The Oberon Trio
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Rudolf Buchbinder, Piano
Cal Performances Presents Sunday, September 21, 2008, 3pm Hertz Hall Rudolf Buchbinder, piano PROGRAM Ludwig van Beethoven (1770–1827) Piano Sonata No. 3 in C major, Op. 2, No. 3 (1795) Allegro con brio Adagio Scherzo: Allegro Allegro assai Beethoven Piano Sonata No. 22 in F major, Op. 54 (1804) In tempo d’un Menuetto Allegretto INTERMISSION Beethoven Piano Sonata No. 24 in F-sharp major, Op. 78 (1809) Adagio cantabile — Allegro ma non troppo Allegro vivace Beethoven Piano Sonata No. 25 in G major, Op. 79 (1809) Presto alla tedesca Andante Vivace Beethoven Piano Sonata No. 28 in A major, Op. 101 (1816) Allegretto, ma non troppo Vivace alla marcia Adagio, ma non troppo, con affetto — Tempo del primo pezzo — Allegro This performance is made possible, in part, through the generosity of The Hon. Kathryn Walt Hall and Craig Hall. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo. CAL PERFORMANCES 25 About the Artist About the Artist performed Diabelli Variations collection written by Mozart and Beethoven. Mr. Buchbinder will visit Mr. Buchbinder attaches considerable impor- 50 Austrian composers. His 18-disc set of Haydn’s Munich several times throughout the season, per- tance to the meticulous study of musical sources. works earned him the Grand Prix du Disque, and forming the complete cycle of Beethoven sona- He owns more than 18 complete editions of his cycle of Mozart’s complete piano concertos with tas at the Prinzregententheater. In October and Beethoven’s sonatas and has an extensive collec- the Vienna Symphony Orchestra, recorded live at November, he will tour the United States with the tion of autograph scores, first editions and original the Vienna Konzerthaus, was chosen by Joachim Dresden Staatskapelle under Luisi, performing at documents. -
Alessio Allegrini Horn
Alessio Allegrini Horn Founder of the Musicians For Human Rights and music director of the Human Rights Orchestra, Alessio Allegrini has performed as solo or principal horn with virtually all of the world’s leading conductors, including Claudio Abbado, Carlo Maria Giulini, Daniel Barenboim, Wolfgang Sawallisch, Lorin Maazel, Myung-Whun Chung, Mariss Jansons, Jeffrey Tate, Valery Gergiev, Simon Rattle, Antonio Pappano, Riccardo Muti. Winner of prizes in both the Prague Spring International Competition and the Munich International Competition, he held the first chair in the Orchestra of La Scala for eight years, and subsequently served as guest principal horn of the Berlin Philharmonic for a year. For many years he was also principal horn of the Orchestra Mozart under Claudio Abbado, which culminated in the live recording of the complete Mozart’s Horn concertos, Sinfonia Concertante, and Bach’s second Brandenburg concerto for Deutsche Grammophon. As a soloist, he premiered Carter's Horn Concerto in Europe and performed Britten Concerto with Ian Bostridge at the Orchestra of the Academy of Santa Cecilia. Other concerto engagements include Orchestra da Camera di Mantova, Philhamonie Baden-Baden, Orchestra Teatro Petruzzelli Bari, Hamburger Symphoniker, La Scala Theater Orchestra, Filarmonica Teatro La Fenice, Orchestra of Teatro Lirico in Cagliari, etc. He made his debut as a conductor at the Teatro Lirico in Cagliari with a symphonic concert with Wagner and Brahms compositions, which was highly acclaimed. Last season he played and conducted the Orchestra Filarmonica Marchigiana and I Solisti Aquilani. In the season 2018, he will appear as a conductor with the Hamburger Symphoniker to replace Maestro Jeffrey Tate (Elger, Haydn and Beethoven), and will play and lead the Lausanne Chamber Orchestra (Haydn and Beethoven) and Tokyo City Philharmonic (All Mozart Concertos). -
Scharoun Ensemble Berlin
SCHAROUN ENSEMBLE BERLIN Founded in 1983 by members of the Berlin Philharmonic Orchestra, the Scharoun Ensemble is one of Germany’s leading chamber-music organizations. With its wide repertoire, ranging from composers of the Baroque period by way of Classical and Romantic chamber music to contemporary works, the Scharoun Ensemble has been inspiring audiences in Europe and overseas for more than a quarter of a century. Innovative programming, a refined tonal culture and spirited interpretations are hallmarks of the ensemble, which performs in a variety of instrumental combinations. The permanent core of the Scharoun Ensemble is a classical octet (clarinet, bassoon, horn, two violins, viola, cello and double bass), apart from Wolfram Brandl and Claudio Bohorquez they are made up entirely of members of the Berlin Philharmonic. When called for, the ensemble brings in additional instrumentalists as well as noted conductors. The Scharoun Ensemble has prepared and presented various programmes under the direction of Claudio Abbado, Sir Simon Rattle, Daniel Barenboim and Pierre Boulez. It has also performed with singers including Thomas Quasthoff, Simon Keenlyside and Barbara Hannigan, and, for interdisciplinary projects, the ensemble has engaged such artists as Fanny Ardant, Loriot and Dominique Horwitz. Bridging the gap between tradition and the modern is the Scharoun Ensemble’s principal artistic focus. It has given world premieres of many 20th- and 21st-century compositions while dedicating itself with equal passion to the interpretation of works from past centuries. Among the cornerstones of its repertoire are Franz Schubert’s Octet d803, with which the ensemble made its public debut in 1983, and Ludwig van Beethoven’s Septet Op.20. -
