DOCSLIB.ORG

North Carolina's Musical Treasure

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
North Carolina's Musical Treasure NORTH CAROLINA’S MUSICAL TREASURE JUNE 27 - AUGUST 1, 2015 FESTIVAL ORCHESTRA CHAMBER MUSIC FRIENDS & GREAT PERFORMERS YOUNG ARTISTS ORCHESTRA FRINGE EasternMusicFestival.org EMF GRACIOUSLY THANKS OUR 2015 SPONSORS WELCOME On behalf of the EMF board, staff, faculty and students, it is our great pleasure to welcome you to Eastern Music Festival’s exciting 2015 season. We celebrate 54 years of bringing amazing music and captivating performances to our wonderful Triad audience. We are proud of the artistic and educational excellence provided by Eastern Music Festival, North Carolina’s Musical Treasure. Gerard Schwarz Chris Williams Music Director Executive Director PEARL ADAMS THE THE 2015 SEASON CARL & TOBY SLOANE FAMILY FOUNDATION SATURDAYS JOSEPH M. BRYAN, JR. FESTIVAL ORCHESTRA SERIES 2 MONDAYS EMF FACULTY CHAMBER SERIES AT UNCG SCHOOL OF MUSIC, THEATRE AND DANCE 3 TUESDAYS EMF FACULTY CHAMBER SERIES AT GUILFORD COLLEGE 4 THE MEBANE WEDNESDAYS FRIENDS AND GREAT PERFOMERS SERIES 5 FOUNDATION THURSDAYS YOUNG ARTISTS ORCHESTRA SERIES 8 FRIDAYS YOUNG ARTISTS ORCHESTRA SERIES 9 MUSICALLY SPEAKING, MASTER CLASSES, Q&A, AND YOUNG ARTISTS RECITALS 10 FRINGE SERIES & MUSEP 11 EMF OPEN HOUSE & KIDS CAMPS 12 THE ENCIRCLING THE CITY 13 NORMAN B. SMITH, L.L.B ALBERT JACOBSON CAROLYN TURNER SMITH; Ph.D FAMILY TICKETS BE SOCIAL WITH US SEASON PACKAGES & SINGLE CONCERT TICKETS ON SALE NOW. Service charges and the mandated NC 6.75% amusement tax apply. If you SUPPORT EMF have questions or need additional help, please call the box office weekdays, Purchase your EMF tickets through the Triad Stage Box Office or online. 336.272.0160. As available, all remaining single tickets will be placed on sale Eastern Music Festival, North Carolina’s Musical Treasure, brings the best music and most gifted at each concert beginning approximately one hour prior to concert time, up to artists and students to our region. We invite you to consider a gift of personal significance to the 2015 Annual Fund, BY PHONE ONLINE (SINGLE TICKETS ONLY) the start of the performance. support a scholarship, endow a chair, or sponsor a concert. All gifts receive our thanks and recognition. 336.272.0160 or http://easternmusicfestival.org/festival/tickets toll-free 866.579.TIXX (8499) There are no refunds or exchanges on purchased tickets. We urge you to For more information, contact: Discounts are available for full-time students with a donate tickets that will not be used back to EMF in time for resale (your gift Chris Williams, Executive Director, 336-333-7450, ext. 224, or [email protected] valid ID, seniors and groups of 10 or more. Call the of tickets will be acknowledged by letter for tax purposes). To donate tickets, box office for more information. #EMFSummerTogether IN PERSON please return them by mail or in person to: EMF, 200 N. Davie St., Suite 303, Pledge cards are available at all concerts. Greensboro NC 27401. 232 S. Elm St., Greensboro, NC 27401 Please note: Gift certificates and discounts Mon–Fri, 10am – 6pm will not be accepted for Special Events. All programs, dates, artists, venues, and prices are subject to change. 