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OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures)
OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures) Though he was born in Bologna, the composer Ottorino Respighi is inevitably and forever associated with Rome thanks to his so-called “Roman Trilogy” of orchestral tone poems: Fountains of Rome, Pines of Rome, and Roman Festivals. For his Trittico Botticelliano, however, we must travel north to Tuscany and the Renaissance capital of Florence. It was there at the Uffizi Gallery that Respighi encountered three paintings by Sandro Botticelli: La Primavera (“Spring”), L’Adorazione dei Magi (“The Adoration of the Magi”), and La Nascita di Venere (“The Birth of Venus”). These three pictures don’t seem to have much in common other than the artist and gallery, but Respighi’s style, especially in his tone poems, often thrives on juxtaposition and contrast and he uses their divergent subject matters to maximum effect here to create a dynamic collection of snapshots. The opening movement provides an exuberant depiction of spring with the bassoon first introducing a dance tune that is subsequently echoed and ornamented by the full ensemble. In addition to his work as a composer, Respighi was also a scholar of Italian music history, so it is no accident that his dance tune closely resembles one that might have accompanied the Renaissance festivities of Botticelli’s day. The second movement is really the centerpiece and is built around the ninth century Latin antiphon “Veni Emmanuel,” better known to us as the advent hymn “O Come, O Come, Emmanuel.” The mournful and mysterious opening gives way to more colorful musical textures as each of the three Magi arrive at the manger and present their gifts. -
January 24, 2021 | 6:30Pm Tlaloc Lopez-Waterman Barbara B
´ La BohemeA Vivid Original Design Production! Artistic Director Steffanie Pearce Music Director Greg Ritchey Stage Director Josh Shaw Assistant Conductor & Chorus Master Brian Holman Set Designer Ardean Landhuis Lighting & Projections Designer January 24, 2021 | 6:30pm Tlaloc Lopez-Waterman Barbara B. Mann Performing Arts Center Wardrobe Supervisor Caitlin Durrance The Blagojevic Sponsored -Sazonov Group In Part By: at A Message From The ARTISTIC DIRECTOR For our highly anticipated Barbara B. Mann debut, we present a fresh new look at this most popular Puccini opera. The idea came when I was searching for a poster image. Mindful that Puccini composed the work at the height of the Impressionist movement, I started looking at Paris street scenes of that period and came across Van Gogh’s Terrace Cafe at Night. The painting sparked a vision of the characters in the opera living upstairs from that cafe and coming down to hang out there, just like Van Gogh and the Paris Impressionists would have. A vibrant young creative team from across the United States have been collaborating since October to bring this original design production of Puccini’s most loved grand opera to Southwest Florida. Stage director, Josh Shaw, describing this new production explains, “La Bohème is a timeless story with themes as relevant today, as they were in the original setting. In the late 1880s Paris was filled with a concentration of larger than life artistic characters -- Van Gogh, Gauguin, Toulouse-Lautrec, and others. In our production, we are imagining our bohemian lovers as moving in the same circles as the great Impressionist artists who rebelled against classical subject matter and embraced modernity, creating works that reflected the world in which they lived. -
The Scottish Viola a Tribute to Watson Forbes
