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PROGRAM NOTES Witold Lutosławski Concerto for Orchestra
PROGRAM NOTES by Phillip Huscher Witold Lutosławski Born January 25, 1913, Warsaw, Poland. Died February 7, 1994, Warsaw, Poland. Concerto for Orchestra Lutosławski began this work in 1950 and completed it in 1954. The first performance was given on November 26, 1954, in Warsaw. The score calls for three flutes and two piccolos, three oboes and english horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, four trombones and tuba, timpani, snare drum, side drums, tenor drum, bass drum, cymbals, tam-tam, tambourine, xylophone, bells, celesta, two harps, piano, and strings. Performance time is approximately twenty-eight minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lutosławski's Concerto for Orchestra were given at Orchestra Hall on February 6, 7, and 8, 1964, with Paul Kletzki conducting. Our most recent subscription concert performance was given November 7, 8, and 9, 2002, with Christoph von Dohnányi conducting. The Orchestra has performed this concerto at the Ravinia Festival only once, on June 28, 1970, with Seiji Ozawa conducting. For the record The Orchestra recorded Lutosławski's Concerto for Orchestra in 1970 under Seiji Ozawa for Angel, and in 1992 under Daniel Barenboim for Erato. To most musicians today, as to Witold Lutosławski in 1954, the title “concerto for orchestra” suggests Béla Bartók's landmark 1943 score of that name. Bartók's is the most celebrated, but it's neither the first nor the last work with this title. Paul Hindemith, Walter Piston, and Zoltán Kodály all wrote concertos for orchestra before Bartók, and Witold Lutosławski, Michael Tippett, Elliott Carter, and Shulamit Ran are among those who have done so after his famous example. -
Leihmaterial Bote & Bock
Leihmaterial Bote & Bock - Stand: November 2015 - Komponist / Titel Instrumentation Komp. / Dauer Aa, Michel van der 2 After Life B 2S,M,A,2Ba; 2005-06/ 95' Oper nach dem Film von Hirokazu Kore-Eda 0.1.1.BKl.0-0.1.0.1-Org(=Cemb)-Str(3.3.3.2.2); 2009 elektr Soundtrack; Videoprojektionen 1 The Book of DisquietB 1.0.1.1-0.1.0.0-Perc(1): 2008 75' Musiktheater für Schauspieler, Ensemble und Film Vib/Glsp/3Metallstücke/Cabasa/Maracas/Egg Shaker/ 4Chin.Tomt/grTr/Bambusglocken/Ratsche/Peitsche(mi)/ HlzBl(ti)/2Logdrum/Tri(ho)/2hgBe-4Vl.3Va.2Vc.Kb- Soundtrack(Laptop,1Spieler)-Film(2Bildschirme) 0 Here [enclosed] B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2003 17' für Kammerorchester und Soundtrack Soundtrack(Laptop, 1Spieler); Theaterobjekt K Here [in circles] B Kl.BKl.Trp-Perc(1)-Str(1.1.1.1.1); 2002 15' für Sopran und Ensemble kl Kassetten-Rekorder (z.B. Sony TCM-939) 0 Here [to be found]B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2001 18' für Sopran, Kammerorchester und Soundtrack Soundtrack(Laptop, 1 Spieler) Here Trilogy B 2001-03 50' siehe unter Here [enclosed], Here [in circles], Here [to be found] F Hysteresis B Fg-Trp-Perc(1)-Str*; Soundtrack(Laptop,1 Spieler); 2013 17' für Solo-Klarinette, Ensemble und Soundtrack *Streicher: 1.0.1.1.1 (alle vertärkt) oder 4.0.3.2.1 oder 6.0.5.4.2; Kb mit tiefer C-Saite 2 Imprint B 2Ob-Cemb-Str(4.4.3.2.1); 2005 14' für Barock-Orchester Portativ-Orgel zu spielen vom Solo-Violinisten; Historische Instrumente (415 Hz Stimmung) oder moderne Instrumente in Barock-Manier gespielt 1 Mask B 1.0.1.0-1.1.1.0-Perc(1)-Str(1.1.1.1.1)- -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) The Concertizing Clarinet in the Music of the 20th- 21st Centuries Yu Zhao Department of Musical Upbringing and Education Institute of Music, Theatre and Choreography Herzen State Pedagogical University of Russia Saint-Petersburg, Russia E-mail: [email protected] Abstract—The article deals with stating the problem of a clarinet concert of the 20-21 centuries (one should note in research in ontology of the genre of Clarinet Concert in 20-21 this regard S. E. Artemyev‟s full-featured thesis considering centuries. The author identifies genre variants of long forms the Concerto for clarinet and orchestra of the 18th century). for solo clarinet with orchestra or instrumental ensemble and proposes further steps in making such a research, as well. II. A SHORT GUIDE IN THE HISTORY OF THE CLARINET Keywords—instrumental concert; concertizing; concerto; CONCERT GENRE concert genres; genre diversity Studies in the executive mastership are connected with a research of the evolution of the genres of instrumental music. I. INTRODUCTION The initial period of genesis and development of clarinet concert is investigated widely. Contemporary music in its various genres has become in many aspects a subject of scrupulous studies in musicology. It is known that the most early is the composition of Our research deals with professional problematics of the Antonio Paganelli indicated by the author as Concerto per instrumental concert genre, viewed more narrowly, namely, Clareto (1733). Possibly, it was written for chalumeau, the connected with clarinet performance. instrument-predecessor of the clarinet itself. But, before this time clarinet was used as one of the concertizing instruments The purpose of this article is to identify the situation in the genre of Concerto Grosso, particularly by J. -