1 SATURDAYS sponsored by MONDAYS sponsored by JOSEPH M. BRYAN, JR. FESTIVAL ORCHESTRA SERIES FACULTY CHAMBER SERIES AT UNCG SCHOOL OF MUSIC THEATRE AND DANCE SATURDAY, JULY 4 / 8 PM SATURDAY, JULY 25 / 8 PM DANA AUDITORIUM DANA AUDITORIUM MONDAY, JUNE 29 / 8 PM / RECITAL HALL - UNCG MONDAY, JULY 20 / 8 PM / RECITAL HALL - UNCG STEFAN ANNE W.A. MOZART Violin Sonata No. 22 in A major, K.305 BACH Suite in E minor, BWV 996 AKIKO Jeffrey Multer, violin; Eunhye Choi, piano Jason Vieaux, guitar JACKIW DVORˇ ÁK Bagatelles, op.47 POULENC Sonata for Cello and Piano, FP 143 Eastern Festival Orchestra MEYERS Jeffrey Multer, violin; Lucas Guideri, violin; Julian Schwarz, cello; Marika Bournaki, piano Danielle Guideri, cello; Eunhye Choi, piano GERARD SCHWARZ, conductor Eastern Festival Orchestra FRANCK Piano Quintet in F minor STEFAN JACKIW, violin GERARD SCHWARZ, conductor TCHAIKOVSKY Piano Trio in A minor, op.50 Qing Li, violin; Miran Kim, violin; ANNE AKIKO MEYERS, violin Jeffrey Multer, violin; Danielle Guideri, cello; Meredith Crawford, viola; Neal Cary, cello; GOOSSENS Jubilee Variations William Wolfram, piano William Wolfram, piano MENDELSSOHN Violin Concerto in E minor, op.64 LISZT Les Préludes, S.97 (Symphonic Poem No. 3) Stefan Jackiw, violin DEBUSSY Danses sacrée et profane HOVHANESS Prayer of Saint Gregory, op.62b (Sacred and Profane Dances) Chris Gekker, trumpet Amber Carpenter, harp MONDAY, JULY 6 / 8 PM / RECITAL HALL - UNCG MONDAY, JULY 27 / 8 PM / RECITAL HALL - UNCG TCHAIKOVSKY Symphony No. 4 in F minor, op.36 Rosen-Schaffel Competition Winner, Appalachian State University SAINT-SAËNS Fantaisie for Violin and Harp, op.124 DVORˇ ÁK Serenade for Wind Instruments, Cello and Double Bass, op.44 CONCERT SPONSOR: GUEST ARTIST SPONSORS: PROKOFIEV Violin Concerto No. 1 in D major, op.19 Ida Bieler, violin; Anna Kate Mackle, harp Katie Young Steele, oboe Norman B. Smith, L.L.B Anne Akiko Meyers, violin SUK Four Pieces for Violin and Piano, op.17 Carolyn Turner Smith, Ph.D Karen Birch Blundell, oboe DVORˇ ÁK Ida Bieler, violin; Eunhye Choi, piano In celebration of the 800th Symphony No. 6 in D major, op.60 Shannon Scott, clarinet anniversary of the Magna Carta SCHUBERT String Quintet in C major, D.956 Anthony Taylor, clarinet CONCERT Stefan Jackiw, violin; Jenny Grégoire, violin; George Sakakeeny, bassoon SPONSOR: SATURDAY, JULY 11 / 8 PM Daniel Reinker, viola; Julian Schwarz, cello; Karla Ekholm, bassoon Danielle Guideri, cello DANA AUDITORIUM Anthony Anurca, contrabassoon SATURDAY, AUGUST 1 / 8 PM Kevin Reid, horn; Joy Branagan, horn; LYNN AYCOCK AUDITORIUM Kelly Hofman, horn; Amy Frost Baumgarten, cello; Leonid Finkelshteyn, double bass MONDAY, JULY 13 / 8 PM / RECITAL HALL - UNCG HARRELL AWADAGIN ARENSKY Trio No. 1 in D minor, op.32 Eastern Festival Orchestra BEETHOVEN Cello Sonata No. 5, op.102, no.2 Anne Akiko Meyers, violin; Julian Schwarz, cello; GERARD SCHWARZ, conductor PRATT Julian Schwarz, cello; Marika Bournaki, piano Awadagin Pratt, piano Eastern Festival Orchestra LYNN HARRELL, cello DIAMOND Concerto for String Quartet and Chorus Elizabeth Phelps, violin; Anne Donaldson, violin; SHOSTAKOVICH October – Symphonic Poem, op.131 GERARD