584377 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584377 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The musical life of interwar France (1919-39) has fascinated many writers; however, the part played by women musicians has been much neglected. This thesis seeks to rectify this situation by presenting a study of the activities and reception of the musiciennes of interwar France. The thesis is divided into three parts: part one provides a contextual framework within which to situate the pursuits of women musicians by considering both their contemporary social position and the gender- specific conditions which affect the lives, careers, and reception of musiciennes. Part two focuses on conductors and composers. Jane Evrard and her Orchestre feminin de Paris are discussed within the context of the contemporaneous development of the all woman orchestra and rise of the first professional female conductors. -
La Reine”) Menuetto
Page 1 of 1 Haydn Symphony No. 85 (“La Reine”) Menuetto The “Paris” Symphonies Haydn’s six symphonies numbered 82 through 87 are nicknamed the “Paris” symphonies due to the circumstances regarding their commission. In late 1784 or early 1785 Haydn received a commission from the prestigious Concert de la Loge Olympique, a concert series sponsored by the Olympic Lodge, one of the wealthiest Masonic lodges in Paris. This commission—among the most lavish of the 1780s—provided Haydn with an irresistable opportunity. The six symphonies would not only be played by an orchestra of 67 players (roughly three times the size of Haydn’s orchestra at Eszterháza)1, but the audiences would be made up of the highest levels of the French aristocracy and plutocracy. The financial terms were equally compelling: the equivalent of 225 gulden per symphony, making a total of 1350 gulden in all for the six works. This was more than Haydn’s entire yearly salary2 as kapellmeister to Nicholas Esterházy.3 The Paris symphonies represent Haydn’s finest writing in the symphonic genre up to this point, equalled only by the achievements of the twelve “London” symphonies yet to come. Three of the works have acquired nicknames. Symphony No 82 in C Major is known as L’Ours (The Bear), due to the bucolic dancing quality of the finale; Symphony No 83 in G Minor is known as La Poule (The Hen), from the barnyard-pecking quality of the secondary theme of the opening movement; Symphony No 85 in B-Flat Major is known as La Reine (The Queen) due to its having been described as Queen Marie Antoinette’s favorite Haydn symphony.