DOCSLIB.ORG

Clarinet at the Clock Tower

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Clarinet at the Clock Tower Classical Club | Michael Collins: Clarinet at the Clock Tower Michael Collins: Clarinet at the Clock Tower Weber: Clarinet Quintet in B Flat Major, Op.34 Mozart: Clarinet Quintet in A Major, K.581 London Mozart Players Michael Collins: clarinet London Mozart Players Classical Club | Michael Collins: Clarinet at the Clock Tower Coming soon... With artists from the Young Classical Artists Trust Michael Collins: Clarinet at the Clock Tower Broadcast on 7pm, Thursday 1 October. Filmed at St Pancras Clock Tower. Weber: Clarinet Quintet in B Flat Major, Op.34 Mozart: Clarinet Quintet in A Major, K.581 Bows and Oboes Celebrating Beethoven London Mozart Players Strauss: Concerto in D major for Oboe Beethoven: Coriolan Overture, Op.62 Michael Collins: clarinet Mendelssohn: Symphony No.4 in A major, Beethoven: Violin Concerto in D, Op.61 Violin 1 – Simon Blendis Op.90 ‘Italian’ Violin 2 – Jenny Godson Jonian Ilias Kadesha: violin Viola – Judith Busbridge Mateusz Moleda: conductor Cello – Sebastian Comberti Olivier Stankiewicz: oboe Broadcast date: 7pm, Sunday 15 November Filmed at St John’s Smith Square Broadcast date: 7pm, Thursday 15 October Filmed at Fairfield Halls, Croydon To celebrate Beethoven’s 250th anniversary, LMP performs his Coriolan Inspired by a chance wartime meeting Overture and Violin Concerto. The overture Keep in touch! between the composer and a soldier, reflects the contrasting moods of Heinrich Strauss’s spirited Oboe Concerto is in von Collin’s play – Coriolan’s aggression and If you have enjoyed this concert and londonmozartplayers fact exceptionally difficult to play, with his mother’s gentle pleading. Beethoven’s would like to hear more about the mozartplayers circular breathing a pre-requisite. This revolutionary Violin Concerto, performed London Mozart Players then do sign londonmozartplayers.com concert showcases two artists destined by rising star and YCAT artist Jonian Ilias up for our newsletter via our website. for stardom, oboist Olivier Stankiewicz and Kadesha, takes us on an exhilarating conductor Mateusz Moleda. Mendelssohn’s journey from a lyrical first movement to a jaunty Italian Symphony is an extra treat. joyous rambunctious finale. It’s a hugely You’ll get to hear first about all our The concert comes from Fairfield Halls, satisfying masterpiece, and the perfect upcoming concerts and exclusive Croydon, where London Mozart Players has work with which to salute Beethoven’s events, and enjoy priority booking enjoyed a 30-year residency. genius. and special offers. London Mozart Players Classical Club | Michael Collins: Clarinet at the Clock Tower Programme notes This programme of clarinet quintets is a real celebration of friendship and innovation. Both Audio examples pieces were written for particular clarinettists who were close friends of each composer, and both collaborations led to works which pushed the boundaries of what was then Our programme notes refer to specific possible for the clarinet. Both are major points of interest which you may like milestones in the history of music for the to listen to – we’ve supplied a Spotify clarinet. reference to a recording of Weber’s Clarinet Quintet by the Carducci Quartet and Mozart’s Clarinet Quintet by the Arcanto Quartett. Carl Maria von Weber for whom the quintets were written, and the development of the clarinet as an Clarinet Quintet in B Flat instrument. Major The quintet was begun in 1811, an important i) Allegro year for Weber. The previous few years had been difficult. He fell into debt, was ii) Fantasia charged with embezzlement and bribery and iii) Menuetto, capriccio presto eventually banished from Wurttemberg. But iv) Rondo, allegro giocoso by 1811 he had settled in Heidelberg and started to build a new life. He was beginning to make new musical friends and was Weber probably would have known Mozart’s enjoying a period of cultural invigoration in Clarinet Quintet, written just 22 years Germany. (It may be interesting to note that earlier in 1789 in Vienna. However, despite the Grimm’s fairy tales were published not their temporal and geographical proximity, far away in Kassel the following year in 1812). the two works feel remarkably different. In In March he made a visit to Munich where he Weber’s quintet the clarinet takes the role met Baermann, a virtuoso clarinettist who of soloist with the strings often playing was famous for the warmth of his tone ‘which an accompanying role, allowing the player has not the slightest strain or shrillness in to show off a dazzling array of virtuosic it, both of which are so common among techniques. This contrasts with Mozart’s clarinettists’. quintet, in which the five voices tend to be engaged in a more equal dialogue, and The two became friends and in September tells us something about the clarinettists 