NI 6180 The Scottish Viola A tribute to WAtson Forbes For further information please visit MArtin outrAM viola www.martinoutram.com www.wyastone.co.uk JuliAn rolton piano The Scottish Viola A tribute to WAtson Forbes As an accompanist he recorded an piano trios entitled Borderlands on Campion Pietro Nardini (arr Forbes/Richardson): Concerto in G minor acclaimed CD of Russian song with Cameo which attracted exceptional reviews. 1. Allegro moderato 4:28 the mezzo-soprano Helen Lawrence in The Chagall Trio has appeared at festivals 2. Andante affettuoso 2:57 3. Allegretto 2:35 celebration of Pushkin’s bi-centenary. throughout Britain, broadcasts on BBC He has appeared with Richard Jackson Radio 3 and has given premieres of works Robin Orr: Sonata 4. Introduction and Fugue 5:01 in the Almeida Opera Festival and, with by Nicholas Maw, David Matthews and Philip 5. Elegy 4:24 Mary Wiegold, performed a programme Grange. During the Royal Academy of Art’s 6. Scherzetto 1:55 of songs by Howard Skempton in the Chagall exhibition, “Love and the Stage”, 7. Finale 4:51 Aldeburgh Festival. He regularly plays for they were invited to present a programme of Alan Richardson: Sonata the master-classes of such eminent singers music and words celebrating the life of their 8. Poco lento - Allegro 6:17 as Galina Vishnevskaya, Phyllis Bryn-Julson namesake. With the actor Samuel West, the 9. Molto vivace: leggiero e volante 2:24 10. Lento 7:06 and Anthony Rolfe Johnson at the Snape Trio repeated this programme in the Wigmore 11. Allegro energico 4:02 Maltings. -
The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017
Music@Menlo CHAMBER MUSIC FESTIVAL AND INSTITUTE The Fifteenth Season: The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017 REPERTOIRE LIST (* = Carte Blanche Concert) Joseph Achron (1886–1943) Hebrew Dance, op. 35, no. 1 (1913) Johann Sebastian Bach (1685–1750) Chaconne from Partita no. 2 in d minor for Solo Violin, BWV 1004 (1720)* Prelude from Partita no. 3 in E Major, BWV 1006 (arr. Kreisler) (1720)* Double Violin Concerto in d minor, BWV 1043 (1730–1731) Ludwig van Beethoven (1770–1827) String Quintet in C Major, op. 29 (1801) Violin Sonata no. 10 in G Major, op. 96 (1812) Heinrich Franz von Biber (1644–1704) Passacaglia in g minor for Solo Violin, The Guardian Angel, from The Mystery Sonatas (ca. 1674–1676)* Ernest Bloch (1880–1959) Violin Sonata no. 2, Poème mystique (1924)* Avodah (1929)* Bluegrass Fiddling (To be announced from the stage)* Alexander Borodin (1833–1887) String Quartet no. 2 in D Major (1881) Johannes Brahms (1833–1897) Horn Trio in E-flat Major, op. 40 (1865) String Quartet no. 3 in B-flat Major, op. 67 (1875)* Arcangelo Corelli (1653–1713) Concerto Grosso in g minor, op. 6, no. 8, Christmas Concerto (1714) Violin Sonata in d minor, op. 5, no. 12, La folia (arr. Kreisler) (1700)* John Corigliano (Born 1938) Red Violin Caprices (1999) Ferdinand David (1810–1873) Caprice in c minor from Six Caprices for Solo Violin, op. 9, no. 3 (1839) Claude Debussy (1862–1918) Petite suite for Piano, Four Hands (1886–1889) Ernő Dohnányi (1877–1960) Andante rubato, alla zingaresca (Gypsy Andante) from Ruralia hungarica, op. -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
Season 2012-2013
27 Season 2012-2013 Sunday, October 28, at 3:00 The Philadelphia Orchestra 28th Season of Chamber Music Concerts—Perelman Theater Mozart Duo No. 1 in G major, K. 423, for violin and viola I. Allegro II. Adagio III. Rondo: Allegro William Polk Violin Marvin Moon Viola Dvorˇák String Quintet in E-flat major, Op. 97 I. Allegro non tanto II. Allegro vivo III. Larghetto IV. Finale: Allegro giusto Kimberly Fisher Violin William Polk Violin Marvin Moon Viola Choong-Jin Chang Viola John Koen Cello Intermission Brahms Piano Quartet No. 1 in G minor, Op. 25 I. Allegro II. Intermezzo: Allegro ma non troppo III. Andante con moto IV. Rondo alla zingarese: Presto Cynthia Raim Piano (Guest) Paul Arnold Violin Kerri Ryan Viola Yumi Kendall Cello This program runs approximately 2 hours. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. -
Vaughan Williams
