DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Summer, 1988

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Summer, 1988 m fl ^ j- ? i 1 9 if /i THE GREAT OUTDOORS THE GREAT INDOORS Beautiful, spacious country condominiums on 55 magnificent acres with lake, swimming pool and tennis courts, minutes from Tanglewood and the charms of Lenox and Stockbridge. FOR INFORMATION CONTACT (413) 443-3330 1136 Barker Road (on the Pittsfield-Richmond line) GREAT LIVING IN THE BERKSHIRES Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88 Trustees of the Boston Symphony Orchestra, Inc. Kidder, President Nelson J. Darling, Jr., Chairman George H. T Mrs. John M. Bradley, Vice-Chairman J. P. Barger, V ice-Chairman Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Vernon R. Alden Mrs. Michael H. Davis Roderick M. MacDougall David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Mrs. Norman L. Cahners Mrs. John H. Fitzpatrick David G. Mugar James F. Cleary Avram J. Goldberg Mrs. George R. Rowland William M. Crozier, Jr. Mrs. John L. Grandin Richard A. Smith Mrs. Lewis S. Dabney Francis W. Hatch, Jr. Ray Stata Harvey Chet Krentzman Trustees Emeriti Philip K. Allen Mrs. Harris Fahnestock Irving W. Rabb Allen G. Barry E. Morton Jennings, Jr. Paul C. Reardon Leo L. Beranek Edward M. Kennedy Mrs. George L. Sargent Richard P. Chapman Albert L. Nickerson Sidney Stoneman Abram T. Collier Thomas D. Perry, Jr. John Hoyt Stookey George H.A. Clowes, Jr. John L. Thorndike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager ofTanglewood Michael G. McDonough, Director ofFinance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director ofDevelopment Robert Bell, Data Processing Manager Marc Mandel, Publications Coordinator Helen P. Bridge, Director ofVolunteers John C. Marksbury, Director of Madelyne Codola Cuddeback, Director Foundation and Government Support of Corporate Development Julie-Anne Miner, Supervisor of Patricia F. Halligan, Personnel Administrator Fund Accounting Russell M. Hodsdon, Manager ofBox Office Richard Ortner, Administrator of Craig R. Kaplan, Controller Tanglewood Music Center Nancy A. Kay, Director of Sales Nancy E. Phillips, Media and John M. Keenum, Director of Production Manager, Tanglewood Music Center Development Boston Symphony Orchestra James F. Kiley, Facilities Manager, Tanglewood Joyce M. Serwitz, Assistant Director Patricia Krol, Coordinator of Youth Activities ofDevelopment Steven Ledbetter, Musicologist &f Susan E. Tomlin, Director ofAnnual Giving Program Annotator James E. Whitaker, Chief Coordinator, Michelle R. Leonard, Budget Manager Tanglewood Music Center Programs copyright ©1988 Boston Symphony Orchestra, Inc. Cover design by Wondriska Associates Inc. Bernstein^/ TandewdJd An International Gala Celebration Join Conductors SEIJI OZAWA Leonard Bernstein's JOHN WILLIAMS MICHAEL TILSON THOMAS 70th Birthday at Tanglewood JOHN MAUCERI August 25-28 With Guest Artists PATTY AUSTIN LAUREN BACALL HILDEGARD BEHRENS VICTOR BORGE VAN CLIBURN BETTY COMDEN and ADOLPH GREEN LUKAS FOSS KITTY CARLISLE HART BARBARA HENDRICKS DAME GWYNETH JONES QUINCY JONES CHRISTA LUDWIG YO-YO MA RODDY McDOWALL BOBBY McFERRIN MIDORI PHYLLIS NEWMAN Mr. Bernstein is KURT OLLMAN happy that the MSTISLAV ROSTROPOVICH proceeds of his FREDERICA VON STADE 70th Birthday DAWN UPSHAW Celebration and many more will go to the Tanglewood Music to be announced Center Endowment. And Host BEVERLY SILLS For further information, please write or call The Bernstein Birthday Gala Office, (413) 637-1600, Tanglewood, Lenox, MA 01240. Inc. Board of Overseers of the Boston Symphony Orchestra, Avram J. Goldberg Chairman Mrs. R. Douglas Hall III Mrs. Carl Koch John F. Cogan, Jr. Secretary Vice-Chairman Vice-Chairman Goldweitz Mrs. Robert B. Newman Mrs. Weston W. Adams Mark R. Mrs. Hiroshi Nishino Martin Allen Haskell R. Gordon Vincent M. O'Reilly Mrs. David Bakalar Joe M. Henson Stephen Paine, Sr. Mrs. Richard Bennink Arnold Hiatt Hilles Andrall E. Pearson Mrs. Samuel W. Bodman Susan M. Daphne Brooks Prout William M. Bulger Glen H. Hiner Peter C. Read Mary Louise Cabot Mrs. Marilyn B. Hoffman A. Homer Robert E. Remis Mrs. C. Thomas Clagett, Jr. Ronald Faith Jones John Ex Rodgers James F. Cleary Anna Jones Mrs. Jerome Rosenfeld Julian Cohen H. Eugene Mrs. William C. Rousseau Mrs. Nat Cole Mrs. BelaT Kalman Mrs. William H. Ryan William H. Congleton Mrs. S. Charles Kasdon Kaufman Roger A. Saunders Walter Connolly, Jr. Howard J. Mrs. Raymond H. Schneider Mrs. A. Werk Cook Richard L. Kaye Mark L. Selkowitz Albert C. Cornelio Robert D. King Kraft Malcolm L. Sherman Phyllis Curtin Robert K. Mrs. Donald B. Sinclair AlexV. dArbeloff John P. LaWare W. Davies Sohier, Jr. Mrs. Eugene B. Doggett Mrs. Hart D. Leavitt Ira Stepanian Phyllis Dohanian R. Willis Leith, Jr. Mrs. Arthur I. Strang Harriett Eckstein Laurence Lesser F. Thompson Edward Eskandarian Stephen R. Levy William MarkTishler,jr. Katherine Fanning Frederick H. Lovejoy, Jr. Luise Vosgerchian John A. Fibiger Mrs. Charles P. Lyman Mrs. An Wang Peter M. Flanigan Mrs. Harry L. Marks Roger D. Wellington Gerhard M. Freche C. Charles Marran Thomas H.P. Whitney Dean Freed Hanae Mori Mrs. Mrs. Donald B. Wilson Peter H.B. Frelinghuysen Richard P. Morse Mrs. John Wilson Mrs. James G. Garivaltis Mrs. Thomas S. Morse J. Brunetta Wolfman Mrs. Ray A. Goldberg E. James Morton Nicholas T Zervas Jordan L. Golding Overseers Emeriti Mrs. Stephen V.C. Morris Mrs. Frank G. Allen Mrs. Richard D. Hill David R. Pokross Hazen H. Ayer Mrs. Louis I. Kane Leonard Kaplan Mrs. Peter van S. Rice Mrs. Thomas J. Galligan Mrs. Richard H.Thompson Mrs. Thomas Gardiner Benjamin H. Lacy Mrs. James F. Lawrence Officers of the Boston Symphony Association ofVolunteers Mrs. Eugene B. Doggett President Doyle Phyllis Dohanian Ms. Helen Executive Vice-President Secretary Mr. GoetzB. Eaton Mrs. Florence T.Whitney Treasurer Nominating Chairman Vice-Presidents Fundraising Projects Mrs. Nathaniel Bates, Hall Services Mrs. David Robinson, Public Relations Ms. Kathleen Heck, Development Services Mrs. Harry F. Sweitzer, Jr., Walker, Regions Mrs. Eugene W Leibowitz, Tanglewood Mrs. Thomas S. Williams, Youth Mrs. Robert L. Singleton, Tanglewood Ms. Margaret Adult Education Mrs. Jeffrey Millman, Membership Activities and Chairmen of Regions Mrs. Ralph Seferian Mrs. Claire E. Bessette Mrs. Daniel Hosage Patricia Tambone Mrs. James Cooke Mrs. Robert Miller Mrs. Richard E. Thayer Mrs. Linda Fenton Mrs. Hugo A. Mujica Mrs. William Newton Mr. F. Preston Wilson Mrs. Harvey B . Gold Mrs. G. Mrs. Jay B. Pieper Berkshire Theatre Festival STEPPING OUT by Richard Harris June 27 - July 16 A Comedy with Music and Dance THE PRICE by Arthur Miller July 19 -30 A Drama with Honesty and Humor TUSITALA by James Prideaux August 2 - 13 World Premiere The Romance of Robert Louis Stevenson THE CHALK GARDEN by Enid Bagnold August 16-27 A Beguiling and Eccentric English Comedy of Manners * 60th ANNIVERSARY SEASON * TICKET INFORMATION (413) 298-5576 BERKSHIRE TICKET BOOTH, LENOX CHAMBER OF COMMERCE INFORMATION CENTER, 75 MAIN ST., LENOX, MA TANGLEWOOD offer was gratefully accepted, and on August 5, 1937, the festival's largest Festival The Tanglewood crowd so far assembled under a tent for In August 1934 a group of music- the first Tanglewood concert, an all- loving summer residents of the Beethoven program. Berkshires organized a series of three At the all-Wagner concert which outdoor concerts at Interlaken, to be opened the 1937 festival's second given by members of the New York weekend, rain and thunder twice inter- Philharmonic under the direction of rupted the performance of the Rienzi Henry Hadley. The venture was so Overture and necessitated the omission successful that the promoters incorpo- altogether of the Siegfried "Forest rated the Berkshire Symphonic Festival Murmurs," music too delicate to be and repeated the experiment during the heard through the downpour. At the next summer. intermission, Miss Gertrude Robinson The Festival Committee then invited Smith, one of the festival's founders, Serge Koussevitzky and the Boston made a fundraising appeal for the build- Symphony Orchestra to take part in the ing of a permanent structure. The appeal following year's concerts. The orchestra's was broadened by means of a printed Trustees accepted, and on August 13, circular handed out at the two remaining 1936, the Boston Symphony Orchestra concerts, and within a short time enough gave its first concerts in the Berkshires money had been raised to begin active (at Holmwood, a former Vanderbilt planning for a "music pavilion." estate, later the Center at Foxhollow). Eliel Saarinen, the eminent architect The series again consisted of three con- selected by Koussevitzky, proposed an certs and was given under a large tent, elaborate design that went far beyond drawing a total of nearly 15,000 people. the immediate needs of the festival and, In the winter of 1936 Mrs. Gorham more important, went well beyond the Brooks and Miss Mary Aspinwall Tap- budget of $100,000. His second, pan offered Tanglewood, the Tappan simplified plans were still too expensive, family estate, with its buildings and 210 and he finally wrote that if the Trustees acres of lawns and meadows, as a gift to insisted on remaining within their Koussevitzky and the orchestra. The budget, they would have "just a shed," A 1939 banner advertising that summers Boston Symphony Tanglewood Festival L - A - W - N SCULPTURE fa Trees are Nature s finest the special value ofyour trees. metaphor. They are portraits of We practice proper tree main- endurance. They are works of tenance to preserve your in- elegance &f intricate beauty. vestment in theirfuture. Our Trees can shelter your home & highly skilled crews have the embroider the landscape with training, equipment £sf expe- texture £ff color. Some are rience to do a professional oldfriends.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs
    m fl ^ j- ? i 1 9 if /i THE GREAT OUTDOORS THE GREAT INDOORS Beautiful, spacious country condominiums on 55 magnificent acres with lake, swimming pool and tennis courts, minutes from Tanglewood and the charms of Lenox and Stockbridge. FOR INFORMATION CONTACT (413) 443-3330 1136 Barker Road (on the Pittsfield-Richmond line) GREAT LIVING IN THE BERKSHIRES Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88 Trustees of the Boston Symphony Orchestra, Inc. Kidder, President Nelson J. Darling, Jr., Chairman George H. T Mrs. John M. Bradley, Vice-Chairman J. P. Barger, V ice-Chairman Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Vernon R. Alden Mrs. Michael H. Davis Roderick M. MacDougall David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Mrs. Norman L. Cahners Mrs. John H. Fitzpatrick David G. Mugar James F. Cleary Avram J. Goldberg Mrs. George R. Rowland William M. Crozier, Jr. Mrs. John L. Grandin Richard A. Smith Mrs. Lewis S. Dabney Francis W. Hatch, Jr. Ray Stata Harvey Chet Krentzman Trustees Emeriti Philip K. Allen Mrs. Harris Fahnestock Irving W. Rabb Allen G. Barry E. Morton Jennings, Jr. Paul C. Reardon Leo L. Beranek Edward M. Kennedy Mrs. George L. Sargent Richard P. Chapman Albert L. Nickerson Sidney Stoneman Abram T. Collier Thomas D. Perry, Jr. John Hoyt Stookey George H.A. Clowes, Jr. John L. Thorndike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc.
    [Show full text]
  • Fne Music Magazne
    February 2013 MAGAZINE VLADIMIR ASHKENAZY The Mystery of Music CORRALLING THE MASSES Sydney Philharmonia Choirs THE MUSIC- MATH MYTH Simon Tedeschi MASTER OF MODERNISM - Elliott Carter BIRTH OF AN OPERA Un Ballo in Maschera FROM THE ROYAL OPERA LA BOHEME MARCH 1, 2, 3 & 6 www.palaceoperaandballet.com.au CONTENTS EDITOR’S DESK In our cover story there’s a classic master-meets- Vol 40 No 2 apprentice moment as Robert Clark endeavours 4 COVER STORY to find some insights into how the great Vladimir Vladimir Ashkenazy, Principal Conductor of Ashkenazy achieves what he does. Clark finds however, that the practice of making music in the the Sydney Symphony, talks with Robert Clark maestro’s realm is more spiritual than tangible. and ponders the mysteries of making music Just one month into the Wagner anniversary year 3 Simon Says and we appear to be pleasantly awash with all things 6 Brett Weymark Interview Wagnerian. In a one page special review, Randolph Magri-Overend lifts the lid on a commemorative 8 Un Ballo in Maschera – Solti Ring cycle 14 CD Box set limited edition and the Wagner Society in NSW unveils a Birth of an Opera packed calendar of events. 11 Presenter Profile – Tom Zelinka Over at the Sydney Symphony, Chief Conductor and Artistic Director designate David Robertson is set to mark the 200th anniversaries of Verdi and Wagner with two July 12 Young Virtuosi events - Verdi’s Requiem and a concert version of Wagner’s Flying Dutchman. 13 Meet Kathryn Selby These two concerts are among seven this year where the Sydney Symphony teams up with the Brett Weymark-led Sydney Philharmonia Choirs.
    [Show full text]
  • View PDF Online
    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
    [Show full text]
  • Perceptual and Semantic Dimensions of Sound Mass
    PERCEPTUAL AND SEMANTIC DIMENSIONS OF SOUND MASS Jason Noble Composition Area Department of Music Research Schulich School of Music McGill University, Montreal April 2018 A dissertation submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Jason Noble 2018 In memory of Eleanor Stubley, Clifford Crawley, and James Bradley, for whose guidance and inspiration I am eternally grateful Table of Contents Abstract ...............................................................................................................................v Résumé ................................................................................................................................viii Acknowledgments................................................................................................................xi Contributions of Authors ......................................................................................................xiii List of Figures ......................................................................................................................xiv List of Tables .......................................................................................................................xvii Introduction ....................................................................................................................1 Chapter 1: Perceptual Dimensions of Sound Mass .............................................5 1.1 Introduction: Defining ‘Sound Mass’ .........................................................................5
    [Show full text]
  • Composer Brochure
    CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990, Subscription
    BOSTON SYMPHONY ORCHESTRA SBJI OZAWA MUSIC DIRECTOR 109TH SEASON 1989-90 ^r^ After the show, enjoy the limelight. Tanqueray. A singular experience. Imported English Gin, 47.3% Alc/Vol (94.6°). 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York, N.Y. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Geary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R.
    [Show full text]
  • Isang Yun Maderna, Heinz Holliger, Hans Zender, Zubin Mehta, Jesús López-Cobos, Myung-Whun Chung, and Many More
    _Bara_ in Berlin in 1962. The conductors of Yun’s works have included Bruno Isang Yun Maderna, Heinz Holliger, Hans Zender, Zubin Mehta, Jesús López-Cobos, Myung-Whun Chung, and many more. It is hardly possible to list all the soloists who have mastered his very demanding scores. The connection to the tradition of Chinese-Korean court music is very clear in _Loyang_ for chamber ensemble (1962). Yun’s individual style, which is indeed obliged to Eastern-Asian idioms, emerged in _Gasa_ for violin and piano (1963) and in _Garak_ for flute and piano (1963). In _Gasa_ and _Garak_, he overlaid twelve-tone sound fields with a second, melodically dominated layer of (long sustained) main or central tones. Yun recognized Isang Yun photo © Booseyprints this long sustained tone (or sound), which "is already life itself" and – flexible within itself – contains beats, colorings, dynamic nuances, and also The Dragon from Korea ornaments (accentuated attacks, sub-beats, likewise emphasized decays), as _by Walter-Wolfgang Sparrer an essential characteristic of the East-Asian tradition. _ Isang Yun was the first composer from Eastern Asia to succeed in That he meticulously indicated in his scores the course of every individual establishing an international career based in Germany. With the Seoul tone center – Yun spoke of "main tones" – like the articulation of a word, was Cultural Prize in 1955, he received the most prestigious award conferred by new in the history of music and created certain difficulties in the execution of his South Korean homeland. He used the prize money to travel the following his imaginatively delicate, and yet in no way merely playfully demanding year, in June 1956, to Paris, where he wanted to get to know the at that time ornamental music.
    [Show full text]
  • Publications for Georg Pedersen 2019 2018 2017 2016 2014 2013 2011
    Publications for Georg Pedersen 2019 Cello and Piano. The Great Romantics, Sonatas for Cello and Pedersen, G. (2019). 1 Allegro quasi Presto, G minor; 2 Piano. Recital Hall West, Sydney Conservatorium of Music, Andante religioso, E flat major; 3 Moderato, B flat major; 4 Sydney, Australia: Sydney Conservatorium of Music. Allegretto, D minor; 5 Allegro comodo, F major; 6 Adagio Largamente, A flat major; 7 Maestoso, C major; 8 Moderato 2016 ma energico. A minor; 9 Allegro, D major, 10 Allegro deciso, B Pedersen, G., Shovk, P., Gadd, C. (2016). 1. Piano Trio No. 2 minor, 11 Adagio - Allegro, G major; 12 Allegretto capriccioso, Opus 67 (Shostakovich) 2. Sonata for Cello and Piano E minor. The 12 Caprices for solo Cello by Alfredo Piatti. (Debussy), 3. Piano Trio (Ravel), 4. Duo for Violin and Cello Recital Hall West, Sydney Conservatorium of Music, Sydney, Opus 7 (Kodaly), 5. Cello Sonata Opus 40 (Shostakovich). Who Australia: Sydney Conservatorium of Music. is the best 20th century Composer? Audience Vote!. Recital Pedersen, G., Herscovitch, D. (2019). 1: Sonata no 2 in D Hall West, Sydney Conservatorium of Music, Sydney, major, BWV 1028 (JS Bach) 2: 5 Stucke im Volkston, Opus 102 Australia: Sydney Conservatorium of Music. (Schumann) 3: Sonata no 2 in F Major, Opus 99 (Brahms). Pedersen, G., Shovk, P. (2016). 1. Sonata for Cello and Piano Staff Concert: Three German Masterpieces. Recital Hall West, Opus 65 (Chopin), 2. Sonata for Cello and Piano Opus 19 Sydney Conservatorium of Music, Sydney, Australia: Sydney (Rachmaninoff, 3. Sonata for Cello (Arpeggione) and Piano in Conservatorium of Music.
    [Show full text]
  • GSQ Programme Notes Final
    GOLDNER STRING QUARTET Photo: Keith Saunders from left: CONCOURSE Irina Morozova, viola CONCERT HALL Julian Smiles, 'cello CHATSWOOD Dimity Hall, violin Dene Olding, violin Friday 5 April 2019 PROGRAMME HAYDN String quartet in F major, Op 50 no 5, Hob III/48, The Dream BEETHOVEN String quartet no 11 in F minor, Op 95, Quartett[o] serioso INTERVAL SCHUBERT String quartet no 14 in D minor, D 810, Death and the Maiden PROGRAMME NOTES HAYDN - String Quartet in F major, Opus 50, no minuet with all instruments playing in unison. The 5 Hob III/48 The Dream trio creates a sense of order, gracefully bringing the movement back to its dignified opening. Allegro moderato / Poco adagio / Tempo di Menuetto: Allegretto/ Finale: Vivace The final movement is strongly rhythmic. It builds with a vibrant energy that propels the work to a Haydn was the first great master of the string sparkling conclusion. quartet form. He composed his Opus 50 set of six string quartets in 1787 when he was 57 years old, C. B. some three years before he had the opportunity BEETHOVEN - String quartet no 11 in F minor, after the death of Prince Nicholas Esterhazy to Op. 95 travel to London for the first time. The Op 50 quartets are thought to have been Haydn's Allegro con brio / Allegretto, ma non troppo / Allegro response to the set of string quartets Mozart had assai vivace, ma serioso / Larghetto espressivo – completed two years earlier and dedicated to Allegretto agitato – Allegro Haydn. The Op 50 works were dedicated to King Beethoven wrote String Quartet No 11 in 1810.
    [Show full text]
  • Download Our 2019-20 Annual Report
    ANNUAL 2019-20REPORT CITY RECITAL HALL LIMITED 1 CONTENTS 3 STRATEGIC FRAMEWORK 4 ACTIVITY HIGHLIGHTS 5 CHAIR’S MESSAGE 6 CEO’S MESSAGE 7 PRESENTING PARTNERS AND HIRERS 8 APPEARING ON OUR STAGE 10 VISITOR EXPERIENCES 11 SUPPORT FOR THE SECTOR 12 COMMUNITY ENGAGEMENT 13 CITY RECITAL HALL PRESENTS 15 KEY PRESENTERS 16 VENUE HIRERS 17 PARTNERS AND SUPPORTERS 18 GIVING 19 CORPORATE GOVERNANCE 20 BOARD 22 STAFF Concert: Considering Matthew Shepard Photo: Robert Catto Front Cover Photo: Maria Prada Photography 2 STRATEGIC FRAMEWORK Concert: Echoes of the Jazz Age Photo: Maria Boyadgis VISION OUR GUIDING PRINCIPLES STRATEGIC GOALS To be one of the ‘must visit’ cultural AND VALUES BRAND destinations in Australia. • Progressive thinking and creative City Recital Hall is a place that offers excellence underpin everything we do. “music and more” to a wide audience MISSION We think outside the square to deliver unique and creative experiences for PLACE To unlock the cultural, social and our artists, partners and audiences. The beating cultural heart of the economic value of City Recital Hall. Sydney CBD • Democratic and diverse - Everyone We will do this by: plays an important part, every voice is QUALITY heard, everyone is respected. If it’s on at City Recital Hall, it must be • producing, promoting, presenting, We champion diversity by engaging good encouraging and facilitating excellent with all genres, all peoples, all ideas. cultural events; We are proud to be open, transparent SERVICE and inclusive. • ensuring diversity of users, audiences City Recital Hall is an excellently run arts and programs; • Playful - We love exploring ideas and company with a talented, passionate • engaging new audiences; and opportunities in a fun and creative and flexible team that goes above and cultural environment.
    [Show full text]
  • “TEMPO E TEMPI” Program Notes for Pieces by Elliott Carter by John Link Esprit Rude/Esprit Doux II
    Concert 5 “TEMPO E TEMPI” Program Notes for pieces by Elliott Carter by John Link Esprit Rude/Esprit Doux II (1994) Carter composed Esprit Rude/Esprit Doux as a 60th birthday present for Pierre Boulez, using a short motto based on Boulez’s name. Ten years later, Carter added this brief companion piece as a 70th birthday present. The first measure of the later piece repeats the final gesture of the earlier one, and the two pieces may be played individually, as a suite, or as a single continuous movement. Esprit Rude/Esprit Doux II adds marimba to the original’s flute and clarinet, and reflects the considerable changes in Carter’s style that took place between 1985 and 1994. The main body of the piece consists of a long-line melody, passed between the flute and clarinet. Unable to participate in the sustained lyricism of the woodwinds, the marimba provides an occasionally vehement accompaniment. Elsewhere, the instruments find common ground in a texture of trills and tremolos that minimizes their differences, but a mood of playful contentiousness nonetheless prevails. Trilogy (1992) Trilogy was composed for Heinz and Ursula Holliger, and consists of short pieces for solo harp (Bariolage), and solo oboe (Inner Song), with a concluding duet for the two instruments together (Immer Neu). Each of the three movements may be played alone as an independent composition, but when played as a suite the instruments make small accompanying gestures during each other’s solo, to particularly striking effect. The word Bariolage originally referred to the mixing of colors but was later adapted to bowed instrument playing to refer to the technique of moving rapidly between different strings to produce changes of tone color.
    [Show full text]
  • October November December 2014
    October November December 2014 THIS EDITION Melbourne Festival Maestro Richard Bonynge A cappella quintet Black Voices Soprano Inessa Galante Great Performer Jean-Efflam Bavouzet Slava & Leonard Grigoryan play jazz 28 October PP100016130 MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY Bohemian Rhapsody Magnificat – p4 Frostfall – p4 Micheline Sings Brel Russian Kaleidoscope p4 Rodelinda – p5 p5 p6 Brahms Second Blackwood Ensemble Symphony – p5 p6 Monash Sinfonia with OCTOBER 01 02 03 04 Paul Dyer – p6 05 Percy Grainger & His Mostly Mozart: In Skycha – p7 Good Girl/Bad Girl Contemporaries – p6 Memoriam – p7 p8 06 07 08 09 10 11 12 Music on the Mind Musical Explorations Tim Stevens Trio – p8 The Way of Guqin The Way of Guqin Lofty Mountains & p8 p8 p10 p10 Flowing Water – p10 Borodin Quartet – p9 Clint Mansell – p9 13 14 15 17 18 19 Senses – p12 Arianna on a Bridge Us and Them: Aurora Orchestra: Pepper the Monkey Aurora Orchestra: of Stars – p12 Symphonic Pink Insomnia – p11 & The Rainbow Testament – p11 Floyd – p12 Circus – p11 20 21 22 23 24 25 26 The Magic of Paul Masquerade – p13 Chitarra e Liuto – p14 Musical Spectrum Us and Them: The Albare Quintet Dean – p12 Grigoryan Brothers Black Voices – p14 p14 Symphonic Pink Live – p15 Lingering Charms of p13 Floyd – p12 Jiangnan – p13 Victorian 27 28 30 31 Heartbreak – p1501 02 The Cockcrow Third Ear Music – p15 Two Parisian Forever Young – p16 Appalachian Spring Sonata – p15 Masterpieces – p16 p18 Ilyich Rivas Australia Piano Conducts – p16 Quartet – p18 03 05 06 07 08 09 NOVEMBER
    [Show full text]