1811 Weber started sketches of a quintet, London Mozart Players Classical Club | Michael Collins: Clarinet at the Clock Tower and presented three movements of the The third movement, a capricious Minuet Wolfgang Amadeus Mozart enters halfway through the first theme, work to Baermann for his birthday on and Trio, shows off the clarinet’s increased passing its second theme back to the cello: 13th April 1813. He did not complete the capacity for fast finger-work, and quick Clarinet Quintet in A fourth and final movement until two years leaps between high and low register: Major later. At the time Baermann had recently Opening of first movement on started playing a clarinet with ten keys the Arcanto Quartett recording. made by Griessling und Schlott, which i) Allegro opened up new technical possibilities. One Beginning of track three on the ii) Larghetto of these was greater ease with chromatic Carducci Quartet recording. iii) Menuetto – Trio I – Trio II Like Weber, Mozart was a master of scales, something which Weber exploited iv) Allegretto con variazioni vocal writing and operatic style, and this with virtuosic chromatic runs in the first The fourth and final movement feels is particularly apparent in the clarinet movement of the quintet but also with especially operatic, with an energised quintet. It was in fact written at the same particularly magical effect in the second string accompaniment and particularly Mozart’s clarinet quintet was also born time that he was working on Cosi fan tutti. movement: dramatic dialogue between the string out of a friendship, in this case with the In particular the second movement is an ‘chorus’ and the clarinet’s soprano voice. Viennese clarinettist Anton Stadler who, exquisite aria for the clarinet, supported along with his brother Johann, was a by muted strings and joined in a duet by 2:36 on track two on the member of the court orchestra in Vienna, Carducci Quartet recording. and an important figure in the growing 0:35 on track four on the acceptance of the clarinet as an orchestral Carducci Quartet recording. instrument. He was also a member of the Déjà vu? Here he also uses the expanded dynamic same Freemasons order as Mozart. Anton range of the clarinet, from fortissimo to Throughout the quintet, Weber’s wit and specialised in the lower registers and Lovers of Mozart’s Clarinet Concerto pianissimo. The use of varied dynamics, humour shine through. There is an operatic experimented with a new instrument with will recognise some similar passages and swells within a note, also features at feel to the music, perhaps not surprising an even lower range which is now generally and phrases in the clarinet quintet. the very opening of the quintet with the given Weber’s strong connection to opera. known as the basset clarinet. This is the Both are written in A major and both clarinet’s first entry which grows from an His first professional post at the age of instrument for which Mozart wrote the were written for Anton Stadler, Mozart’s almost inaudible pianissimo to a singing 17 was the director at the Breslau Opera clarinet quintet, although it is now most friend and collaborator, to be played on mezzo forte before it takes over the melody and he later went on to be director of the often performed on the clarinet in A, just the instrument that Stadler invented, from the strings: Prague Opera and Dresden Opera where one semitone lower than a clarinet in B flat, the basset clarinet. Musically, the first he composed the successful operas Der but with a richer and mellower tone. theme of the first movement of both Freischutz, Euryanthe and Oberon. the concerto and the quintet begins Beginning of track one on the The premiere took place on the 22nd with a falling minor third, then the Carducci Quartet recording. December 1789, with Stadler playing second movements are in the same key the clarinet part and Mozart himself (D major) and are very similar despite playing the viola. This spirit of friendship different tempo markings. There is even permeates the work, and the clarinet is a direct quotation of two bars in the in true conversational dialogue with the second movement of the Quintet of the string instruments, weaving in and out of clarinet line in the Concerto’s second melodic and harmonic roles throughout movement. But then when the tune the piece. This is especially clear in the first is this good, why waste it on just one movement, in the way that the clarinet work? London Mozart Players Classical Club | Michael Collins: Clarinet at the Clock Tower the first violin in the reprise. And the last which he struggled with financial difficulties movement really feels like a chamber opera and the ill-health of his wife Constanze. As for a cast of five. It is a set of theme and H.C. Robbins Landon writes in Mozart: The variations, in which the characters talk, Golden Years: ‘Parts of [the Quintet] seem joke, dance and lament.
