Chicago Symphony Orchestra Tuesday Evening Radio Programs on Wfmt Extended Through June 2021
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Saisonprogramm 2019/20
19 – 20 ZWISCHEN Vollendeter HEIMAT Genuss TRADITION braucht ein & BRAUCHTUM perfektes MODERNE Zusammenspiel KULTURRÄUME NATIONEN Als führendes Energie- und Infrastrukturunternehmen im oberösterreichischen Zentralraum sind wir ein starker Partner für Wirtschaft, Kunst und Kultur und die Menschen in der Region. Die LINZ AG wünscht allen Besucherinnen und Besuchern beste Unterhaltung. LINZ AG_Brucknerfest 190x245 mit 7mm Bund.indd 1 30.01.19 09:35 6 Vorworte 12 Saison 19/20 16 Abos 19/20 22 Das Große Abonnement 32 Sonntagsmatineen 42 Kost-Proben 44 Das besondere Konzert 100 Moderierte Foyer-Konzerte am Sonntagnachmittag 50 Chorkonzerte 104 Musikalischer Adventkalender 54 Liederabende 112 BrucknerBeats 58 Streichquartette 114 Russische Dienstage INHALTS- 62 Kammermusik 118 Musik der Völker 66 Stars von morgen 124 Jazz 70 Klavierrecitals 130 BRUCKNER’S Jazz 74 C. Bechstein Klavierabende 132 Gemischter Satz 80 Orgelkonzerte VERZEICHNIS 134 Comedy.Music 84 Orgelmusik zur Teatime 138 Serenaden 88 WortKlang 146 Kooperationen 92 Ars Antiqua Austria 158 Jugend 96 Hier & Jetzt 162 Kinder 178 Kalendarium 193 Team Brucknerhaus 214 Saalpläne 218 Karten & Service 5 Kunst und Kultur sind anregend, manchmal im flüge unseres Bruckner Orchesters genießen Hommage an das Genie Anton Bruckner Das neugestaltete Musikprogramm erinnert wahrsten Sinn des Wortes aufregend – immer kann. Dass auch die oberösterreichischen Linz spielt im Kulturleben des Landes Ober- ebenso wie das Brucknerfest an das kompo- aber eine Bereicherung unseres Lebens, weil Landesmusikschulen immer wieder zu Gast österreich ohne Zweifel die erste Geige. Mit sitorische Schaffen des Jahrhundertgenies sie die Kraft haben, über alle Unterschiedlich- im Brucknerhaus Linz sind, ist eine weitere dem internationalen Brucknerfest, den Klang- Bruckner, für den unsere Stadt einen Lebens- keiten hinweg verbindend zu wirken. -
Messe E-Moll WAB 27 Zweite Fassung/Second Version 1882
Anton BRUCKNER Messe e-Moll WAB 27 Zweite Fassung/Second version 1882 Coro (SSAATTBB) 2 Oboi, 2 Clarinetti, 2 Fagotti, 4 Corni, 2 Trombe, 3 Tromboni herausgegeben von/edited by Dagmar Glüxam Urtext Partitur/Full score C Carus 27.093 Inhalt / Contents Vorwort 4 Foreword 8 Abbildungen 12 Kyrie (Coro SSAATTBB) 14 Gloria (Coro) 20 Credo (Coro) 32 Sanctus (Coro) 49 Benedictus (Coro SSATTBB) 55 Agnus Dei (Coro SSAATTBB) 63 Kritischer Bericht 73 Zu diesem Werk liegt folgendes Aufführungsmaterial vor: Partitur (Carus 27.093), Klavierauszug (Carus 27.093/03), Klavierauszug XL Großdruck (Carus 27.093/04), Chorpartitur (Carus 27.093/05), komplettes Orchestermaterial (Carus 27.093/19). The following performance material is available: full score (Carus 27.093), vocal score (Carus 27.093/03), vocal score XL in larger print (Carus 27.093/04), choral score (Carus 27.093/05), complete orchestral material (Carus 27.093/19). Carus 27.093 3 Vorwort Als Anton Bruckner (1824–1896) zwischen August und November C-Dur (WAB 31) für vierstimmigen gemischten Chor a cappella 1866 seine Messe in e-Moll (WAB 27) komponierte, konnte er (1. Fassung 1835–1843, 2. Fassung 1891) oder der Windhaager bereits eine langjährige Erfahrung als Kirchenmusiker aufweisen und Messe in C-Dur für Alt, zwei Hörner und Orgel (WAB 25; 1842) auch auf ein überaus umfangreiches kirchenmusikalisches Œuvre können hier etwa die Messe ohne Gloria in d-Moll („Kronstorfer zurückblicken.1 Schon als Kind wurde er durch seinen musikbe- Messe“; WAB 146, 1844) für vierstimmigen gemischten Chor a geisterten Vater und Schullehrer Anton Bruckner (1791–1837) zur cappella oder das Requiem für vierstimmigen Männerchor und Mitwirkung – u. -
UNICORN RECORDS 27-29 York Road, Waterloo, London SE1. Based on a Bruckner Bust by Franz S