A CONCERT with COMMENTARY, JEFFREY SIEGEL to PRESENT MOZART and HAYDN “The Leonard Bernstein of the Piano” Returns for His Ninth Season
Contact: Dave Webb Phone: 530-400-1253 E-mail: [email protected] Web: harriscenter.net/about/press-room A CONCERT WITH COMMENTARY, JEFFREY SIEGEL TO PRESENT MOZART AND HAYDN “The Leonard Bernstein of the piano” returns for his ninth season (August 2, 2019, Folsom, CA) Hailed as “an artist who means every note he plays” (New York Times), internationally acclaimed pianist Jeffrey Siegel brings power and passion to his celebrated Keyboard Conversations — returning to Folsom for his ninth season. He has been called “the Leonard Bernstein of the piano” (Chicago Tribune); "Jeffrey Siegel has everything: massive technique, musical sensitivity and character, wide tonal resources, immense reserves of power, and the ability to communicate" (Los Angeles Times). In presenting these “concerts with lively commentary” Mr. Siegel offers comments on the work, the composer, even the times in which the work was composed and then gives a virtuosic performance of a piano masterpiece. A lively Q&A concludes the concert. His presentations enrich the listening experience for the avid music lover as well as provide an inviting, instantly accessible introduction to great music for those new to classical music. "Siegel's programs strengthen the fragile bonds of communication between composer and listener and are as welcome as they are rare." (Chicago Tribune). For his concert on Saturday, August 24, Mr. Siegel will perform MOZART AND HAYDN – HUMOR AND HEARTACHE, an evening of irresistible charm and wit – and deep anguish and sadness. Haydn’s exuberant “Gypsy Rondo” and melancholy “F Minor Variations,” Mozart’s passionate “A Minor Sonata.” The inaugural Keyboard Conversations® With Jeffrey Siegel commences on Saturday, August 24 at 7:30 pm. -
MUSIC SHARING ICEP Vietnam Touring Party Personnel Midori
MUSIC SHARING ICEP Vietnam Touring Party Personnel Midori, violin www.GoToMidori.com; http://www.intermusica.co.uk/artist/Midori The violinist Midori is a visionary artist, activist and educator whose unique career has transcended traditional boundaries. Since her 1982 with the New York Philharmonic, she has concertized widely in the United States, Europe and Asia. She is also a noted global cultural ambassador and dedicated music educator. Midori has performed with most of the world’s great orchestras, such as the Berlin Philharmonic and the Vienna Philharmonic, sharing stages with legendary conductors, including Leonard Bernstein, Claudio Abbado and Mstislav Rostropovich. Midori’s dozens of CDs include a 2013 Grammy Award-winning recording of Hindemith’s Violin Concerto with Christoph Eschenbach conducting the NDR Symphony Orchestra. More recently, the two-CD set of her interpretation of J.S. Bach’s Sonatas and Partitas for Solo Violin was released to wide acclaim. For more than 25 years, Midori has founded and led various non-profit organizations that provide music education and the musical experience to young people and underserved communities around the world, including in Asia, where the International Community Engagement Program brings musical presentations and cultural exchange to a different country every year. Midori was born in Osaka, Japan in 1971. She currently lives in Philadelphia, where she is a member of the violin faculty of the Curtis Institute of Music. Since 2007 she has served as a United Nations Messenger of Peace. A recipient of an honorary doctorate from Yale University, in 2012 she received the Crystal Award from the World Economic Forum in Davos, to go with her many other honors. -
Interview with RENEE FLEMING Was Conducted by the Library of Congress on March 23, 2018
This interview with RENEE FLEMING was conducted by the Library of Congress on March 23, 2018 Renee Fleming Library of Congress: For you, what was the general experience of making the album like? Renee Fleming: Recording “Signatures” was, for me, the ultimate experience--a chance to capture a wide range of iconic opera scenes from my core repertoire, with legendary conductor, Sir Georg Solti, and the world-renowned London Symphony Orchestra. Opera is a largely European tradition, but I was fortunate to have mentors in American icons Beverly Sills, Marilyn Horne, and Leontyne Price, who gave me invaluable personal guidance at the beginning and well into my career. And as the daughter of two public-school vocal music teachers, I grew up steeped in music, but I was also the beneficiary of a robust, wide-ranging education in arts in our local public school system. To have “Signatures” included in the National Registry of the Library of Congress is an honor that is deeply meaningful for me; not only because I love these works so much, but also because I feel that now, more than ever, valuing arts in our culture is absolutely essential. LOC: How did you go about choosing the particular selections for this album? RF: I was offered a rare opportunity in this album–a luxury, really–of recording full scenes, rather than just excerpted arias. At the time, it was unusual to present so many different languages on one recording, and few Americans recorded in Russian or Czech. For “Signatures,” I recorded extended scenes: Tatyana’s letter scene from “Eugene Onegin,” the Willow Song and Ave Maria sequence from “Otello,” and Daphne’s transformation from Strauss’s opera of the Greek myth. -