Load more

Recommended publications
  • 2019 Preview Notes • Week Two • Persons Auditorium
    2019 Preview Notes • Week Two • Persons Auditorium Saturday, July 20 at 8:00pm Flute Quartet in D Major, K. 285 (1777-78) Wolfgang Amadeus Mozart Born January 27, 1756 • Died December 5, 1791 Duration: approx. 15 minutes Last Marlboro performance: 2011 When Mozart was just a few years younger than the junior participants in this group, he travelled throughout Europe with his mother in search of employment. While in Mannheim on his way to Paris, he met a Dutch merchant named Willem van Britten Dejong who happened to be an amateur flute player. Dejong, who had made his fortune in India, was happy to commission three concertos and three quartets for his instrument. Mozart, who needed the funds, was happy to accept. However, he only completed the quartets and two concertos (one a transcription of a previously-composed oboe concerto) by the time he left Mannheim. What he did write, though, charmingly showcases the flute. In this quartet, that instrument takes the lead throughout a buoyant Allegro beginning, a delicate Adagio accompanied by sparkling plucking from the strings, and a boisterous but well-balanced Rondo conclusion. Participants: Giorgio Consolati, flute; Hiroko Yajima, violin; Jordan Bak, viola; Alexander Hersh, cello Octet (2004) Jörg Widmann Born June 19, 1973 • In residence 2008, 2019 Duration: approx. 30 minutes Marlboro Premiere Though Widmann’s Octet features frequent microtones, he admits that the piece is “almost throughout, a tonal piece,” which was “risky to write in 2004.” The instrumentation suggests a clear connection to Schubert’s genre-making octet, and the piece’s central third movement, which is titled Lied ohne Worte, is a plangent nod to the composer who wrote so many Lieder over the course of his short life.
    [Show full text]
  • Overture to Oberon Composed from 1825-26 Carl Maria Von Weber Born in Eutin, Germany, November 18, 1786 Died in London, June 5
    OVERTURE TO OBERON COMPOSED FROM 1825-26 CARL MARIA VON WEBER BORN IN EUTIN, GERMANY, NOVEMBER 18, 1786 DIED IN LONDON, JUNE 5, 1826 The tragic tale of the composition of Weber’s final opera Oberon is perhaps as interesting as the plot of the opera itself. Dying of consumption at the age of 38, the impoverished Weber felt he could not refuse the offer from English impresario Charles Kemble to compose an opera on the subject of Oberon, King of the Faeries, for the London stage— even though he sensed that the project would be the death of him. “Whether I travel or not, in a year I’ll be a dead man,” he wrote to a friend after he had completed the Oberon score, of his decision to make the trip to England to see the work through to performance. “But if I do travel, my children will at least have something to eat, even if Daddy is dead—and if I don’t go they’ll starve. What would you do in my position?” Both points of Weber’s prediction proved correct: The 12 initial performances of Oberon netted his family a great deal of money; and within a few weeks of the work’s successful premiere in April 1826, the composer collapsed of exhaustion and died. Though the composition of operas had always been the center of Weber’s existence, it was not until the last six years of his life that he had finally been given the opportunity to compose the three stage works that quickly took their place among the masterworks of Romanticism: Der Freischütz, Euryanthe, and Oberon.