SCHWARZ, conductor Meredith Crawford, viola AWADAGIN PRATT, piano and RIMSKY-KORSAKOV Suite from Le coq d’or Rebecca Zimmerman, cello (The Golden Cockerel) conductor W.A. MOZART Clarinet Quintet in A major, K.581 R. STRAUSS Don Quixote, Fantastic Variations on a CAROLE OTT, chorus director Shannon Scott, clarinet; Jenny Grégoire, violin; Theme of Knightly Character, op.35, TrV 194 DIANA HEASTY, soprano Lucas Guideri, violin; Chauncey Patterson, viola; GENERAL ADMISSION $29 RENEE TATUM, mezzo-soprano Lynn Harrell, cello Amy Frost Baumgarten, cello CONCERT SPONSOR: BEETHOVEN Concerto for Piano No. 1 in C major, op.15 The Jacobson family In honor of Mr. Jacobson’s 90th birthday Awadagin Pratt, piano and conductor MAHLER Symphony No. 2 in C minor (Resurrection) SATURDAY, JULY 18 / 8 PM Diana Heasty, soprano* DANA AUDITORIUM Renee Tatum, mezzo-soprano ANDRÉ *Rosen-Schaffel Competition Winner, WATTS Appalachian State University Eastern Festival Orchestra GERARD SCHWARZ, conductor CONCERT ANDRÉ WATTS, piano SPONSORS: THE MEBANE FOUNDATION DIAMOND Symphony No. 4 LOWELL LIEBERMANN Symphony No. 4 (World Premiere) Commissioned by Bonnie McElveen-Hunter BRAHMS Piano Concerto No. 2 in B-flat major, op.83 André Watts, piano STARTING AT $38.00 CONCERT SPONSOR: 2 EMF Box Office at Triad Stage (Mon–Fri, 10am – 6pm) 232 S. Elm St. Greensboro, NC 27401 TICKET INFORMATION & SALES: (336) 272-0160 3 TUESDAYS sponsored by WEDNESDAYS sponsored by FACULTY CHAMBER SERIES AT GUILFORD COLLEGE FRIENDS AND GREAT PERFORMERS SERIES TUESDAY, JUNE 30 / 8 PM / DANA AUDITORIUM TUESDAY, JULY 14 (Continued) WEDNESDAY, JULY 1 / 8 PM WEDNESDAY, JULY 22 / 8 PM / TEMPLE EMANUEL TEMPLE EMANUEL, 1129 JEFFERSON ROAD TELEMANN Quartet in G minor, TWV 43:g1 HAYDN String Quartet No. 25 in C major, op.20, no.2 EMF CLASSICAL GUITAR SUMMIT (from the “Paris” Quartets) Anne Donaldson, violin Les Roettges, flute; John Fadial, violin; Elizabeth Phelps, violin “PHANTOMS OF THE OPERA” Beth Vanderborgh, cello Meredith Crawford, viola DAVID HOLLEY, music director Eunhye Choi, harpsichord Rebecca Zimmerman, cello SIDNEY OUTLAW, baritone DONALD HARTMANN, bass baritone POULENC Sonata for Horn, Trumpet and MEL POWELL Divertimento for Five Winds Trombone, FP 33 Jonathan Baumgarten, flute; Randall Ellis, oboe; Metropolitan Opera baritone, Sidney Outlaw headlines Kelly Hofman, horn; Judith Saxton, trumpet; Anthony Taylor, clarinet; “Phantoms of the Opera,” an evening of operatic and musical Michael Kris, trombone Anthony Anurca, bassoon; Chris Gekker, trumpet theatre phantoms and otherwordly spectres swirling into town! MARK J. CONNOR Elegy “Phantoms” also features EMF favorite Donald Hartmann and talented Young Artists from Greensboro Light Opera and Song. Ann Choomack, flute Karen Birch Blundell, English horn TUESDAY, JULY 21 / 8 PM / DANA AUDITORIUM STARTING AT $45 Jamie Hofman, viola SHOSTAKOVICH String Quartet No. 1 in C major, op.49 W.A. MOZART Flute Quartet No. 3 in C major, K.285b Ioana Galu, violin; Anne Donaldson, violin; WEDNESDAY, JULY 8 / 8 PM Jonathan Baumgarten, flute Jennifer Puckett, viola; Marta Simidtchieva, cello Ioana Galu, violin; Sarah Cote, viola; DANA AUDITORIUM, 5800 W. FRIENDLY AVENUE JOLIVET Petite Suite for Flute, Viola and