The Most Common Orchestral Excerpts for the Horn: a Discussion of Performance Practice
The most common orchestral excerpts for the horn: a discussion of performance practice by Shannon L. Armer Submitted in partial fulfillment of the requirements for the degree Master of Music in the Faculty of Humanities University of Pretoria Supervisor: Dr. J. deC Hinch Pretoria January 2006 © University of Pretoria ii ABSTRACT This study describes in detail the preparation that must be done by aspiring orchestral horn players in order to be sufficiently ready for an orchestral audition. The general physical and mental preparation, through to the very specific elements that require attention when practicing and learning a list of orchestral excerpts that will be performed for an audition committee, is investigated. This study provides both the necessary tools and the insight borne of a number of years of orchestral experience that will enable a player to take a given excerpt and learn not only the notes and rhythms, but also discern many other subtleties inherent in the music, resulting in a full understanding and mastery thereof. Ten musical examples are included in order to illustrate the type of additional information that a player must gain so as to develop an in-depth knowledge of an excerpt. Three lists are presented within the text of this study: 1) a list of excerpts that are most commonly found at auditions, 2) a list of those excerpts that are often included and 3) other excerpts that have been requested but are not as commonly found. Also included is advice regarding the audition procedure itself, a discussion of the music required for auditions, and a guide to the orchestral excerpt books in which these passages can be found. -
Heralding a New Enlightenment
Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners. -
Wolfgang Amadeus Mozart
Saturday, September 8 1979 Arts Guild Fair, Central Park, Northfield Overture to the Magic Flute (Wolfgang Amadeus Mozart) Finlandia (Jean Sibelius) London Suite (Eric Coates) Country Gardens (Percy Grainger) Berceuse and FInale- Firebird (Igor Stravinsky) Dance Rhythms (Wallingford Riegger) Simple Gifts (Aaron Copland) Hoedown (Aaron Copland) August 23, 1986 Carleton College Concert Hall Carneval Overture (Antonin Dvorak) Valse Triste (Jan Sibelius) Konzertstuck for Four Horns and Orchestra Wedding Day at Troldhaugen (Edvard Grieg) Highlights from Showboat (Jerome Kern/Oscar Hammerstein) Why Do I Love You? Can’t Help Lovin Dat Man You Are Love - soloist- Myrna Johnson The Moldau from Ma Vlast (Bedrich Smetana) American Salute (Morton Gould) August 28, 1986 Fairbault Junior High Auditorium- 7:30 pm Carneval Overture (Antonin Dvorak) Valse Triste (jan Sibelius) Konzertstuck for Four Horns and Orchestra Prelude to Act III of Lohengrin First Movement from Violin Concerto no. 3 in G, K216 (W.A. mozart) The Moldau from Ma Vlast (Bedrich Smetana) American Salute (Morton Gould) Saturday, May 14, 1994 United Methodist Church, Northfield- 2:30pm Northfield Cello Choir (Directed by Stephen Peckley): Pilgrim’s Chorus (Richard Wagner) Sarabande and Two Gavottes (J.S. Bach) Red Rose Rag (Traditional) Suite for Strings in Olden Style from Holberg’s Time, Op.40 (Edvard Grieg) Prelude: Allegro Vivace Sarabande: Andante Rigaudon: Allegro Con Brio Geraldine Casper- violin solo Paul Tarabek- viola solo Concerto in D Major for Cello and Orchestra (Josef Haydn) -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Osmo Vänskä, Conductor Augustin Hadelich, Violin
