Boston Symphony Orchestra Concert Programs, Season 112, 1992-1993
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
Levit Spielt Brahms Fr 7
LEVIT SPIELT BRAHMS FR 7. September 2018 2 3 programm programm FR 7. September 2018 Kölner Philharmonie / 20.00 Uhr Johannes Brahms 19.00 Uhr Einführung Konzert Nr. 1 d-Moll Wibke Gerking für Klavier und Orchester op. 15 I. Maestoso II. Adagio III. Rondo. Allegro non troppo ~ 45 Minuten pause Arnold Schönberg Pelleas und Melisande Sinfonische Dichtung op. 5 (nach dem Drama von Maurice Maeterlinck) [I.] Die Achtel ein wenig bewegt – Heftig – Lebhaft – [II.] Sehr rasch – Ein wenig bewegt – [III.] Langsam – Ein wenig bewegter – [IV.] Sehr langsam – Etwas bewegt – In gehender Bewegung – Breit ~ 43 Minuten Jukka-Pekka Saraste Igor Levit Klavier WDR Sinfonieorchester Jukka-Pekka Saraste Leitung sendetermin wdr 3 SA 15. September 2018 20.04 Uhr wdr 3 konzertplayer digitales programmheft Zum Nachhören finden Sie Unter wdr-sinfonieorchester.de dieses Konzert 30 Tage lang im steht Ihnen fünf Tage vor WDR 3 Konzertplayer: wdr3.de jedem Konzert das jeweilige Programmheft zur Verfügung. Titelbild: Igor Levit 4 5 die werke die werke Die Ereignisse freilich überschlugen sich in den 1850er Jahren: 1853 veröffentlichte Schumann den Artikel »Neue Bahnen«, in dem er Brahms eine große Zukunft als Komponist prophezeite: »Am Cla- vier sitzend, fing er an wunderbare Regionen zu enthüllen. Wir wurden in immer zauberischere Kreise hineingezogen. Dazu kam ein ganz geniales Spiel, das aus dem Clavier ein Orchester von wehklagenden und lautjubelnden Stimmen machte. Es waren So- naten, mehr verschleierte Symphonien«. Damit war dem jungen KONZERT NR. 1 D-MOLL Komponisten klar, dass von ihm Sinfonisches erwartet wurde. Ent- sprechend wollte Brahms seine ursprünglich für zwei Klaviere kon- FÜR KLAVIER UND zipierte d-Moll-Sonate umarbeiten. -
559700 Bk Hanson US
559642 bk Baker US_559642 bk Baker US 22/06/2012 21:07 Page 12 AMERICAN CLASSICS CLAUDE BAKER The Glass Bead Game Awaking the Winds • Shadows • The Mystic Trumpeter St. Louis Symphony Leonard Slatkin • Hans Vonk 8.559642 12 559642 bk Baker US_559642 bk Baker US 22/06/2012 21:07 Page 2 Claude Baker (b. 1948): The Glass Bead Game Hans Vonk Awaking the Winds • Shadows: Four-Dirge Nocturnes • The Mystic Trumpeter The distinguished Dutch conductor Hans Vonk assumed The Glass Bead Game (1982, rev. 1983) attained through a complete consumption and exhaustive the post of Music Director and Conductor of the St. Louis analysis only of the fruits of the past. Such a society, says Symphony in September 1996. A sought-after guest In 1943, the German novelist and philosopher Hermann Hesse, no matter how elite, how intellectual, how esoteric, conductor as well, he appeared with many of the world’s Hesse completed his last and (excepting Narcissus und must stagnate, wither and die. most prestigious orchestras and led performances at major Goldmund) greatest novel, Das Glasperlenspiel. Winner Claude Baker is saying much the same thing in his opera houses in Europe and North America, while also of the 1946 Nobel Prize for Literature, this book, the sum three-movement musical piece based on The Glass Bead remaining active in the musical life of his native Holland. and summit of Hesse’s thought and one of the most truly Game. His work, bearing the same title, is far more than a Vonk was Chief Conductor of the Netherlands Opera from relevant books of the era, was translated into English in programmatic reflection of Hesse’s novel; it is, remarkably, 1976 to 1985, during which time he was also Conductor of 1969 and brought out first with the title The Glass Bead like the novel, a philosophical mirror as well, in which the Netherlands Radio Philharmonic (1973-1979) and Game and subsequently as Magister Ludi (Master of the Baker utilizes Hesse’s methods and imagery to comment Associate Conductor of London’s Royal Philharmonic Game). -
Celebrating Slatkin Booklet FINAL
