Seattle Symphony 2016–2017 Season Repertoire List

Total Page:16

File Type:pdf, Size:1020Kb

Seattle Symphony 2016–2017 Season Repertoire List SEATTLE SYMPHONY 2016–2017 SEASON REPERTOIRE LIST Tomaso Albinoni Sinfonia in G major Heath Allen and Dan Visconti Selections from ANDY: A Popera Johann Sebastian Bach “Agnus Dei” from Mass in B minor Sonata for Viola da Gamba No. 1 in G major Violin and Oboe Concerto Aria: “Widerstehe doch der Sunde” from Cantata No. 54 Samuel Barber The School for Scandal Overture Béla Bartók Piano Concerto No. 2 Romanian Folk Dances Violin Sonata No. 1 Ludwig van Beethoven Piano Concerto No. 3 Piano Concerto No. 5, “Emperor” Prometheus Overture Symphony No. 1 Symphony No. 2 Symphony No. 5 Symphony No. 6, “Pastoral” Symphony No. 8 Symphony No. 9 Hector Berlioz Les francs-juges Overture Leonard Bernstein Overture from West Side Story Leonard Bernstein and Stephen Sondheim “I Feel Pretty” from West Side Story Heinrich Biber Battalia Georges Bizet Jeux d’enfants William Bolcom Serenata Notturna for Oboe and String Quartet Johannes Brahms Tragic Overture Max Bruch Violin Concerto No. 1 Anton Bruckner Symphony No. 5 Kenji Bunch Megalopolis (World Premiere commissioned by the Seattle Symphony) Antonio Caldara Sinfonia in D major, “Santa Francesca” Claude Debussy En blanc et noir Prélude à “L’après-midi d’un Faune” (“Prelude to the Afternoon of a Faun”) Printemps Violin Sonata in G minor Antonín Dvořák Symphony No. 5 Symphony No. 8 Edward Elgar Cello Concerto The Dream of Gerontius Baldassare Galuppi Concerto a quattro, No. 2 in G major Francesco Geminiani Concerto grosso No. 12 in D minor, Op. 5, No. 2 “La Follia” George and Ira Gershwin “Embraceable You” from Girl Crazy Judd Greenstein World Premiere (commissioned by the Seattle Symphony) Helen Grime U.S. Premiere Sofia Gubaidulina Piano Quintet George Frideric Handel Aria: “Fammi combattere mostri e tifei” from Orlando Messiah Ode for the Birthday of Queen Anne, HWV 74 “Ombra mai fu,” Aria from Xerxes, HMV 40 Organ Concerto in B flat major Op. 4, No. 6 Organ Concerto in F major, HWV 295 “The Cuckoo and the Nightingale” Overture from Music for the Royal Fireworks, HWV 351 Water Music Suite (arr. Egarr) Franz Joseph Haydn Cello Concerto No. 1 in C major, Hob. VIIb Piano Concerto in D major, Hob. XVII:II Charles Ives New England Holidays: Washington’s Birthday Decoration Day The Fourth of July Thanksgiving and Forefathers Day Leoš Janáček String Quartet No. 2, “Intimate Letters” Pavel Karmanov The City I Love and Hate Aaron Jay Kernis Violin Concerto (U.S. Premiere co-commissioned by the Seattle Symphony, Toronto Symphony Orchestra, Dallas Symphony Orchestra and Melbourne Symphony Orchestras) Yannis Kyriakides tinkling William Lawes Fantasy from Consort Set in Six Parts in C major György Ligeti Requiem Jean-Baptiste Lully Selections from Le bourgeois gentilhomme Witold Roman Lutosławski Chantefleurs et Chantefables Chain 1 Scott McAllister Black Dog Gustav Mahler Symphony No. 5 Symphony No. 9 (performed by the Los Angeles Philharmonic) Bohuslav Martinů Memorial to Lidice Nikolai Medtner Two Canzonas with Dances for Violin and Piano Felix Mendelssohn The Hebrides (“Fingal’s Cave”) Octet Violin Concerto Olivier Messiaen Trois petites liturgies de la présence divine Paul Moravec Andy Warhol Sez Wolfgang Amadeus Mozart “Kegelstatt” Trio, K. 498 Larghetto and Allegro in E-flat major Overture to La Finta Giardiniera and Allegro, K. 121 Piano Concerto No. 9, “Jeunehomme” Requiem Symphony No. 29 in A major, K. 201/186a Modest Mussorgsky Pictures at an Exhibition Carl Nielsen Symphony No. 3 Giovanni Pacini “Ove t’aggiri, o barbaro” (“Where are you, O cruel man?”) from Stella di Napoli (“Star