VAUGHAN WILLIAMS The Lark Ascending Suite of Six Short Pieces The Solent Fantasia Jennifer Pike, Violin Sina Kloke, Piano Chamber Orchestra of New York Salvatore Di Vittorio Ralph Vaughan Williams (1872-1958): The Lark Ascending a flinty, tenebrous theme for the soloist is succeeded by an He rises and begins to round, The Solent · Fantasia for Piano and Orchestra · Suite of Six Short Pieces orchestral statement of a chorale-like melody. The rest of He drops the silver chain of sound, the work offers variants upon these initial ideas, which are Of many links without a break, rigorously developed. Various contrasting sections, In chirrup, whistle, slur and shake. Vaughan Williams’ earliest compositions, which date from The opening phrase of The Solent held a deep significance including a scherzo-like passage, are heralded by rhetorical 1895, when he left the Royal College of Music, to 1908, for the composer, who returned to it several times throughout statements from the soloist before the coda recalls the For singing till his heaven fills, the year he went to Paris to study with Ravel, reveal a his long creative life. Near the start of A Sea Symphony chorale-like theme in a virtuosic manner. ’Tis love of earth that he instils, young creative artist attempting to establish his own (begun in the same year The Solent was written), it appears Vaughan Williams’ mastery of the piano is evident in And ever winging up and up, personal musical language. He withdrew or destroyed imposingly to the line ‘And on its limitless, heaving breast, the this Fantasia and in the concerto he wrote for the Our valley is his golden cup many works from that period, with the notable exception ships’. -
Ernst Toch Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/ft0z09n428 No online items Ernst Toch papers, ca. 1835-1988 Finding aid prepared by UCLA Library Special Collections staff and Kendra Wittreich; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2008 The Regents of the University of California. All rights reserved. Ernst Toch papers, ca. 1835-1988 PASC-M 1 1 Title: Ernst Toch papers Collection number: PASC-M 1 Contributing Institution: UCLA Library Special Collections Language of Material: German Physical Description: 44.0 linear ft.(88 boxes) Date (inclusive): ca. 1835-1988 Abstract: The Collection consists of materials relating to the Austrian-American composer, Ernst Toch. Included are music manuscripts and scores, books of his personal library, manuscripts, biographical material, correspondence, articles, essays, speeches, lectures, programs, clippings, photographs, sound recordings, financial records, and memorabilia. Also included are manuscripts and published works of other composers, as well as Lilly Toch's letters and lectures. Language of Materials: Materials are in English. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Creator: Toch, Ernst 1887-1964 Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. -
Verklarte Nacht ("Transfigured Night") in D Minor, Op
S:he Jl,cademy o/ St. 511a1itin in the ~efds Chamhe'l Gnsembfe_ KENNETH SILLITO, LEADER KENNETH SILLITO, VIOLIN ROBERT SMISSEN, VIOLA HARVEY DE SOUZA, VIOLIN DUNCAN FERGUSON, VIOLA MARTIN BURGESS, VIOLIN STEPHEN ORTON, CELLO JAN SCHMOLCK, VIOLIN JOHN HELEY, CELLO TUESDAY, FEBRUARY 15, 2005 -PROGRAM "Innocent Ear" The ensemble will play a work unannounced, and invite the audience to guess composer/work with CDs as a prize. Verklarte Nacht ("Transfigured Night") in D Minor, Op. 4 (1905) ARNOLD SCHOENBERG (1874-1951) - INTERMISSION- Octet for Strings in E-flat Major, Op. 20 (1825) FELIX MENDELSSOHN (1809-184 7) Allegro moderato, ma con fuoco Andante Scherzo (Allegro leggierissimo) Presto THIS PROGRAM HAS BEEN PARTIALLY UNDERWRITTEN BY THE GE NEROSITY OF AN ANONYMOUS DONOR IN HONOR OF SHIRLEY AND DAVID TOOMIM. Please turn off all cellphones, pagers and chiming watches. Also, taking photographs (with cameras, phones or any media device) or making recordings is strictly prohibited. Thank you. ARNOLD SCHOENBERG (1874-1951) Verklarte Nacht (Transfigured Night) Most people associate Arnold Schoenberg with development of the "twelve-tone" sys tem of musical composition. However, one of his most popular works, Verklarte Nacht, was composed early in his career (1899) at the age of twenty-five, before his experiments in atonality were evident. Though primarily a self-taught composer, Schoenberg admits to having been greatly influenced by Brahms and Wagner during this period. Verklarte Nacht was unusual in that it was a tone poem composed for a chamber ensemble (string sextet). It was based on a poem written in 1896 by Richard Dehmel, whose work Schoenberg particularly admired. -