Marie-Hélène Bernard St. Louis Symphony Orchestra President & CEO Dear Leonard, When you made your conducting debut with the St. Louis Symphony Orchestra in 1968, who could have imagined that we’d gather on the same stage 50 years later to celebrate a remarkable partnership – one that redefined what an American orchestra could – and continues – to be. What you built with the St. Louis Symphony Orchestra starting 50 years ago remains core to our mission. It’s the solid bedrock we’ve been building on for the past five decades: enriching lives through the power of music. Your years with the SLSO reshaped this orchestra, earning it the title of “America’s Orchestra.” You connected with our community – both here in St. Louis and on national and international stages. By taking this orchestra on the road, you introduced the SLSO and St. Louis to the world. You recorded with this orchestra more than any other SLSO music director, championing American composers and music of our time. Your passion for music education led to your founding of the St. Louis Symphony Youth Orchestra, which is the premiere experience for young musicians across our region. Next year, we will mark the Youth Orchestra’s golden anniversary and the thousands of lives it has impacted. We admire you for your remarkable spirit and talent and for your amazing vision and leadership. We are thrilled you have returned home to St. Louis and look forward to many years sharing special moments together. On behalf of the entire St. Louis Symphony Orchestra family, congratulations on the 50th anniversary of your SLSO debut. -
Naamloos 2.Pages
JOOST SMEETS CONDUCTOR JOOST SMEETS PAGINA: !1 Joost Smeets Lindepad 3 6017BW Thorn Nederland PHONE: +31 6 22387357 E-MAIL: [email protected] WEBSITE: www.joostsmeets.com VIDEOS: https://vimeopro.com/culture2share/joost-smeets-conductor JOOST SMEETS PAGINA: !2 Biography 1st Prize winner of the Cordoba Conducting Competition Spain 2013, 1st Prize winner of the Black Sea International Conducting Competition Constanta Romania 2014, 1st Prize winner of the London Classical Soloïsts Conducting Competition United Kingdom 2016 2nd Prize winner of the Antal Dorati Int. Conducting Competition Budapest Hungary 2015, 3rd Prize winner (1st and 2nd Prize are not awarded) of the Ferruccio Busoni Int. Conducting Competition Empoli, Italy 2016 Principal Conductor and Artistic Director of the Chamber Philharmonic der Aa Groningen Holland (2010-2016) conducted with great acclaim in his career renowned orchestras in Opera and Symphonic programs including: - Boise Philharmonic Orchestra USA - Letvian National Symphony Orchestra Riga Letvia - North-Netherlands Symphony Orchestra Groningen Holland - Koszalin Philharmonic “Stanislaw Moniuszko” Poland - Wuhan Philharmonic Orchestra China - State Opera Rousse, Bulgaria - MAV Symphony Orchestra Budapest, Hungary - St. Petersburg State Symphony Orchestra Russia - Cordoba Symphony Orchestra Spain - Artez Conservatory Symphony Orchestra Zwolle Holland - Tomsk Philharmonic Orchestra Russia - Limburgs Symphony Orchestra Maastricht Holland - National Bulgarian Opera Bourgas Bulgaria - Württembergische Philharmonie -
559700 Bk Hanson US
AMERICAN CLASSICS CLAUDE BAKER The Glass Bead Game Awaking the Winds • Shadows • The Mystic Trumpeter St. Louis Symphony Leonard Slatkin • Hans Vonk Claude Baker (b. 1948): The Glass Bead Game comes to an end, the note “B” begins to disperse it and In that spirit, Claude Baker bases his second movement Awaking the Winds • Shadows: Four-Dirge Nocturnes • The Mystic Trumpeter dominate the movement, and Baker introduces the “Music on a paduana (a slow, courtly dance like a pavane) from of Decline.” The loud, violent outbursts in the winds and Johann Schein’s landmark Banchetto Musicale of 1617, The Glass Bead Game (1982, rev. 1983) attained through a complete consumption and exhaustive percussion signal the end of the “Age of the Feuilleton.” one of the first thematically integrated instrumental works analysis only of the fruits of the past. Such a society, says written in Germany. But Baker does not simply quote the In 1943, the German novelist and philosopher Hermann Hesse, no matter how elite, how intellectual, how esoteric, “…Old age and twilight had set in... the ‘music of Schein work; rather, he alternates it with his own Hesse completed his last and (excepting Narcissus und must stagnate, wither and die. decline’ had sounded... it raged somewhat atonal music, thus making the seventeenth- Goldmund) greatest novel, Das Glasperlenspiel. Winner Claude Baker is saying much the same thing in his as untrammeled and amateurish overproduction century music seem like a dream, like yesterday’s sunlight of the 1946 Nobel Prize for Literature, this book, the sum three-movement musical piece based on The Glass Bead in all the arts.” recalled from behind the veil of memory. -
Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet -
Michael Faust
Masterclass Φλάουτου 7-9 Μαρτίου 2016, Iόνιος Ακαδημία Michael Faust (Robert Schumann Hochschule, Ντίσελντορφ Συμφωνική Ορχήστρα WDR, Κολωνίας) Επισκέπτης καθηγητής στο πλαίσιο του προγράμματος Erasmus+ Στο σεμινάριο θα συμμετέχουν ενεργά φοιτητές Kατεύθυνσης Eκτέλεσης Φλάουτου του Τ.Μ.Σ. Η παρακολούθηση του σεμιναρίου είναι ανοιχτή για ενδιαφερόμενους ακροατές. Οι ενδιαφερόμενοι μπορούν να ενημερώνονται για τις ακριβείς ώρες διεξαγωγής του σεμιναρίου από την υπεύθυνη διδάσκουσα του Τ.Μ.Σ. , κυρία Ρία Γεωργιάδου ([email protected]). Michael Faust's concert career began in his native Cologne, Germany, in 1975 where he was a student of Cäcilie Lamerichs. Later he studied in Hamburg with Karlheinz Zöller, principal flute of the Berlin Philharmonic, and with Aurèle Nicolet in Basel, Switzerland. Since then Michael has won prizes in prestigious music competitions in Rome, Prague and Bonn. As a 1986 Pro Musicis award winner in New York, he has accorded début concerts in such music centers as Boston, Washington, New York, Paris, Tokyo, and Osaka. Highlights of his solo-career include performances with the WDR-Symphony Orchestra, the St. Louis Symphony Orchestra, and the Hilversum Symphony Orchestra, where he performed Gunther Schuller's flute concerto, with the Gürzenich-Orchestra Köln under Markus Stenz, the NDR-Symphony Orchestra as well as with the Moscow Radio-Symphony and the Spokane Symphony orchestras. He has also played as a soloist in halls like the Concertgebow Amsterdam, Berlin Philharmonic, Keio Hall in Tokyo, the Cologne Philharmonic and many others. In 2003 the renowned composer Mauricio Kagel wrote his only instrumental concerto for Michael Faust, who played his ‘Das Konzert’ in Duisburg, Düsseldorf and Hamburg among other cities. -
SYMPHONY #1, “A S (1903-9) Ralph Vaughan Williams (1872-1958)
presents SYMPHONY #1, “A SEA SYMPHONY” (1903-9) Ralph Vaughan Williams (1872-1958) Performed by the UNIVERSITY SYMPHONY & COMBINED CHORUS Peter Erös, conductor 7:30 PM March 14, 2008 Meany Theater PROGRAM A Song for All Seas, All Ships On the Beach at night, Alone The Waves The Explorers A SEA SYMPHONY is a remarkably evocative piece of music by Ralph Vaughan Williams for a large choir, soprano and baritone soloists and orchestra. The text is from Walt Whitman’s collection “Leaves of Grass.” This is perfect for Vaughan Williams, encompassing everything from descrip– tions of ships at sea, daring explorers and innovators, introspection on the meaning of progress, the Second Coming, and a transcendent final voyage to the afterlife. Bertrand Russell introduced Vaughan Williams to the poet’s work while they were both undergraduates at Cambridge. The piece is a true choral symphony, where the choir leads the themes and drives the action, rather than merely intoning the words and pro– viding a bit of vocal color; it is more like an oratorio than a symphony. It is Vaughan Williams’ first symphonic work, and such was his lack of confidence in the area that he returned to study under Ravel in Paris for three months before he felt able to complete it. It was premiered in 1910 at the Leeds Festival. There are four movements: “A Song for all Seas, all Ships,” “On the Beach at night, Alone,” “The Waves,” and “The Explorers.” The first is an introduction, dealing with the sea, sailing ships and steamers, sailors and flags. -
4532.Pdf (166.8Kb)
PROGRAM PART ONE PART TWO Jonathan Pasternack, conductor Peter Erös, conductor Overture to LA FORZA DEL DESTINO ..... GIUSEPPE VERDI (1813-1901) from DIE WALKÜRE ..............................RICHARD WAGNER (1813-1883) Aria: “LEB’ WOHL” David Borning, baritone from LES CONTES D’HOFFMANN ... JACQUES OFFENBACH (1819-1880) Aria: “LES OISEAUX DANS LA CHARMILLE” Cecile Farmer, soprano from THE BARTERED BRIDE ............... BEDRICH SMETANA (1824-1884) Aria: “NOW, NOW MY DEAR” (VASHEK’S STUTTERING SONG) URELY YOU MUST BE THE BRIDEGROOM OF RU INA S ARIE from LA TRAVIATA ..................................................................... G. VERDI Duet: “S K ’ M ” Aria: “DE’ MIEI BOLLENTI SPIRITI” Nataly Wickham, soprano / Thomas Harper, tenor Duet: “UN DÌ FELICE” Aria: “AH FORS’ È LUI…SEMPRE LIBERA” from DIE ZAUBERFLÖTE ................................................. W. A. MOZART Tess Altiveros, soprano / David Margulis, tenor Aria: “EIN MÄDCHEN ODER WEIBCHEN” Duet: “PAPAGENA, PAPAGENO” from DIE ZAUBERFLÖTE ..................... WOLFGANG AMADEUS MOZART Faina Morozov, soprano / Drew Dresdner, baritone Aria: “ACH, ICH FÜHL’S” (1756-1791) Arian Ashworth, soprano from AÏDA .................................................................................. G. VERDI Duet: “CIEL! MIO PADRE” from CAVALLERIA RUSTICANA ........... PIETRO MASCAGNI (1863-1945) Rebecca Paul, soprano / David Borning, baritone Aria: “VOI LO SAPETE” Brittany Hines-Hill, soprano from DER ROSENKAVALIER ................ RICHARD STRAUSS (1864-1949) Trio: “MARIE THERES! HAB’ -
Strauss' Four Last Songs
Richard Strauss: Four Last Songs A discographical survey by Ralph Moore I consider forty-six recordings of the Vier Letzte Lieder here, which is a goodly number, but by no means the total of all of those released in the nearly seventy years since their premiere in 1950. A survey cannot hope – or even want – to encompass every version but I have tried to include the most notable and have deliberately missed out a few which I know to be less than premium quality but have also reviewed one or two in the “caveat emptor” category as best avoided (see also MWI review index). These songs feature frequently in lists of personal nominations for favourite recordings, such as in the BBC radio programme “Desert Island Discs”. They are not a cycle as such, but all deal with the readiness for death and emanate a sense of calm, resignation and even transfiguration; I quote unashamedly from Wikipedia: “Towards the end of Im Abendrot, after the soprano's intonation of ‘Ist dies etwa der Tod?’ (‘Is this perhaps death?’), Strauss musically quotes his own tone poem Death and Transfiguration, written 60 years earlier. As in that piece, the quoted seven-note phrase (known as the ‘transfiguration theme’) has been seen as the fulfilment of the soul through death.” They are amenable to successful performance by a range of soprano voice-types, from the mezzo- tinged soprano falcon of Jessye Norman to the light, lyric sopranos of Lucia Popp or Anneliese Rothenberger, and although one or two sopranos have come a cropper in attempting them, there are many more admirable and even superlative recordings than failures. -
BENELUX and SWISS SYMPHONIES from the 19Th Century to the Present
BENELUX AND SWISS SYMPHONIES From the 19th Century to the Present A Discography of CDs And LPs Prepared by Michael Herman JEAN ABSIL (1893-1974) BELGIUM Born in Bonsecours, Hainaut. After organ studies in his home town, he attended classes at the Royal Music Conservatory of Brussels where his orchestration and composition teacher was Paul Gilson. He also took some private lessons from Florent Schmitt. In addition to composing, he had a distinguished academic career with posts at the Royal Music Conservatory of Brussels and at the Queen Elisabeth Music Chapel and as the long-time director of the Music Academy in Etterbeek that was renamed to honor him. He composed an enormous amount of music that encompasses all genres. His orchestral output is centered on his 5 Symphonies, the unrecorded ones are as follows: No. 1 in D minor, Op. 1 (1920), No. 3, Op. 57 (1943), No. 4, Op. 142 (1969) and No. 5, Op. 148 (1970). Among his other numerous orchestral works are 3 Piano Concertos, 2 Violin Concertos, Viola Concerto. "La mort de Tintagiles" and 7 Rhapsodies. Symphony No. 2, Op. 25 (1936) René Defossez/Belgian National Orchestra ( + Piano Concerto No. 1, Andante and Serenade in 5 Movements) CYPRÈS (MUSIQUE EN WALLONIE) CYP 3602 (1996) (original LP release: DECCA 173.290) (1958) RAFFAELE D'ALESSANDRO (1911-1959) SWITZERLAND Born in St. Gallen. After some early musical training, he studied in Paris under the tutelage of Marcel Dupré (organ), Paul Roës (piano) and Nadia Boulanger (counterpoint). He eventually gave up composing in order to earn a living as an organist.