of Naples”) Astor Piazzolla The Four Seasons of Buenos Aires Gabriel Prokofiev World Premiere (Co-commissioned by the Seattle Symphony and Real Orquesta Sinfónica de Sevilla) Sergey Prokofiev Suite No. 1 from Romeo and Juilet Symphony No. 5 The Love for Three Oranges Henry Purcell Suite from The Fairy Queen Sergey Rachmaninov Piano Concerto No. 1 Piano Concerto No. 4 Rhapsody on a Theme of Paganini Symphony No. 2 Jean-Philippe Rameau Suite from Naïs Alexandre Rabinovitch-Barakovsky Récit de Voyage Maurice Ravel L’enfant et les sortilèges (“The Child and the Spells”) Le tombeau de Couperin Sonata for Violin & Cello Richard Rodgers and Oscar Hammerstein “You’ll Never Walk Alone” from Carousel Gioachino Antonio Rossini “Tanti affetti” (“So many emotions”) from La domna del lago Nikolai Rimsky-Korsakov Suite from Tale of Tsar Saltan Camille Saint-Saëns Cello Concerto No. 1 in A minor Alfred Schnittke String Quartet No. 3 Franz Schubert Fantasie in C major Octet Symphony No. 5 Dmitri Shostakovich Cello Concerto No. 1 Cello Concerto No. 2 Piano Concerto No. 1 Piano Concerto No. 2 Violin Concerto No. 1 Violin Concerto No. 2 Symphony No. 11 Jean Sibelius Violin Concerto in D minor Bedřich Smetana Dance of the Comedians from The Bartered Bride Piano Trio Wilhelm Stenhammar Serenade Richard Strauss An Alpine Symphony Four Last Songs Igor Stravinsky Concerto for Two Pianos Elegy for Solo Viola The Rite of Spring Karol Szymanowski Three Myths for piano and violin Pyotr Ilyich Tchaikovsky Mazeppa Overture Piano Concerto No. 1 Symphony No. 5 Violin Concerto Galina Ustvolskaya Octet four 4 violins, 2 oboes, timpani and piano Antonio Lucio Vivaldi Concerto for Four Violins, RV 580 Four Seasons Sinfonia in C major from L’Olimpiade Trad./Frederic Weatherly “Danny Boy” Alexander von Zemlinsky The Mermaid Agata Zubel Chapter 13 New Work (World Premiere Commissioned by the Seattle Symphony) .
Recommended publications
  • 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)-
    [Show full text]
  • Handel' S Organ Concerto S Reconsidered
    Handel' s Organ ConcertoConcertos s Reconsidered By NIELS KARL NIELSEN Due to the solid foundatiansfoundations provided by the research carried out by Chrysan­ der, W. Dean, O. E. Deutsch, J. P. Larsen, W. C. Smith and others the study of Randel'sHandel's works has been rendered much easier to-day than it was a mere twenty years ago; this, however, does not mean that all the problems have been solved. On the contrary, many still await exhaustive treatment. Whereas a vast number of books have been written ab out Randel'sHandel's vocal compositions, and the Oratorios in particular, a detailed study of his Organ Concertos, based on the autograph scores and other contemporary sources has not yet been made. Ehrlinger's dissertation 1 contains many valuable observa­ tions; nevertheless its importance is reduced considerably by the faetfact that he did not incorporate the original sources in his research. Accordingly, in the present study I intend to remedy this gap in our knowl­ edge of RandelHandel and his work, by discussing problems such as-date of composi­ tion-sources-original versions-style afof performance, and last but not least, the inevitable question of Randel'sHandel's borrowings. Some of these problems have of course been dealt with before, but I still find it worthwhile to try and collate as much information as possibiepossible about these aspects of Randel'sHandel's wark.work. RandelHandel embarked upon his concertos for organ and orchestra in dose con­ nection with his efforts to introduce the oratorio as a parallel to the produetionproduction of operas which had dominated his work in London up to the beginning of the 1730's.