    [Show full text]
  • The Recently Rediscovered Works of Heinrich Baermann by Madelyn Moore Submitted to the Graduate Degree Program in Music And
    The Recently Rediscovered Works of Heinrich Baermann By Madelyn Moore Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Music. ________________________________ Chairperson Dr. Eric Stomberg ________________________________ Dr. Robert Walzel ________________________________ Dr. Paul Popiel ________________________________ Dr. David Alan Street ________________________________ Dr. Marylee Southard Date Defended: April 1, 2014 The Dissertation Committee for Madelyn Moore certifies that this is the approved version of the following dissertation: The Recently Rediscovered Works of Heinrich Baermann ________________________________ Chairperson Dr. Eric Stomberg Date approved: April 22, 2014 ii Abstract While Heinrich Baermann was one of the most famous virtuosi of the first half of the nineteenth century and is one of the most revered clarinetists of all time, it is not well known that Baermann often performed works of his own composition. He composed nearly 40 pieces of varied instrumentation, most of which, unfortunately, were either never published or are long out of print. Baermann’s style of playing has influenced virtually all clarinetists since his life, and his virtuosity inspired many composers. Indeed, Carl Maria von Weber wrote two concerti, a concertino, a set of theme and variations, and a quintet all for Baermann. This document explores Baermann’s relationships with Weber and other composers, and the influence that he had on performance practice. Furthermore, this paper discusses three of Baermann’s compositions, critical editions of which were made during the process of this research. The ultimate goal of this project is to expand our collective knowledge of Heinrich Baermann and the influence that he had on performance practice by examining his life and three of the works that he wrote for himself.
    [Show full text]
  • Taking Flight Beginning with a Tribute to Lindbergh, the St
    TAKING FLIGHT BEGINNING WITH A TRIBUTE TO LINDBERGH, THE ST. LOUIS SYMPHONY EXPRESSES THE SPIRIT OF ST. LOUIS. BY EDDIE SILVA DILIP VISHWANAT David Robertson Begin with a new beginning. The St. Louis Symphony’s 2016-17 season, its 137th, starts with the turn of a propeller, a steep rise into uncluttered skies, and a lonely, perilous journey that changed how people lived, thought, and dreamed. Charles Lindbergh’s silvery craft was christened The Spirit of St. Louis, and pilot and aircraft made their historic flight together across the Atlantic 90 years ago. The name “Spirit of St. Louis” also reflects upon the daring and innovation of a few St. Louisans early in the 20th century. It also speaks to St. Louis now, near the beginning of a new century amidst a whirlwind of innovation that turns more swiftly than a propeller. The St. Louis Symphony, Music Director David Robertson has remarked often, embodies that spirit: innovative, daring, risk-taking, enduring, agile, resourceful—give it an engine and a pair of wings and you’ll see Paris by morning. Kurt Weill’s The Flight of Lindbergh opens the 2016-17 season (September 16-17). Described as a “radio cantata,” it is one of the early collaborations between Weill and Bertolt Brecht, who created the classic The Threepenny Opera as well as other distinctive Brecht/Weill productions. KMOX’s Charlie Brennan provides the radio expertise as narrator of The Flight of Lindbergh. This 1929 work, written in the flush of inspiration that followed Lindbergh’s 6 Taking Flight achievement, will feel fresh, new, and innovative in 2016.
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • London Mozart Players Wind Trio When He Left to Focus on His Freelance Career
    Timothy Lines (Clarinet) Timothy studied at the Royal College of Music with Michael Collins and now enjoys a wide- ranging career as a clarinettist. He has played with all the major symphony orchestras in London as well as with chamber groups including London Sinfonietta and the Nash Ensemble. From 1999 to 2003 he was Principal Clarinet of the London Symphony Orchestra and was also chairman of the orchestra during his last year there. From September 2004 to January 2006 he was section leader clarinet of the City of Birmingham Symphony Orchestra, London Mozart Players Wind Trio when he left to focus on his freelance career. He plays on original instruments with the English Baroque Soloists, the Orchestre Revolutionnaire et Romantique and the Orchestra of Thursday 12th March 2020 at 7.30 pm the Age of Enlightenment and is also frequently engaged to record film music and pop music Cavendish Hall, Edensor tracks. Timothy is Professor of Clarinet at both the Royal College of Music and the Royal Academy of Music, and is the clarinet coach for the National Youth Orchestra of Great Britain. In March 2016 he was awarded a Fellowship of the Royal College of Music and was later that year invited to become Principal Clarinet of the London Mozart Players. Concert Champêtre H. TOMASI Gareth Hulse (Oboe) (1901-1971) After reading music at Cambridge, Gareth Hulse studied with Janet Craxton at the Royal Divertimento K439b W.A. MOZART Academy of Music, and with Heinz Holliger at the Freiburg Hochschule fur Musik. On his (1756-1791) return to England he was appointed Principal Oboe with the Northern Sinfonia, a position he has since held with English National Opera and the London Philharmonic.