Pittsburgh Symphony Orchestra 2019-2020 Mellon Grand Classics Season December 6 and 8, 2019 OSMO VÄNSKÄ, CONDUCTOR AUGUSTIN HADELICH, VIOLIN CARL NIELSEN Helios Overture, Opus 17 WOLFGANG AMADEUS Concerto No. 2 in D major for Violin and Orchestra, K. 211 MOZART I. Allegro moderato II. Andante III. Rondeau: Allegro Mr. Hadelich Intermission THOMAS ADÈS Violin Concerto, “Concentric Paths,” Opus 24 I. Rings II. Paths III. Rounds Mr. Hadelich JEAN SIBELIUS Symphony No. 3 in C major, Opus 52 I. Allegro moderato II. Andantino con moto, quasi allegretto III. Moderato — Allegro (ma non tanto) Dec. 6-8, 2019, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA CARL NIELSEN Helios Overture, Opus 17 (1903) Carl Nielsen was born in Odense, Denmark on June 9, 1865, and died in Copenhagen on October 3, 1931. He composed his Helios Overture in 1903, and it was premiered by the Danish Royal Orchestra conducted by Joan Svendsen on October 8, 1903. These performances mark the Pittsburgh Symphony premiere of the work. The score calls for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani and strings. Performance time: approximately 12 minutes. On September 1, 1889, three years after graduating from the Copenhagen Conservatory, Nielsen joined the second violin section of the Royal Chapel Orchestra, a post he held for the next sixteen years while continuing to foster his reputation as a leading figure in Danish music. His reputation as a composer grew with his works of the ensuing decade, most notably the Second Symphony and the opera Saul and David, but he was still financially unable to quit his job with the Chapel Orchestra to devote himself fully to composition. -
Classical Music Listening Suggestions by Nature Topic
Classical Music Listening Suggestions by Nature Topic FAUNA Primary Topic Secondary Topic Composer Work Period / Style Form Instrumentation Fauna Animals Rutter All Creatures of Our God and King Romantic - 20th Century Song/Lied Choral Fauna Bears Haydn Symphony #82: L'Ours The Bear - Finale Classical Symphony Orchestral Fauna Bees Bridge The Bee Romantic - 20th Century Song/Lied Male Vocalists Fauna Bees Rimsky-Korsakov Flight of the Bumblebee Romantic Song/Lied Balalaika Fauna Bees Rimsky-Korsakov Flight of the Bumblebee Romantic Solo Piano Fauna Birds Canteloube Chants D'auvergne, Series I, The Quail Romantic - 20th Century Song/Lied Soprano Fauna Birds Dvorak The Wood Dove Romantic Overture Orchestral Fauna Birds Glazunov Spring: Birds Romantic Ballet Orchestral Fauna Birds Handel Concerto for Organ & Orchestra #13 in F, Cuckoo and the Nightengale Baroque Concerto Organ Fauna Birds Handel L’allegro, il Penseroso ed il Moderato: “Sweet Bird” Baroque Aria Soprano Fauna Birds Hanson Birds of Paradise, Op. 34 Romantic - 20th Century Solo Piano Fauna Birds Liszt St. Francis of Assisi Preaching to the Birds Romantic Tone Poem Piano Fauna Birds Liszt St. Francis Preaching to the Birds Romantic Tone Poem Piano Fauna Birds Messiaen Illumination of the Beyond: Plusieurs Oiseaux des arbres de Vie Modern Suite Orchestral Fauna Birds Messiaen Le Reveil des oiseaux Modern Overture Piano/Concerto Fauna Birds Messiaen Quartet for the End of Time: Abime des oiseaux Modern Suite Quartet Fauna Birds Mussorgsky Pictures at an Exhibition: Ballet of the -
Music Tech-1
Radnor Middle School Course Overview Music Technology I. Course Description Music Technology is offered as an eighth grade music elective, meeting three times a cycle. Students will be introduced to the study of music technology and music fundamentals. Areas of instruction will include instrument and equipment care, beginning level music literacy (reading and writing music), keyboard performance skills, music technology related history, concepts, terminology and experience with a variety of applications. II. Resources, Materials , Equipment • iMacs • GarageBand • Korg K61p MIDI Studio Contoller Keyboards • Student Journals III. Course Goals, Objectives (Essential Questions, Enduring Understandings) Students will be able to: 1. Accurately perform melody, harmony and rhythm parts of a composition and record the parts separately into the sequencer of the keyboard. 2. Accurately perform melody, harmony and rhythm parts of their own composition and record the parts separately into the sequencer of the keyboard. 3. Record multiple parts to an electronic “sound piece” using non-traditional instrument timbres and effects. 4. Orchestrate and perform three- and four-part synthesizer ensemble pieces within expected performance parameters for their individual levels of expertise. 5. Transfer sequenced MIDI files from the keyboard disk into the computer and, using appropriate software, edit needed corrections, format, and print out the composition. 6. Change instrumentation using an existing music composition stored as MIDI data; and alter tempo, range, and dynamics during the course of the piece, while still maintaining the original integrity of the composition. 7. Compose a four-part electronic sound piece using varied timbre (tone), texture, and dynamics of at least three minute length. Students may incorporate digitally recorded audio sounds into this piece. -
Nationalism, Primitivism, & Neoclassicism
Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets