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SUPER AUDIO CD Randall ScaRlata baRitone • company of muSic tölzeR KnabenchoR • choRuS Sine nomine tonKünStleR-OrcheSteR abSolute enSemble KRiStjan jäRvi Leonard Bernstein,December 1975 Leonard © Don Hunstein/Lebrecht Music & Arts Photo Library LEONARD BERNSTEIN (1918 –1990) MASS A Theatre Piece for Singers, Players and Dancers Text from the Liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein Randall Scarlata baritone (Celebrant) Company of Music (Street Chorus) Johannes Hiemetsberger chorus master Tölzer Knabenchor (Boys’ Choir) Georg Drexel (solo boy soprano) Gerhard Schmidt-Gaden chorus master Chorus sine nomine (Chorus) Johannes Hiemetsberger chorus master Absolute Ensemble Tonkünstler-Orchester Niederösterreich Alexander Gheorghiu concertmaster Kristjan Järvi 3 Company of Music Chorus master Johannes Hiemetsberger soprano Barbara Achammer (solo) Theresa Dlouhy (solo) Ruth Kraus* (solo) Claudia Meller Absolute Ensemble Elisabeth Wimmer drums/percussion Damien Bassman alto Heidemaria Gruber (solo) bass guitar Lenneke Willemsen* (solo) Mat Fieldes Susanne Katharina Hell Birte Dalbauer-Stokkebaek solo violin Maja Wambersky Vesselin Gellev tenor electric keyboard Bernd Fröhlich (solo) Matt Herskowitz Gernot Heinrich (solo) Bernd Hemedinger (solo) trombone Reinwald Kranner* (solo) Michael Seltzer Dave Moskin* (solo) Jean-Jacques Rousseau clarinet/saxophone Michiyo Suzuki baritone/bass André Bauer* (solo) Günter Haumer (solo) Jörg Espenkott Christoph Wiegelbeyer Clemens Kölbl *guest artist 4 Company of Music -
VILLA-LOBOS Bachianas Brasileiras (Complete) Rosana Lamosa, Soprano • José Feghali, Piano Nashville Symphony Orchestra Kenneth Schermerhorn
557460-62bk USA 24/9/05 8:20 am Page 12 KENNETH SCHERMERHORN VILLA-LOBOS Bachianas Brasileiras (Complete) Rosana Lamosa, Soprano • José Feghali, Piano Nashville Symphony Orchestra Kenneth Schermerhorn 8.557460-62 12 557460-62bk USA 24/9/05 8:20 am Page 2 Heitor Villa-Lobos (1887-1959) 6 Dansa Dansa Bachianas brasileiras (Manoel Bandeira: 1886-1968) Irerê, meu passarinho do Sertão do Cariri, Irere, my little bird from the backwoods of Cariri, CD1 73:10 Irerê, meu companheiro, Irere, my companion, Cadê vióla? Cadê meu bem? Cadê Maria? Where is the guitar? Where is my beloved? Where is Maria? No. 1 for ‘an orchestra of cellos’ (1930) * 19:50 Ai triste sorte a do violeiro cantadô! Oh, the sad lot of the guitarist singing! 1 Introdução – Embolada 6:57 Ah! Sem a vióla em que cantava o seu amô, Ah, without the guitar with which its master was singing, 2 Prelúdio – Modinha 8:37 Ah! Seu assobio é tua flauta de Irerê: Ah, his whistling is your flute, Irere: 3 Fuga – Conversa (Conversation) 4:16 Que tua flauta do sertão quando assobia, When your flute of the backwoods whistles, Ah! A gente sofre sem querê! Ah, people suffer without wanting to! No. 2 for chamber orchestra (1930) 22:16 Ah! Teu canto chega lá do fundo do sertão, Ah, your song comes there from the deep backwoods, 4 Prelúdio – O Canto do capadócio (Scamp’s Song) 7:10 Ah! Como uma brisa amolecendo o coração, Ah, like a breeze softening the heart, 5 Aria – O Canto da nossa terra (Song of Our Land) 5:50 Ah! Ah! Ah! Ah! 6 Dança – Lembrança do Sertão (Remembrance of the Bush) 4:54 Irerê, solta o teu canto! Irere, set free your song! 7 Toccata – O trenzinho do Caipira (The Peasant’s Little Train) 4:22 Canta mais! Canta mais! Sing more! Sing more! Pra alembrá o Cariri! To recall the Cariri! No. -
Bachianas Brasileiras No. 1 HEITOR VILLA-LOBOS
The Dvořák Serenade for Strings always makes me think of the freshness of spring time, with feelings of optimism and amiable associations. The key of E major helps to convey the buoyancy and energy I sense so strongly in this delightful work. ERIC MCCRACKEN, NCS VIOLIN Bachianas Brasileiras No. 1 HEITOR VILLA-LOBOS BORN March 5, 1887, in Rio de Janeiro; died November 17, 1959, in Rio de Janeiro PREMIERE Composed beginning in 1930; first performance September 12, 1932, by the Philharmonia Orchestra of Rio de Janeiro, Walter Burle Marx conducting OVERVIEW Heitor Villa-Lobos was and remains Brazil’s foremost classical composer. His father, an amateur musician, taught him to play the cello and clarinet, and he taught himself to play the guitar. After his father’s death, in 1899, Villa- Lobos began making a living playing guitar and cello in cafés and movie houses. As a composer, he was also mostly self-taught. Between 1905 and 1912 he made numerous expeditions into Brazil’s hinterland to study the music and folklore of the indigenous populations, whose music eventually became the inspiration for much of his own. In this regard, his career mirrored that of European contemporaries Béla Bartók, Zoltan Kodály, and Ralph Vaughan Williams, all of whom studied and incorporated the music of their native countries. In 1918, on a South American tour, pianist Artur Rubinstein “discovered” Villa-Lobos (who was already by then well-known in his native Brazil) and encouraged him to visit Europe “to show his accomplishments.” The European trip finally took place in 1923. -
ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present
ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores. -
Guerra-Peixe's Symphony No. 2 Brasília (Part 1)
RAMOS, Marcelo. (2018) Guerra-Peixe’s Symphony No. 2 Brasília (Part 1): A Historical Background. Per Musi. Belo Horizonte: UFMG. p.1- 14. SCIENTIFIC ARTICLE Guerra-Peixe’s Symphony No. 2 Brasília (Part 1): A Historical Background Sinfonia No. 2 Brasília de Guerra-Peixe (Parte 1): Antecedentes Históricos Marcelo Ramos de Souza Universidade Federal de Minas Gerais [email protected] Abstract: This article investigates the historical circunstances that led to the composition of Symphony No. 2 Brasília, by César Guerra-Peixe, written for symphony orchestra, mixed choir and an optional narrator. The piece was originally composed for a competition organized by the Radio Station of Ministry of Education in 1960 to celebrate the inauguration of the new Brazilian capitol, originating substantial controversy, hence the first prize was not awarded and a tie was registered between three candidates in second place: Guerra-Peixe, Guerra-Vicente, and Claudio Santoro – all of them became renowned composers of Brazilian music. The Symphony Brasília by Guerra-Peixe was subject of my doctoral project in three principal fronts: production of a performance edition of the full score and parts; performance of the work in the US and Brazil, aiming to correct eventual mistakes and spread the music; and a production of historical and analytical texts. Keywords: Guerra-Peixe; Symphony No. 2 Brasília; Brazilian music; Brazilian Nationalism. Resumo: O presente artigo aborda as circunstâncias históricas que culminaram com a composição da obra Sinfonia No. 2 Brasília, de César Guerra-Peixe, escrita para orquestra sinfônica, coro misto e um narrador opcional. A obra foi originalmente composta para um concurso organizado pelo MEC em 1960 para celebrar a inauguração da nova capital do Brasil, gerando uma substancial controvérsia, pois, além de não ter sido outorgado o prêmio de primeiro lugar, houve um empate entre três candidatos no segundo lugar: Guerra-Peixe, Guerra-Vicente e Claudio Santoro – todos eles compositores consagrados da música brasileira atual. -
New on Naxos | November 2014
NEW ON The World’s Leading ClassicalNAXOS Music Label NOVEMBER 2014 A MONTH OF RICHES This Month's Highlights © 2014 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com • blog.naxos.com NEW ON NAXOS | NOVEMBER 2014 2.110353 Playing Time 1:41:00 7 47313 53535 4 Fritz KREISLER (1875–1962) © Robert Romik Kraggerud Plays Kreisler Henning Kraggerud Henning Kraggerud plays works by Fritz Kreisler Works arr. by Nils Thore Røsth Henning Kraggerud, Violin Oslo Camerata Playing on Fritz Kreisler’s own ‘Bergonzi’ violin (from c. 1740), the Norwegian Henning Kraggerud, who began playing the violin at the brilliant young violinist Henning Kraggerud presents a programme age of seven, later studied with Camilla Wicks and Emanuel Hurwitz, of Kreisler’s compositions for violin. Filmed in the intimate thus tapping into American and mid-European traditions of playing. surroundings of Oslo’s historic ‘Old Lodge’, this is a world premiere He has, however, always maintained strong connections with his recording of many of these arrangements for violin and orchestra. native land. A recipient of the prestigious Grieg Prize, he appears Kraggerud introduces the works himself, and leads the Oslo frequently at Norway’s major festivals playing both violin and viola. Camerata in a sparkling, thrilling concert. Kraggerud, who is greatly inspired by Ysaÿe’s compositions, hailing him as possibly the greatest violinist-composer, is also active as a composer himself (producing several cadenzas as well as original Supplementary Promotional Materials works) and is a keen exponent of new music. Directing and conducting • Video trailer activities have seen him work with the Zürich Chamber Orchestra and • Key release kit at the City of London Festival with the Britten Sinfonia. -
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SUPER AUDIO CD Randall ScaRlata baRitone • company of muSic tölzeR KnabenchoR • choRuS Sine nomine tonKünStleR-OrcheSteR abSolute enSemble KRiStjan jäRvi CHSA 5070(2) LEONARD BERNSTEIN (1918 –1990) MASS A Theatre Piece for Singers, Players and Dancers Text from the Liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein © Don Hunstein/Lebrecht Music & Arts Photo Library Randall Scarlata baritone (Celebrant) Company of Music (Street Chorus) Johannes Hiemetsberger chorus master Tölzer Knabenchor (Boys’ Choir) Georg Drexel (solo boy soprano) Gerhard Schmidt-Gaden chorus master Chorus sine nomine (Chorus) Johannes Hiemetsberger chorus master Absolute Ensemble Tonkünstler-Orchester Niederösterreich Alexander Gheorghiu concertmaster Kristjan Järvi Leonard Bernstein, December 1975 3 Company of Music Chorus master Johannes Hiemetsberger soprano Barbara Achammer (solo) Theresa Dlouhy (solo) Ruth Kraus* (solo) Claudia Meller Absolute Ensemble Elisabeth Wimmer drums/percussion Damien Bassman alto Heidemaria Gruber (solo) Ursula Pramberger bass guitar Lenneke Willemsen* (solo) Mat Fieldes Susanne Katharina Hell Birte Dalbauer-Stokkebaek solo violin Maja Wambersky Vesselin Gellev tenor electric keyboard Bernd Fröhlich (solo) Matt Herskowitz Gernot Heinrich (solo) Bernd Hemedinger (solo) trombone Reinwald Kranner* (solo) Michael Seltzer Dave Moskin* (solo) Jean-Jacques Rousseau clarinet/saxophone Michiyo Suzuki baritone/bass André Bauer* (solo) Company of Music Günter Haumer (solo) Jörg Espenkott Christoph Wiegelbeyer Clemens -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfihn master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., nuq)s, drawings, charts) are reproduced by sectioning the original, b%inning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell ft Ifowell Infi>nnation Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE GUIA PRATICO FOR SOLO PIANO BY VILLA-LOBOS: STYLISTIC AND PEDAGOGIC INSIGFITS INTO ALBUMS L VB, AND IX A DOCUMENT SUBMHTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By SUSAN SCHROEDER COBB Norman, Oklahoma 1998 UMI Number: 9905610 Copyright 1998 by Cobb, Susan Schroeder All rights reserved. -
RECONSIDERING BRAZILIAN REPRESENTATIONS in CHOROS No
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2013 RECONSIDERING BRAZILIAN REPRESENTATIONS IN CHOROS No. 5 AND BACHIANAS BRASILEIRAS No.4 FOR PIANO BY HEITOR VILLA-LOBOS Paula Maria Lima Galama University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Galama, Paula Maria Lima, "RECONSIDERING BRAZILIAN REPRESENTATIONS IN CHOROS No. 5 AND BACHIANAS BRASILEIRAS No.4 FOR PIANO BY HEITOR VILLA-LOBOS" (2013). Theses and Dissertations-- Music. 16. https://uknowledge.uky.edu/music_etds/16 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: 26 December 2007 I, Shu-Ting Yang, hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano Performance It is entitled: Salute to Bach: Modern Treatments of Bach-Inspired Elements in Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’ Bachianas Brasileiras No. 4 This work and its defense approved by: Chair: __Jeongwon_Joe,_Ph.D.__________ __Eugene_Pridonoff,_M.M._______ __Elizabeth_Pridonoff,_M.M.____ Salute to Bach: Modern Treatments of Bach-Inspired Elements in Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’ Bachianas Brasileiras No. 4 A doctoral document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music by Shu-Ting Yang 16 November 2007 B.M., National Taiwan Normal University, 1999 M.M., Indiana University, 2002 P.D., Indiana University, 2003 Project Advisor: Jeongwon Joe, Ph.D. Abstract Being two of a few Bach-inspired masterpieces in the twentieth-century keyboard repertoires, Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’ Bachianas Brasileiras No. 4 contain the application of modern treatments on long lasting traditional subjects: the Baroque music style and the B-A-C-H motif. In this document, I discuss both composers’ multi-style blend (neo-Baroque/Serialism for Dallapiccola and neo-Baroque/Nationalism for Villa-Lobos) side by side through a close examination of their biographical background and stages of evolution, followed by a theoretical analysis of these two representative works. -
Anstaltungen Auf Schloss Grafenegg Entwickelt Haben
DIPLOMARBEIT Titel der Diplomarbeit ZUR ENTWICKLUNG DER MUSIKVERANSTALTUNGEN IN GRAFENEGG Schlosskonzerte damals – Musik-Festival heute (1971 – 2009) Verfasserin Vera Frisch – Neubauer angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2009 Studienkennzahl lt. Studienblatt. A 092 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuer: Ass. -Prof. Dr. Michael Weber II DANKSAGUNG Ein ganz besonderer Dank gilt meinem Professor Ass.- Prof. Dr. Michael Weber. Durch seine gute fachliche Beratung und Hilfestellungen fühlte ich mich während meines gesamten Arbeitsprozesses recht geleitet. Ich erhielt wichtige Orientierungshilfen, aber auch genügend Freiraum, die eigene Erkenntnis zu gewinnen. Während meiner Arbeit war ich stets auf Zeitzeugenberichte angewiesen. HR Friedrich Pescher und HR Dr. Willander lieferten mir sehr wichtige Informationen. Danke dafür! Besonderer Dank gilt Herrn Dr. Gerhard Großberger, der mich mit einem unermüdlichen Einsatz immer mit sehr notwendigen Informationen versorgte und mich während meines gesamten Schreibprozesses allzeit unterstützte. Herrn Rudolf Buchbinder danke ich recht herzlich für das persönliche und überaus interessante Interview! Ebenso möchte ich mich bei allen Mitarbeitern der Grafenegg Kulturbetriebs GmbH für alle Hilfestellungen bedanken. Besonders bei Geschäftsführer Johannes Neubert, Ulrike Niehoff, Julia Ornetsmüller, Edith Schweitzer und Alexander Moore. Schlossherrn Tassilo Metternich-Sándor danke ich für seine Unterstützung. Sein Vater Franz Albrecht Metternich-Sándor empfing mich noch in den Schlossräumlichkeiten, um ein persönliches Interview mit ihm aufzeichnen zu können. Leider ist Franz Albrecht Metternich-Sándor später plötzlich verstorben. Bei Frau Grete Traunfellner bedanke ich mich auch aufs herzlichste. Sie half mir immer wichtiges Archivmaterial im Schloss Grafenegg zu bekommen. Großer Dank gebührt auch meinem Mann Hannes und meinen Eltern, die mir moralisch zur Seite standen, stets ein offenes Ohr hatten und mir immer den Rücken stärkten. -
Universidade Federal Do Rio Grande Do Norte Centro De Ciências Humanas, Letras E Artes Programa De Pós-Graduação Em Ciências Sociais
UNIVERSIDADE FEDERAL DO RIO GRANDE DO NORTE CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM CIÊNCIAS SOCIAIS ANA JUDITE DE OLIVEIRA MEDEIROS O SERTÃO IMAGINADO NAS BACHIANAS BRASILEIRAS DE HEITOR VILLA LOBOS NATAL-RN 2020 ANA JUDITE DE OLIVEIRA MEDEIROS O SERTÃO IMAGINADO NAS BACHIANAS BRASILEIRAS DE HEITOR VILLA LOBOS Tese apresentada ao Programa de Pós-Graduação em Ciências Sociais da Universidade Federal do Rio Grande do Norte, como requisito parcial para obtenção de título de doutora. Orientadora: Professora Doutora Maria Lúcia Bastos Alves Coorientador: Professor Doutor Eduardo Lopes NATAL-RN 2020 O SERTÃO IMAGINADO NAS BACHIANAS BRASILEIRAS DE HEITOR VILLA LOBOS Tese apresentada ao Curso de Pós-Graduação em Ciências Sociais, da Universidade Federal do Rio Grande do Norte, para obtenção do título de doutora. Tese apresentada e aprovada em ____/____/2020. BANCA EXAMINADORA ______________________________________________________________________ Profa. Dra. Maria Lúcia Bastos Alves – Orientadora Universidade Federal do Rio Grande do Norte ______________________________________________________________________ Prof. Dr. Eduardo Lopes – Coorientador Universidade de Évora ______________________________________________________________________ Prof. Dr. Alessandro Dozena – Examinador externo Universidade Federal do Rio Grande do Norte ______________________________________________________________________ Prof. Dr. Hermano Machado Ferreira Lima – Examinador externo Universidade Estadual do Ceará ______________________________________________________________________