Load more

Recommended publications
  • Final Dissertation Document
    Abstract Title of Dissertation: INFLUENCES AND TRANSFORMATIONS: 19TH- CENTURY SOLO AND COLLABORATIVE PIANO REPERTOIRE Miori Sugiyama, Doctor of Musical Arts, 2012 Dissertation Directed by: Professor Rita Sloan School of Music, Piano Division This dissertation is an exploration of the inter-relationships of genres in the collaborative piano repertoire, particularly in music of the 19th century, an especially important period for collaborative piano repertoire. During this time, much of the repertoire gave equal importance to the piano in duo and ensemble repertoire. Starting with Schubert, and becoming more apparent with the development of the German lied, the piano became a more integral part of any composition, the piano part being no longer simplistic but rather a collaborative partner with its own voice. Mendelssohn transformed the genre of lieder by writing them, without their words, for solo piano. In addition to creating some of the greatest and most representative lieder in the Romantic period, composers such as Schumann, Brahms, and Strauss continued the evolution of the sonata by writing works that were more technically demanding on the performer, musically innovative, and structurally still evolving. In the case of Chopin who wrote mostly piano works, a major influence came from the world of opera, particularly the Bel Canto style. In exploring two specific genres, vocal and instrumental piano works by these composers; it is fascinating to see how one genre translates to another genre. This was especially true in the vocal and instrumental works by Schubert, Schumann, Brahms, Chopin, and Strauss. All of these composers, with the exception of Chopin, contributed equally to both the song and sonata genres.
    [Show full text]
  • Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
    Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney.
    [Show full text]
  • Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
    Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice.
    [Show full text]
  • The Effect of Instruction on Eighth Grade Band Students’ Understanding of Practice
    THE EFFECT OF INSTRUCTION ON EIGHTH GRADE BAND STUDENTS’ UNDERSTANDING OF PRACTICE by STACEY C. KOLTHAMMER Submitted in partial fulfillment of the requirements For the degree of Master of Arts in Music Education Thesis Adviser: Dr. William I. Bauer Department of Music CASE WESTERN RESERVE UNIVERSITY May 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________ candidate for the ______________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 TABLE OF CONTENTS LIST OF TABLES …………………………………….…………….................. 4 ACKNOWLEDGEMENTS …………………………………………………… 6 ABSTRACT …………………………………………………………………… 7 CHAPTER ONE: INTRODUCTION ………………………………………….. 9 Definition of Practice ……………………………………………..... 9 The Complex Nature of Practice ………………………………….... 10 Developing the Practice Skills of Students ……………………….... 12 Need for the Study ………………………………………………..... 13 Purpose of the Study ……………………………………………….. 14 Research Questions ……………………………………………….... 14 Definitions of Terms …..………………………………………….... 15 Delimitations ……………………………………………………….