    [Show full text]
  • To Read Or Download the Competition Program Guide
    THE KLEIN COMPETITION 2021 JUNE 5 & 6 The 36th Annual Irving M. Klein International String Competition TABLE OF CONTENTS Board of Directors Dexter Lowry, President Katherine Cass, Vice President Lian Ophir, Treasurer Ruth Short, Secretary Susan Bates Richard Festinger Peter Gelfand 2 4 5 Kevin Jim Mitchell Sardou Klein Welcome The Visionary The Prizes Tessa Lark Stephanie Leung Marcy Straw, ex officio Lee-Lan Yip Board Emerita 6 7 8 Judith Preves Anderson The Judges/Judging The Mentor Commissioned Works 9 10 11 Competition Format Past Winners About California Music Center Marcy Straw, Executive Director Mitchell Sardou Klein, Artistic Director for the Klein Competition 12 18 22 californiamusiccenter.org [email protected] Artist Programs Artist Biographies Donor Appreciation 415.252.1122 On the cover: 21 25 violinist Gabrielle Després, First Prize winner 2020 In Memory Upcoming Performances On this page: cellist Jiaxun Yao, Second Prize winner 2020 WELCOME WELCOME Welcome to the 36th Annual This year’s distinguished jury includes: Charles Castleman (active violin Irving M. Klein International performer/pedagogue and professor at the University of Miami), Glenn String Competition! This is Dicterow (former New York Philharmonic concertmaster and faculty the second, and we hope the member at the USC Thornton School of Music), Karen Dreyfus (violist, last virtual Klein Competition Associate Professor at the USC Thornton School of Music and the weekend. We have every Manhattan School of Music), our composer, Sakari Dixon Vanderveer, expectation that next June Daniel Stewart (Music Director of the Santa Cruz Symphony and Wattis we will be back live, with Music Director of the San Francisco Symphony Youth Orchestra), Ian our devoted audience in Swensen (Chair of the Violin Faculty at the San Francisco Conservatory attendance, at the San of Music), and Barbara Day Turner (Music Director of the San José Francisco Conservatory.
    [Show full text]
  • Elements of Traditional Folk Music and Serialism in the Piano Music of Cornel Țăranu
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2013 ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU Cristina Vlad University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Vlad, Cristina, "ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU" (2013). Student Research, Creative Activity, and Performance - School of Music. 65. https://digitalcommons.unl.edu/musicstudent/65 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU by Cristina Ana Vlad A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Mark Clinton Lincoln, Nebraska December, 2013 ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU Cristina Ana Vlad, DMA University of Nebraska, 2013 Adviser: Mark Clinton The socio-political environment in the aftermath of World War II has greatly influenced Romanian music. During the Communist era, the government imposed regulations on musical composition dictating that music should be accessible to all members of society.
    [Show full text]
  • Violin Repertoire List
    Violin Repertoire List In reverse order of difficulty (beginner books at top). Please send suggestions / additions to [email protected]. Version 1.1, updated 27 Aug 2015 ​ List A: (Pieces in 1st position & basic notation) ​ Fiddle Time Starters Fiddle Time Joggers Fiddle Time Runners Fiddle Time Sprinters The ABCs of Violin Musicland Violin Books Musicland Lollipop Man (Violin Duets) Abracadabra - Book 1 Suzuki Book 1 ABRSM Grade Book 1 VIolinSchool Editions: Popular Tunes in First Position ● Twinkle Twinkle Little Star ● London Bridge is Falling Down ● Frère Jacques ● When the Saints Go Marching In ● Happy Birthday to You ● What Shall We Do With the Drunken Sailor ● Ode to Joy ● Largo from The New World ● Long Long Ago ● Old MacDonald Had a Farm ● Pop! Goes the Weasel ● Row Row Row Your Boat ● Greensleeves ● The Irish Washerwoman ● Yankee Doodle Stanley Fletcher, New Tunes for Strings, Book 1 2 Step by Step Violin Play Violin Today String Builder Violin Book One (Samuel Applebaum) A Tune a Day I Can Read Music Easy Classical Violin Solos Violin for Dummies The Essential String Method (Sheila Nelson) Robert Pracht, Album of Easy Pieces, Op. 12 Doflein, Violin Method, Book 1 Waggon Wheels Superstudies (Mary Cohen) The Classical Experience Suzuki Book 2 Stanley Fletcher, New Tunes for Strings, Book 2 Doflein, Violin Method, Book 2 Alfred Moffat, Old Masters for Young Players D. Kabalevsky, Album Pieces for 1 and 2 Violins and Piano *************************************** List B: (Pieces in multiple positions and varieties of bow strokes) ​ Level 1: Tomaso Albinoni Adagio in G minor Johann Sebastian Bach: Air on the G string Bach Gavotte in D (Suzuki Book 3) Bach Gavotte in G minor (Suzuki Book 3) Béla Bartók: 44 Duos for two violins Karl Bohm www.ViolinSchool.org | [email protected] | +44 (0) 20 3051 0080 ​ ​ ​ 3 Perpetual Motion Frédéric Chopin Nocturne in C sharp minor (arranged) Charles Dancla 12 Easy Fantasies, Op.86 Antonín Dvořák Humoresque King Henry VIII Pastime with Good Company (ABRSM, Grade 3) Fritz Kreisler: Berceuse Romantique, Op.
    [Show full text]
  • An Analysis of Honegger's Cello Concerto
    AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S
    [Show full text]
  • Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution.