    [Show full text]
  • The Inspiration Behind Compositions for Clarinetist Frederick Thurston
    THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing.
    [Show full text]
  • 95.3 Fm 95.3 Fm
    October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op.
    [Show full text]
  • Form in the Music of John Adams
    Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners.
    [Show full text]
  • "A Midsummer Night's Dream" at Eastman Thratre; Jan. 21
    of the University of Rochester Walter Hendl, Director presents THE EASTMAN OPERA THEATRE's PRODUCTION of A MIDSUMMER NIGHT'S DREAM by Benjamin Britten Libretto adapted from William Shakespeare by Benjamin Britten and Peter Pears LEONARD TREASH, Director EDWIN McARTHUR, Conductor THOMAS STRUTHERS, Designer Friday Evening, January 21, 1972, at 8:15 Saturday Evening, January 22, 1972, at 8:15 CAST (in order of appearance) Friday, January 21 Saturday, January 22 Cobweb Robin Eaton Robin Eaton Pease blossom Candace Baranowski Candace Baranowski Mustardseed Janet Obermeyer Janet Obermeyer Moth Doreen DeFeis Doreen DeFeis Puck Larry Clark Larry Clark Oberon Letty Snethen Laura Angus Tytania Judith Dickison Sharon Harrison Lysander Booker T. Wilson Bruce Bell Hermia Mary Henderson Maria Floros Demetrius Ralph Griffin Joseph Bias Helena Cecile Saine Julianne Cross Quince James Courtney James Courtney Flute Carl Bickel David Bezona Snout Bruce Bell Edward Pierce Starveling Tonio DePaolo Tonie DePaolo Bottom Alexander Stephens Alexander Stephens Snug Dan Larson Dan Larson Theseus Fredric Griesinger Fredric Griesinger Hippolyta '"- Laura Angus Letty Snethen Fairy Chorus: Edwin Austin, Steven Bell, Mark Cohen, Thomas Johnson, William McNeice, Gregory Miller, John Miller, Swan Oey, Gary Pentiere, Jeffrey Regelman, James Singleton, Marc Slavny, Thomas Spittle, Jeffrey VanHall, Henry Warfield, Kevin Weston. (Members of the Eastman Childrens Chorus, Milford Fargo, Conductor) . ' ~ --· .. - THE STORY Midsummer Night's Dream, Its Sources, Its Construction,
    [Show full text]
  • EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
    EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos.
    [Show full text]
  • Program Notes Quartet No
    Ariel Quartet Gershon Gerchikov, violin Alexandra Kazovsky, violin Jan Grüning, viola Amit Even-Tov, cello with Ilya Shterenberg, clarinet Quartet No. 8 in C minor, Op. 110 Dmitri Shostakovich (1906-75) Largo Allegro molto Allegretto Largo Largo Clarinet Quintet in A major, K. 581 Wolfgang Amadeus Mozart (1756-91) Allegro Larghetto Menuetto Allegretto con variazioni Clarinet Quintet in B-Flat Major, Op. 34 Carl Maria von Weber (1786-1826) Rondo: Allegro giojoso - INTERMISSION - Quartet in D minor, D. 810, “Death and the Maiden” Franz Schubert (1797-1828) Allegro Andante con moto Scherzo. Allegro molto Presto Ariel Quartet is represented by MKI Artists; One Lawson Lane, Suite 320, Burlington, VT 05401. Recordings: Avie Records www.arielquartet.com www.sacms.org Program Notes Quartet No. 8 in C minor, Op. 110 Dmitri Shostakovich By 1960 the ‘Thaw’ following Stalin’s death had improved the outward circumstances of Shostakovich’s life, and he was honored at home and allowed to travel abroad to perform and receive additional honors. The price was a requirement that he perform many duties for the official music establishment. In April 1960, at the personal invitation of Soviet leader Nikita Khrushchev, Shostakovich was elected head of the Russian Composers’ Union. He was also pressured to join the Communist Party, a step he had avoided during all his earlier years of torment. he did this without telling his family and friends, and when it became public the intense shame of his capitulation led to a nervous breakdown in June 1960. “I’ve been a whore, I am and always will be a whore,” he told his old friend Isaak Glikman with tears streaming down his face.
    [Show full text]