    [Show full text]
  • History of Jazz Tenor Saxophone Black Artists
    HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.
    [Show full text]
  • TOM MCINTOSH NEA Jazz Master (2008)
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOM MCINTOSH NEA Jazz Master (2008) Interviewee: Tom McIntosh (December 6, 1927 – July 26, 2017) Interviewer: Eric Jackson with recording engineer Ken Kimery Date: December 9-10, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 57 pp. Eric Jackson: Today is Friday December 9th. We are talking to Tom “Mac” McIntosh. Tom, let’s begin at the beginning. You were born in Baltimore December 6th 1927? McIntosh: Baltimore, Maryland. Eric Jackson: Baltimore, Maryland. December 6th, 1927? McIntosh: That is correct. Eric Jackson: How big was your family? Were you the youngest, the oldest…? McIntosh: My father had a son by another woman that was seven years older than me. I was the oldest of my mother’s children. My mother had six children. I was the oldest of the six. Eric Jackson: Was it a musical household? McIntosh: Fortunately, I had a mother and a father that were musically inclined. My father, he yearned to be the lead singer in the Mills Brothers. I didn’t appreciate that until later on in years when I discovered that Dean Martin and Frank Sinatra all said that it was the leader of the Mills Brothers that made them want to sing. And looking back, my father was like the leader had a paunch on. But, he made it attractive For additional information contact the Archives Center at 202.633.3270 or [email protected] because he could move his belly in sync with the rhythm of “the lazy river…” (Scats the song) And his belly is moving in rhythm with it! He was always very attractive.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
    Sun, Jun 28, 2020 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 30:17 Hummel Piano Trio No. 5 in E, Op. 83 Gajan Trio 02772 Opus 9351 N/A 2255 00:32:4707:31 Verdi Overture to Joan of Arc La Scala 03534 Sony 68468 074646846827 Philharmonic/Muti 00:41:48 17:58 Rimsky-Korsak Piano Concerto in C sharp Campbell/Royal 04500 Telarc 80454 089408045424 ov minor, Op. 30 Philharmonic/Gilbert Levine 01:01:1604:39 Chopin Nocturne in E flat, Op. 9 No. 2 Fazil Say 13305 Warner 01902958 190295821814 Classics 21814 01:06:5503:34 Strauss, R. Morgen! from Vier Lieder, Op. Hampson/Rieger 11991 DG 479 2943 028947929437 27 01:11:5947:42 Tchaikovsky Symphony No. 5 in E minor, Philharmonia/Muti 04055 Brilliant 99792/5 502842197925 Op. 64 Classics 02 02:01:1113:27 Bach, J.C.F. Cello Sonata in A Camerata of Cologne 07350 CPO 777 087 761203708727 02:15:38 18:12 Sibelius Tapiola, Op. 112 Philharmonia/Ashkena 02843 Decca 473 590 028947359029 zy 02:35:2024:21 Thalberg Piano Concerto in F minor, Op. Ponti/Westphalian 01040 MMG 7151 04716371519 5 Symphony/Kapp 03:01:11 28:13 Spohr Notturno for Winds, Op. 34 Consortium 01761 Orfeo 155 871 N/A Classicum/Klocker 03:30:5412:22 Dvorak Slavonic Rhapsody in D, Op. Slovak 01117 Marco Polo 8.223129 N/A 45 No. 1 Philharmonic/Kosler 03:44:16 15:06 Schumann Papillons, Op. 2 Vladimir Ashkenazy 01129 London 414 474 028941447425 04:00:5210:06 Vivaldi Cello Concerto in B minor, RV Pleeth/English 01136 Musical 11085Z N/A 424 Concert/Pinnock Heritage Society 04:11:5810:25 Suk Adagio from Serenade for Capella 11036 Naxos 8.578009 747313800971 Strings in E flat, Op.