President's Report
NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC Annual Meeting 2015 Report of the President Mark Wait Dean, Blair School of Music Vanderbilt University In the past two years, I have spoken of NASM’s longstanding and time-honored mission, and of the importance of institutional citizenship. This year, in my last report to you as President, I would like share a few thoughts about the future and about renewal—personal renewal, institutional renewal, and even renewal of this Association. Throughout my career, I have enjoyed asking students and young faculty members what they hope to be doing five or 10 years into the future. What are their hopes, their dreams? Lately, I have been asking the same question to people over 50, and even to people over 60. And the answers, both from those in their 20s and those in their 60s, are strikingly similar. Almost everybody has plans for the future. For our students, their dream may be to teach in a high school or college, or to play in a professional string quartet. For those of us whose careers are more advanced, we may dream of that big project we’ve been putting off for years. Learning that Schubert Sonata we’ve never gotten around to, or writing that book we’ve been thinking about for so long. Time to get that done. Time to do something new, something different. In a word: renewal. We could use another word: change. But for some, the word “change” has baggage. People resist change, but everybody welcomes renewal. Why? Because “change” means having to do something in a different way. -
Program Notes | Michael Tilson Thomas Conducts
27 Season 2017-2018 Thursday, March 1, at 7:30 Friday, March 2, at 8:00 The Philadelphia Orchestra Saturday, March 3, at 8:00 Michael Tilson Thomas Conductor Measha Brueggergosman Soprano Tilson Thomas Four Preludes on Playthings of the Wind First Philadelphia Orchestra performances Mikaela Bennett, vocalist Kara Dugan, vocalist Intermission Tchaikovsky Symphony No. 6 in B minor, Op. 74 (“Pathétique”) I. Adagio—Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Adagio lamentoso This program runs approximately 1 hour, 50 minutes. The March 1 concert is sponsored by the Hassel Foundation. The March 1 concert is also sponsored by Constance Smukler. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 28 Please join us following the March 2 and 3 concerts for a free Organ Postlude with Peter Richard Conte. Rachmaninoff/ Prelude in C-sharp minor, Op. 3, No. 2 transcr. Lemare Widor from Symphonie gothique, Op. 70: II. Andante sostenuto Karg-Elert Chorale Improvisation on “Nearer My God, to Thee” The Organ Postludes are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. 29 ®™ Getting Started with LiveNote » Please silence your phone ringer. » Download the app from the Apple App Store or Google Play Store by searching for LiveNote. » Join the LiveNote Wi-Fi network from your phone. The wireless network LiveNote should appear in the list available to you. -
Michael Tilson Thomas Fifty Years of Music
Michael Tilson Thomas Fifty years of music Thinking Big Orchestral works on an epic scale The magazine of the London Symphony Orchestra LSO Discovery JANUARY 2020 A celebration of 30 years LSO East London Academy Nurturing talent in the city January 2020 Letter from the Managing Director Kathryn McDowell 04 News 09 LSO Discovery at 30 his issue of Living Music There was a period of intense activity as the new provides you with a snapshot of term started at the Guildhall School of Music & some of the LSO’s achievements Drama, with colleagues welcoming the new intake 16 All Around the World over the past few months, as well on the Orchestral Artistry scheme as part some more personal reflections of Guildhall Artist Masters Degree delivered of some of the projects, tours in close collaboration with us. This programme and concerts that have taken combines the Guildhall School’s academic place during this time period. reputation and infrastructure with the practical skills and experience of the LSO’s musicians, A particularly significant string conductors and soloists to create a unique of firsts sums up the latter half academic offer, developing both professional of 2019 for the LSO, both at home and entrepreneurial skills. 10 Michael Tilson Thomas 12 Thinking Big and abroad. We undertook a tour to five Latin American countries in May – the first in the In addition to restarting the schemes engaging Orchestra’s 120-year history, as well as Sir Simon with emerging talented musicians, we kicked Rattle’s first tour with the LSO to Hong Kong, off a new cycle of activities for less advantaged mainland China and Vietnam in September. -