    [Show full text]
  • The Critical Reception of Beethoven's Compositions by His German Contemporaries, Op. 123 to Op
    The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 123 to Op. 124 Translated and edited by Robin Wallace © 2020 by Robin Wallace All rights reserved. ISBN 978-1-7348948-4-4 Center for Beethoven Research Boston University Contents Foreword 6 Op. 123. Missa Solemnis in D Major 123.1 I. P. S. 8 “Various.” Berliner allgemeine musikalische Zeitung 1 (21 January 1824): 34. 123.2 Friedrich August Kanne. 9 “Beethoven’s Most Recent Compositions.” Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat 8 (12 May 1824): 120. 123.3 *—*. 11 “Musical Performance.” Wiener Zeitschrift für Kunst, Literatur, Theater und Mode 9 (15 May 1824): 506–7. 123.4 Ignaz Xaver Seyfried. 14 “State of Music and Musical Life in Vienna.” Caecilia 1 (June 1824): 200. 123.5 “News. Vienna. Musical Diary of the Month of May.” 15 Allgemeine musikalische Zeitung 26 (1 July 1824): col. 437–42. 3 contents 123.6 “Glances at the Most Recent Appearances in Musical Literature.” 19 Caecilia 1 (October 1824): 372. 123.7 Gottfried Weber. 20 “Invitation to Subscribe.” Caecilia 2 (Intelligence Report no. 7) (April 1825): 43. 123.8 “News. Vienna. Musical Diary of the Month of March.” 22 Allgemeine musikalische Zeitung 29 (25 April 1827): col. 284. 123.9 “ .” 23 Allgemeiner musikalischer Anzeiger 1 (May 1827): 372–74. 123.10 “Various. The Eleventh Lower Rhine Music Festival at Elberfeld.” 25 Allgemeine Zeitung, no. 156 (7 June 1827). 123.11 Rheinischer Merkur no. 46 27 (9 June 1827). 123.12 Georg Christian Grossheim and Joseph Fröhlich. 28 “Two Reviews.” Caecilia 9 (1828): 22–45.
    [Show full text]
  • A Formal Analytical Approach Was Utilized to Develop Chart Analyses Of
    ^ DOCUMENT RESUME ED 026 970 24 HE 000 764 .By-Hanson, John R. Form in Selected Twentieth-Century Piano Concertos. Final Report. Carroll Coll., Waukesha, Wis. Spons Agency-Office of Education (DHEW), Washington, D.C. Bureauof Research. Bureau No-BR-7-E-157 Pub Date Nov 68 Crant OEC -0 -8 -000157-1803(010) Note-60p. EDRS Price tvw-s,ctso HC-$3.10 Descriptors-Charts, Educational Facilities, *Higher Education, *Music,*Music Techniques, Research A formal analytical approach was utilized to developchart analyses of all movements within 33 selected piano concertoscomposed in the twentieth century. The macroform, or overall structure, of each movement wasdetermined by the initial statement, frequency of use, andorder of each main thematic elementidentified. Theme groupings were then classified underformal classical prototypes of the eighteenth and nineteenth centuries (ternary,sonata-allegro, 5-part or 7-part rondo, theme and variations, and others), modified versionsof these forms (three-part design), or a variety of free sectionalforms. The chart and thematic illustrations are followed by a commentary discussing each movement aswell as the entire concerto. No correlation exists between styles andforms of the 33 concertos--the 26 composers usetraditional,individualistic,classical,and dissonant formsina combination of ways. Almost all works contain commonunifying thematic elements, and cyclicism (identical theme occurring in more than1 movement) is used to a great degree. None of the movements in sonata-allegroform contain double expositions, but 22 concertos have 3 movements, and21 have cadenzas, suggesting that the composers havelargely respected standards established in theClassical-Romantic period. Appendix A is the complete form diagramof Samuel Barber's Piano Concerto, Appendix B has concentrated analyses of all the concertos,and Appendix C lists each movement accordog to its design.(WM) DE:802 FINAL REPORT Project No.
    [Show full text]
  • Repertoire List
    APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.
    [Show full text]
  • Leonard Bernstein's Piano Music: a Comparative Study of Selected Works
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Leonard Bernstein's Piano Music: A Comparative Study of Selected Works Leann Osterkamp The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2572 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LEONARD BERNSTEIN’S PIANO MUSIC: A COMPARATIVE STUDY OF SELECTED WORKS by LEANN OSTERKAMP A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 ©2018 LEANN OSTERKAMP All Rights Reserved ii Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Ursula Oppens Chair of Examining Committee Date Norman Carey Executive Director Supervisory Committee Dr. Jeffrey Taylor, Advisor Dr. Philip Lambert, First Reader Michael Barrett, Second Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp Advisor: Dr. Jeffrey Taylor Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions.
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components.
    [Show full text]