    [Show full text]
  • The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
    Sun, Jul 18, 2021 - 00 The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 11:00 Schumann Fantasy Pieces, Op. 73 Segev/Pohjonen 13643 Avie 2389 822252238921 00:13:4518:34 Beethoven Choral Fantasy in C minor, Op. Bezuidenhout/Freiburg DownloadHarmonia 902431.3 n/a 80 Baroque Mundi 2 Orchestra/Zurich Zing-Akademie/Heras- Casado 00:33:34 26:06 Mendelssohn String Symphony No. 08 in D Metamorphosen 05480 Archetype 60107 701556010726 Chamber Records Orchestra/Yoo 01:01:1009:19 Dvorak Carnival Overture, Op. 92 Cleveland 05021 Sony 63151 n/a Orchestra/Szell 01:11:2927:48 Brahms Cello Sonata No. 2 in F, Op. 99 Diaz/Sanders 02520 Dorian 90165 053479016522 01:40:47 19:24 Haydn Piano Trio No. 43 in C Kalichstein-Laredo-Ro 02473 Dorian 90164 053479016423 binson Trio 02:01:4129:45 Rameau The Birth of Osiris (Suite for Ensemble 06541 Naxos 8.553388 730099438827 Orchestra) Savaria/Terey-Smith 02:32:26 10:43 Fucik Danube Legends Czech 01781 Teldec 8.42337 N/A Philharmonic/Neuman 02:44:0915:48 Mozart Violin Sonata in E minor, K. Uchida/Steinberg 04768 Philips B000411 028947565628 304 5 03:01:27 35:31 Dopper Symphony No. 7 Netherlands Radio 03512 NM 92060 871330992060 Symphony/Bakels Classics 4 03:38:2810:28 Debussy Prelude to the Afternoon of a BRT 07909 Naxos 8.570011- 074731300117 Faun Philharmonic/Rahbari 12 0 03:49:56 09:43 Grieg Homage March from Sigurd Eastman Rochester 05011 Mercury 434 394 028943439428 Jorsalfar, Op. 56 Pops/Fennell 04:01:0912:36 Bach Italian Concerto in F, BWV 971 Angela Hewitt 03592 Hyperion 67306 D 138602 04:14:4530:55 Diamond Symphony No.
    [Show full text]
  • View Repertoire List
    Repertoire List Victor Lim Solo J.S. Bach Prelude and Fugue in F sharp major Book 1 BWV 858 Prelude and Fugue in B flat major Book 1 BWV 866 Prelude and Fugue in F major Book 2 BWV 880 Bach/F,Busoni Chorale Prelude ‘Wachet Auf, Ruft Uns Die Stimme’ Bach/Cohen Chorale Prelude ‘Ertödt' uns durch dein' Güte’ Bach/Siloti Prelude in B minor J. Rameau La Dauphine D. Scarlatti Sonata in C K159 L.v. Beethoven Piano Sonata No.10 Op.14 No.2 Piano Sonata No.21 Op.53 'Waldstein' Piano Sonata No.26 Op.81a 'Les Adieux' Piano Sonata No.25 Op.57 ‘Appassionata’ Piano Sonata No.29 Op.106 ‘Hammerklavier’ J. Haydn Piano Sonata in F major Hob.XVI.23 Piano Sonata in B minor Hob.XVI:32 Piano Sonata in E minor Hob.XVI:34 Piano Sonata in C major Hob.XVI:50 W.A. Mozart Piano Sonata in B flat major K.570 Piano Sonata in A minor K.310 F. Schubert Piano Sonata No.13 in A major D.664 Allegreto in C minor D.915 J. Brahms 6 Klavierstücke Op.118 F. Bridge Three sketches F. Chopin Etudes Op.10 No.1,2,3,5,10,12 Fantaisie Op.49 Ballade No.4 Op.52 Barcarolle Op.60 Preludes Op.28 Mazurkas Op.59 Nocturne Op.9 No.2, Op.32 No.1&2 P. Grainger Ramble on the last duet in Richard Strauss’s Opera ‘Der Rosenkavalier’ E. Grieg Lyric Pieces Op.12 No.1, ‘Arietta’, Op.47 No.3 ‘Melodie’, Op.54 No.4 ‘Nocturne F.
    [Show full text]
  • September 2016 – July 2017
    SEPTEMBER 2016 –JULY 2017 Director’s Introduction Frances Marshall Photography One of Britain’s foremost singers, Sarah Connolly, opens the Hall’s new season with regular duo partner Malcolm Martineau, leading listeners through a programme rich in emotional contrasts, poetic reflections and glorious melodies. The recital includes Mahler’s sublime Rückert Lieder, the impassioned lyricism of Berlioz’s Les nuits d’été, the exotic subtle narrative impressions of Debussy’s three Chansons de Bilitis, and a selection of Schumann songs. Mark Padmore’s vocal artistry and ability to extract every drop of emotion from poetic texts have secured his place among today’s finest recitalists. Morgan Szymanski, described by Classical Guitar magazine as ‘a player destined for future glories’ joins him on 12 September. Critical acclaim for Angela Hewitt’s Bach interpretations bears witness to the pianist’s extraordinary ability to connect physically and emotionally as well as intellectually with the dance rhythms and expressive gestures of the composer’s keyboard works. The Bach Odyssey will highlight all of this over the next four years. Canadian soprano Barbara Hannigan performs like a force of nature, captivating audiences with her artistry’s presence and expressive vitality. She joins the Calder Quartet, winner of the 2014 Avery Fisher Career Grant, for the world première of The sirens cycle by Peter Eötvös. Beethoven’s piano sonatas occupied forty years of his life. They offer insights into his development as artist and individual, and stand among the greatest of all his works. Igor Levit, now in his late 20s, drew critical superlatives to his debut recording of Beethoven’s late sonatas and has since established his reputation as a visionary interpreter of the composer’s music.
    [Show full text]
  • The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
    Tue, Dec 15, 2020 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:11 Beethoven Piano Sonata No. 24 in F Alfred Brendel 00559D Philips 412 577 N/A - Comp. sharp, Op. 78 "For Therese" Beeth. Sonatas 00:12:4106:49 Torelli Christmas Concerto in G minor, I Solisti Italiani X0339 Musical 513986 717794398625 Op. 8 No. 6 Heritage Society 00:20:3040:02 Magnard Symphony No. 2 in E Orchestra of the 01807 EMI 49080 077774908023 Toulouse Capitole/Plasson 01:02:02 35:36 Schütz The Christmas Story Kirkby/Taverner X0349 EMI 47633 077774763325 Consort/Parrott 01:38:3820:40 Saint-Saëns Cello Concerto No. 1 in A Rolston/Calgary 03597 CBC 5153 059582515327 minor, Op. 33 Philharmonic/Bernardi Records 02:00:48 05:13 Berlioz Shepherds' farewell from Choir of Trinity X0142 Conifer 5907 74321159072 L'Enfance du Christ, Op. 25 College, Cambridge/Marlow 02:07:0108:31 Beethoven Coriolan Overture, Op. 62 Berlin 00469 DG 415 507 028941550729 Philharmonic/Karajan 02:16:3243:31 Brahms Symphony No. 1 in C minor, Cleveland 02212 Sony 46534 07464465342 Op. 68 Orchestra/Szell 03:01:3331:21 Mozart Divertimento No. 10 in F, K. Academy Chamber 00613 Philips 416 362 028941636225 247 Ensemble 03:33:5424:51 Beethoven Symphony No. 8 in F, Op. 93 Hanover 04422 Nimbus 5130 083603513023 Band/Goodman 04:00:1513:08 Corelli Concerto Grosso in G minor, Violins of the X0113 Dorian 90180 053479018021 Op. 6 No. 8 "Christmas King/Labadie Concerto" 04:14:2331:38 Chausson Symphony in B flat, Op.
    [Show full text]