in its traditions, he grew up in Australia, wnere ,,-- , '''''' ~ . ... "'·.... --- I I""' I~ - J - , --I It"'I.-'"I"" ... e ..........""':.._,...•• r (1862) of Bruckner is due to be issued by Calder Requiem aeternam (Grant them eternal rest) his love of this open, developing world became (Day of wrath) & Boyars in autumn 1970. Dies irae Moderato, E flat major reflected in the clarity of approach and execu Domine Jesu Christe (Lord Jesus Christ) F major tion that has marked his career as a conductor_ The Requiem in d minor was recorded in Hostias et preces (Sacrifices of praise and prayers to Thee) e minor He stems from the schools of Eugene Holy Trinity, Brompton, London, on 28 May Quam olim Abrahae (As Thou once didst promise to Abraham) March d minor Goossens, Rafael Kubelik and Carlo Zecchi , and and 1 June 1970. Sanctus (Holy, holy, holy, Lord God of Hosts) holds the Conductor's Diploma of the Paris The Four Orchestral Pieces were recorded in Benedictus (Blessed is He) Conservatoire, though he himself freely admits Barking Assembly Hall, London, on 1 July 1970. Agnus Dei (Lamb of God) that the greatest influence on his musical Producer: Dr. Robert Simpson Requiem aeternam (Grant them eternal rest) development has been the friendship and Engineer: Brian Snelling Cum sanctis tuis (With Thy saints forever) encouragement which Furtwa'ngler showed him; A DOLBY SOUND SYSTEM !RECORDING Sleeve printed by Richard Davis Ltd . Cover design by Justin Michmann Photograph of Hans-Hubert Schonzeler UNICORN RECORDS 27-29 York Road, Waterloo, London SE1. based on a Bruckner bust by Franz S. -
Selected Male Part-Songs of Anton Bruckner by Justin Ryan Nelson
Songs in the Night: Selected Male Part-songs of Anton Bruckner by Justin Ryan Nelson, B.M., M.M. A Dissertation In Choral Conducting Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved John S. Hollins Chair of Committee Alan Zabriskie Angela Mariani Smith Mark Sheridan Dean of the Graduate School May 2019 Copyright 2019, Justin Ryan Nelson Texas Tech University, Justin R. Nelson, May 2019 ACKNOWLEDGMENTS To begin, I would like to thank my doctoral dissertation committee: Dr. John Hollins, Dr. Alan Zabriskie, and Dr. Angela Mariani Smith, for their guidance and support in this project. Each has had a valuable impact upon my life, and for that, I am most grateful. I would also like to thank Professor Richard Bjella for his mentorship and for his uncanny ability to see potential in students who cannot often see it in themselves. In addition, I would like to acknowledge Dr. Alec Cattell, Assistant Professor of Practice, Humanities and Applied Linguistics at Texas Tech University, for his word-for-word translations of the German texts. I also wish to acknowledge the following instructors who have inspired me along my academic journey: Dr. Korre Foster, Dr. Carolyn Cruse, Dr. Eric Thorson, Mr. Harry Fritts, Ms. Jean Moore, Dr. Sue Swilley, Dr. Thomas Milligan, Dr. Sharon Mabry, Dr. Thomas Teague, Dr. Jeffrey Wood, and Dr. Ann Silverberg. Each instructor made an investment of time, energy, and expertise in my life and musical growth. Finally, I wish to acknowledge and thank my family and friends, especially my father and step-mother, George and Brenda Nelson, for their constant support during my graduate studies. -
Nineteenth Century Sacred Music: Bruckner and the Rise of the Cäcilien-Verein
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Spring 2020 Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein Nicholas Bygate Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Bygate, Nicholas, "Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein" (2020). WWU Graduate School Collection. 955. https://cedar.wwu.edu/wwuet/955 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein By Nicholas Bygate Accepted in Partial Completion of the Requirements for the Degree Master of Music ADVISORY COMMITTEE Chair, Dr. Bertil van Boer Dr. Timothy Fitzpatrick Dr. Ryan Dudenbostel GRADUATE SCHOOL David L. Patrick, Interim Dean Master’s Thesis In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non- exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work and does not infringe or violate any rights of others. I warrant that I have obtained written permissions from the owner of any third party copyrighted material included in these files. -
Stephen Erdely
Music at MIT Oral History Project Stephen Erdely Interviewed by Forrest Larson March 24, 1999 Interview no. 1 Massachusetts Institute of Technology Lewis Music Library Transcribed by MIT Academic Media Services and 3Play Media. Cambridge, MA Transcript Proof Reader: Lois Beattie, Jennifer Peterson Transcript Editor: Forrest Larson ©2013 Massachusetts Institute of Technology Lewis Music Library, Cambridge, MA ii Table of Contents 1. Education and professional background (00:14) ......................................... 1 George Szell—playing in the Cleveland Orchestra—doctorate degree from Case Western Reserve University—teaching at Toledo University—education in Hungary—World War II—beginnings of ethnomusicology as a field of study—American Anthropological Society—Alan Merriam—Japp Kunst—Music Folklore Studies—Erick M. von Hornbostel and Comparative Musicology—dissertation: Methods and Principles of Hungarian Ethnomusicology —Walter Hendl—Eastman School of Music 2. Coming to MIT (19:51) .................................................................................4 Music faculty: Rufus Hallmark, John Buttrick, David Epstein, John Harbison, Barry Vercoe—Klaus Liepmann—music and the arts as academic disciplines—musical climate at MIT—MIT President Jerome Wiesner—Jacob den Hartog—performing with MIT faculty—performing duo with pianist Beatrice Erdely—Marcus Thompson 3. Music programs at MIT (31:19) ....................................................................7 Philosophy on music at MIT—introduction of ear training course—musical -
Georg Solti (1)
___________________________________________________________________________ SWR2 Musikstunde 10.9.2012 Der legendäre Dirigentenjahrgang 1912 (1) Mit Rainer Damm Georg Solti (1) Kaum ein Dirigent von Weltrang kann auf ein vergleichbar bewegtes Leben zurückblicken wie der 1912 in Budapest als György Stern geborene Georg oder George Solti, den Königin Elisabeth 1971 seiner beispiellosen Verdienste um das britische Musikleben wegen mit dem Adelstitel Sir auszeichnete. Schon als dreizehnjähriger trat der mit dem absoluten Gehör gesegnete Sohn aus bescheidenen Verhältnissen in das Budapester Konservatorium ein. Dort prägten ihn Begegnungen mit Bela Bartok, Ernst von Dohnanyi, Leo Weiner und Zoltan Kodaly. Aber schon 1939 musste er wegen der einsetzenden Juden - Pogrome in die Schweiz fliehen. Den verwegensten Spät - Senkrechtstarter der neueren Interpretationsgeschichte beriefen die Amerikaner 1946 als Generalmusikdirektor der Bayerischen Staatsoper nach München, derweil die renommierten Pultheroen auf den Ausgang ihrer Entnazifizierungsprozesse warteten. Gleich, ob in München oder später in Frankfurt oder London: Immer wieder bescherte Solti seinem Publikum Sternstunden der Oper. Erst in reiferen Jahren entdeckte Solti seine Neigung für die Symphonik. Rund zwanzig Jahre lang blieb er künstlerischer Leiter des Chicago Symphony Orchestra. Aufbauend auf der Vorarbeit seines ungarischen Landsmannes Fritz Reiner machte er es zu einem der besten Orchester der Welt. _____________________________________________________________ CD Decca 410 116 - 2 track 1 ab 7‘32 (Horn) = 4‘10 _____________________________________________________________ Das Finale des 1. Satzes von Antonin Dvoraks Sinfonie Nr. 9 op. 95 Aus der Neuen Welt mit dem Chicago Symphony Orchestra unter der Leitung des damals 70jährigen Georg Solti, aufgenommen 1983. Das Orchester aus Chicago, im Branchenjargon The Machine genannt, entsprach in idealer Weise Soltis Wunsch nach unbedingter Präzision und schneidender Wucht des Klanges, insbesondere der Blechbläser. -
Concerts Conducted by Carl Schuricht Including Music of Anton Bruckner (1912-1965) Original Source