Warsaw Sinfonia
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Warsaw Sinfonia YEHUDI MENUHIN Conductor and Violinist TUESDAY EVENING, FEBRUARY 3, 1987, AT 8:00 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Concerto No. 1 in A minor for Violin and Orchestra, BWV 1041 ....... BACH Allegro ma non troppo Andante Allegro assai YEHUDI MENUHIN, Violinist Siegfried Idyll ................................................... WAGNER Overture to La Scala di Seta ....................................... ROSSINI Andantino, Allegro INTERMISSION Concerto for Strings (1948) ............................ GRA£NYA BACEWICZ Allegro Andante Vivo Symphony No. 4 in A major, Op. 90 ("Italian") .............. MENDELSSOHN Allegro vivace Andante con moto Con moto moderato Saltarello: presto Mr. Menuhin records for EMU Angel, His Master's Voice, and Electrola. Twenty-sixth Concert of the 108th Season 108th Annual Choral Union Series PROGRAM NOTES Violin Concerto No. 1 in A minor, BWV 1041 ..... JOHANN SEBASTIAN BACH (b. Mar. 21, 1685; d. July 28, 1750) Bach's study of the violin in his youth accounts for his intimate knowledge of the fundamental nature of the instrument and his appropriate idiomatic writing for it. The A-minor Concerto, scored for violin solo and orchestra, follows the Italian pattern of a concerto, namely, two fast outer movements surrounding an inner slow movement. In both Allegro movements, ritornello passages for the orchestra alternate with sections for the violin which comments upon and develops the musical material in greater depth. The first Allegro movement, in 2/4 time, opens vigorously with a two-section theme in A minor, which is based largely on the opening ritornello. The lyrical Andante, in 4/4 time, is in the parallel major key of C and consists of an ostinato bass which provides the underlying substructure for the melodic lines of the violin solo. -
JOHANN GEORG LICKL, AUSTRO-HUNGARIAN CRAFTSMAN by Lajos Lencsés
JOHANN GEORG LICKL, AUSTRO-HUNGARIAN CRAFTSMAN by Lajos Lencsés I owe my encounter with Johann Georg Lickl to an error. In my youth I used to play a magnifcent wind cassation that had been wrongly published with an attribution to Mozart. No one then knew that it was a work by one of Mozart’s Viennese friends – one Johann Georg Lickl. Nor did I know that the score of Lickl’s cassation was held in the library of Festetics Castle in Keszthely, on the shores of Lake Balaton in Hungary, where as a music student I used to play in a festival every summer. Afer the true identity of the composer was discovered, my enthusiasm for this music soon generated a degree of curiosity about the person of Lickl himself, the result of which is this recording. Lickl was born in Korneuburg, just to the north-west of Vienna, on 11 April 1769. Orphaned at a young age, he was taken under the wing of Sebastian Witzig, the regens chori (director of music) in his home-town, who gave his young charge instruction frst in singing and string-playing and then in organ and composition. Lickl soon exhibited both dedication and ability as a composer, and at the age of fourteen he was highly enough regarded to take up an organist’s post, to the considerable satisfaction of his teacher. He was only sixteen when, in 1785, he moved to Vienna, supporting himself by giving private lessons in keyboard, singing and thorough- bass. His musical education continued apace, with advice and support from both Joseph Haydn and Johann Georg Albrechtsberger; Lickl paid especial attention to polyphony and counterpoint. -
Bulletin 2006/Music/Pages
ale university July 20, 2006 2007 – Number 4 bulletin of y Series 102 School of Music 2006 bulletin of yale university July 20, 2006 School of Music Periodicals postage paid New Haven, Connecticut 06520-8227 ct bulletin of yale university bulletin of yale New Haven Bulletin of Yale University The University is committed to basing judgments concerning the admission, education, and employment of individuals upon their qualifications and abilities and affirmatively seeks to Postmaster: Send address changes to Bulletin of Yale University, attract to its faculty, staff, and student body qualified persons of diverse backgrounds. In PO Box 208227, New Haven ct 06520-8227 accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against any individual on PO Box 208230, New Haven ct 06520-8230 account of that individual’s sex, race, color, religion, age, disability, status as a special disabled Periodicals postage paid at New Haven, Connecticut veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation. Issued seventeen times a year: one time a year in May, November, and December; two times University policy is committed to affirmative action under law in employment of women, a year in June; three times a year in July and September; six times a year in August minority group members, individuals with disabilities, special disabled veterans, veterans of the Vietnam era, and other covered veterans. Managing Editor: Linda Koch Lorimer Inquiries concerning these policies may be referred to Valerie O.