NOTES on the MUSIC by Robert M
NOTES ON THE MUSIC by Robert M. Johnstone March 3, 2018 Overture to La Cenerentola (Cinderella) Gioacchino Rossini born in Pesaro, near Bologna, Italy, in 1792; died in Paris in 1868 premiere: Teatro Valle, Rome, January 25, 1817 instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets, trombone; timpani, percussion; strings duration: 8 minutes Rossini’s “take” on the classic Charles Perrault fairy tale, Cendrillon (Cinderella) was composed in the winter of 1816-17 when he was 25 years old, immediately following the towering success of The Barber of Seville Rossini had been commissioned by the Teatro Valle in Rome to write an opera for its pre-Christmas season in 1816. Alas, the result failed to pass the strict censorship of the Vatican, so a substitute had to be found---and quickly. The librettist, Jacopo Ferretti, suggested over a dozen subjects until, with the composer falling into a slumber across from him, he offered to set “Cinderella.” Rossini awoke with a start and questioned if Ferretti had the “courage” to write a libretto on that classic fairy tale. So challenged Ferretti worked all night and produced a sketch, which 22 days later he had finished. Rossini, working right behind him, had his music done in 24. He was aided in the rush job by “borrowing” liberally from earlier successes, a not uncommon practice of the day. This was true of much of the Overture, which came from an opera, La Gazzetta (The Newspaper) that he had composed for Naples the previous August. It was unlikely that the Romans would have heard it yet! The initial performances earned mixed reviews, to Rossini’s dismay-- -for he had great confidence in the project---but subsequently the opera “took off,” becoming preferred even to The Barber during the rest of the 19th century. -
2016-2017 Mostly Music: Felix Mendelssohn
Mostly Music Felix Mendelssohn 2016-2017 Mostly Music Felix Mendelssohn Thursday, November 17th, 2016 Count and Countess de Hoernle International Center Amarnick-Goldstein Concert Hall Marshall Turkin, Host PROGRAM Song Without Words Op. 109 David Cole-cello Sheng-Yuan Kuan- piano Octet in E-flat Major Op. 20 Allegro moderato ma con fuoco Yordan Tenev, Yvonee Lee Sooi Chen- violin Yue Young, Shanshan Wei- violin Kayla Williams, Andrew Baloff- viola Khosiyatkhon Khusanova, Akmal Irmatov- cello Five Pieces for Violin and Piano Movement Fugue Andante Allegro Fugue Renata Arado- violin Lisa Leonard-piano Three Lieder, Op. 8 by Fanny Hensel-Mendelssohn Andante con espressione Allegro moderato Allegro molto Lisa Leonard-piano Concertpiece No.2 in D Minor Op. 114 Presto Andante Allegretto grazioso Cameron Hewes- clarinet Sebastian Castellanos- bassoon Chance Israel- piano INTERMISSION Piano Trio No. 2 in C Minor Op. 66 Allegro energico Andante espressivo Scherzo: Molto allegro quasi presto Finale: Allegro appassionato Carol Cole- violin David Cole- cello Jon Robertson- piano Jay Stuart, as Felix Mendelssohn ARTIST BIOGRAPHIES A native of Chicago, Renata Arado began violin instruction in the Suzuki method at age two. She continued her violin studies at the University of Michigan and Rice University with Camilla Wicks and at the San Francisco Conservatory. Ms. Arado was principal second violin of Norway's Bergen Philharmonic Orchestra for thirteen years. She has appeared with chamber groups around the globe, collaborating with Isaac Stern, Julia Fischer, Robert Mann, Yefim Bronfman, Joshua Bell, and Gil Shaham, and in 2016 toured Puerto Rico with the International Chamber Orchestra of Puerto Rico.