Concerts conducted by Carl Schuricht including music of Anton Bruckner (1912-1965) Original source : http://carlschuricht.com/concert.htm Important Dates 3 July 1880 : Carl Adolph Schuricht was born at Danzig (Gdansk) into a family of organ-builders. His father, Carl Conrad Schuricht was born on 27 January 1856. He was an organ-builder and worked at his father's factory. He died on 9 June 1880 (3 weeks before his son was born !) when he tried to help an employee fallen into the sea, in the bay of Danzig. His mother, Amanda Ludowika Alwine Wusinowska was a well-known Polish Oratorio singer (1847-1935) . She didn't re-marry after her husband's death. 1886 : Began piano and violin lessons at the age of 6. Studied at the « Friedrichs Realgymnasium » in Berlin. 1891 : Began to compose at the age of 11. 1892 : Studied at the « Königliches Realgymnasium » in Wiesbaden. Written the music and the librettos for 2 Operas. 1895 : Started conducting at the age of 15. 1901-1902 : 1st professional job as « Korrepetitor » at the « Stadttheater » of Mainz. 1902 : Won a composition prize from the Kuszynski Foundation, and awarded a scholarship by Franz von Mendelssohn. Allowed him to continue his studies at the « Berliner Musikhochschule » (« der Königlichten Hochschule für Musik ») under Ernst Rudorff, piano ; Heinrich van Eyken (and not Engelbert Humperdink) , composition ; and, later, Max Reger in Leipzig. His musical compositions were published mostly by Drei-Lilien-Verlag, Berlin. Opus 1 : Piano Sonata in F minor. Opus 2 : « Herbst-Stücke » (Opuscules for autumn) for piano and orchestra. Opus 3 : « Fünf Lieder » (5 Songs) . -
2002 Die Deutsche Nationalhymne
Z B L Ä T T E R L BB LL ÄÄTT TT EE RR EXTRA A ZUM LAND F 1922 – 2002 P Die Deutsche Nationalhymne - wurde 80 D Vorgeschichte Gedichtet wurde der Text am 26. August 1841 von N Hoffmann von Fallersleben in einem Fischerquartier in der Feldstraße auf der da- mals zu England (seit 1807) A gehörenden Insel in der Nordsee, Helgoland. Als Musik für das „Deutschland- L lied“ benutzte man von Joseph Haydn die Melodie aus dem Kaiserquartett, August Heinrich Hoffman von Fallersleben Opus 76, Nummer 3, G-Dur. N (1798 - 1874) Der Verleger Julius Campe aus Hamburg, seit längerer Zeit mit dem Es wurde 1843 in dem Kommersbuch Professor August Heinrich Hoffmann I „Deutsche Lieder“, 1844 in Bechsteins von Fallersleben bekannt, besuchte ihn „Deutschem Dichterbuch“ und im auf Helgoland und bei einem Spazier- „Allgemeinen deutschen Lieder-Lexikon“ gang am Strand sagte dieser zu Campe: abgedruckt. Und obwohl das „Deutsch- E „Ich habe ein Lied gemacht, das kostet landlied“ 1848 von den Teilnehmern der aber vier Louisdor.“ Der Verleger war Versammlung in der Frankfurter Pauls- begeistert vom Text und zahlte den kirche begeistert gesungen wurde, muss- H geforderten Preis. Das „Deutschlandlied“ te ein enttäuschter Hoffmann von wurde erstmals am 5. Oktober 1841 Fallersleben 1871 bei der Reichsgrün- von der „Hamburger Liedertafel von dung erfahren, dass sein Lied nicht zur 1823“ im Beisein des Dichters gesungen. Hymne erkoren wurde. R Wer war nun jener Hoffmann von Fallers- „Unpolitischen Lieder“ verboten. Er war leben? Geboren wurde er am von nun an ein Verfolgter. 2. April 1798 als August Heinrich Hoff- mann in Fallersleben, nicht allzu weit 1848 war das Jahr der Rehabilitation für von Braunschweig. -
LEONORE OVERTURE No. 3, OP. 72
— PROGRAM — PROGRAM NOTES BEETHOVEN (1770–1827) struggled to produce an appropriate overture for Fidelio, and ultimately went through four versions. His first attempt, for the 1805 premiere, is believed to have been the overture now known LEONORE OVERTURE No. 3, OP. 72 ............. LUDWIG VAN BEETHOVEN as Leonore No. 2. Beethoven then focused this version for the per– (1770–1827) formances of 1806, creating Leonore No. 3. The latter is considered by many listeners as the greatest of the four overtures, but as an intensely dramatic, full-scale symphonic movement it had the defect of over– whelming the (rather light) initial scenes of the opera. Beethoven CONCERTO FOR CLARINET, VIOLA, AND ORCHESTRA accordingly experimented with cutting it back somewhat, for a planned IN E MINOR, OP. 88 .......................................................... MAX BRUCH 1807 performance in Prague; this is believed to be the version now called (1838–1920) Leonore No. 1. Finally, for the 1814 revival Beethoven began anew, and I. Andante con moto with fresh musical material wrote what we now know as the Fidelio II. Allegro moderato overture. III. Allegro molto MAX BRUCH (1838–1920) composed his Double Concerto for clarinet, Kent van Alstyne, clarinet viola, and orchestra in 1911, with his son, Max Felix, a fine player of the Sarah Bass, viola clarinet, particularly in mind. The concerto is unusual in beginning with a relatively slow movement, proceeding to a somewhat faster one, and ending with a vigorous Allegro molto. The most striking passages come at the very beginning, where first the viola and then the clarinet introduce — INTERMISSION — themselves, much as the cello and violin do in the Brahms Double Concerto. -
Judith Lang Zaimont
Full Biography for Conductor Harold Rosenbaum Website -- http://www.haroldrosenbaum.com/ Harold Rosenbaum is one of the most accomplished, versatile, and critically‐acclaimed choral conductors of our time. He is the 2014 recipient of the Ditson Conductor’s Award, established by Columbia University to honor conductors for their support of American music. Past winners include Leonard Bernstein, James Levine, Alan Gilbert, Eugene Ormandy, Robert Spano, and Robert Shaw. Mr. Rosenbaum was the 2010 recipient of ASCAP’s Victor Herbert Award “in recognition of his contribution to the choral repertory and his service to American composers and their music,” and the 2008 recipient of the American Composer Alliance’s Laurel Leaf Award, previously given to such legends as the Juilliard String Quartet, Leopold Stokowski, and George Szell, in recognition of “distinguished achievement in fostering and encouraging the performance of new American works.” Mr. Rosenbaum is the founder and director of the Harold Rosenbaum Choral Conducting Institute which sponsors 3 and 5-day workshops at New York’s Columbia University, the University at Buffalo, and Long Island’s Adelphi University. He recently founded Virtuoso Choral Recordings (http://www.virtuosochoralrecordings.com), a cooperative venture to allow composers to have their choral works recorded at a reasonable cost. Recently Mr. Rosenbaum created ChoralFest USA – A Celebration of the Diversity of Choral Music in America (http://www.choralfestusa.org). This free marathon concert, held at Symphony Space in NYC each June, features a dozen or more choirs performing centuries of American music in diverse styles. A tireless advocate for contemporary composers, and for American composers in particular, Mr. -
Program Notes
From the Intimate to the Unfathomable: Unexpected Affinities in Bruckner and Golijov by Thomas May the genre into a vehicle for abstract spiritual contemplation, the F-minor Mass contains musically ambitious moments that anticipate his mature symphonies. Even had Bruckner never written the symphonies with which his name is first and foremost associated, Mass No. 3 in F Minor would stand as a masterful achievement. It bridges the Viennese Classical tradition with this composer’s singular vision—a vision influenced in part by, but never truly congruent with, later 19th- century Romanticism—and marks the pivotal moment in his career just before he resettled in Vienna, where he made writing symphonies his project. This is the third and final complete setting of the central Roman Catholic liturgy that Bruckner completed. All three of his masses date from the 1860s, though in 1875 he contemplated writing a requiem, for which he sketched only 18 measures; a setting of the Te Deum, his best known choral work, dates from the early 1880s. He composed the Mass No. 3 in F Minor between September 1867 It may seem hard to believe that the Los Angeles Master Chorale and September 1868 and made numerous minute revisions over is performing the two works on this program for the very the years, even up to the period when he was working on his first time in its 55-year history. Though vastly different in Symphony No. 9. outlook and in the very sounds they demand from the chorus, Anton Bruckner’s Mass No. 3 in F Minor and Oceana by Osvaldo Bruckner undertook the F-minor Mass shortly after his release Golijov (pictured above), might have been tailor-made for the from treatment for a nervous breakdown.