Musical Pieces from Others' Ideas
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Klavierabend Valentina Lisitsa Dienstag, 17.04.2012 · 20.00 Uhr
Klavierabend Valentina Lisitsa Dienstag, 17.04.2012 · 20.00 Uhr So klingt nur Dortmund. VALENTINA LISITSA KLAVIER Abos: Solisten I – Meisterpianisten Zeitinsel Rachmaninow|Skrjabin In unserem Haus hören Sie auf allen Plätzen gleich gut – leider auch Husten, Niesen und Handy- klingeln. Ebenfalls aus Rücksicht auf die Künstler bitten wir Sie, von Bild- und Tonaufnahmen während der Vorstellung abzusehen. Wir danken für Ihr Verständnis! 2,50 E 4I5 ALEXANDER SKRJABin (1872 – 1915) SERGEJ RACHMANINOW Sonate Nr. 2 gis-moll op. 19 »Sonate-Fantaisie« (1897) Sonate Nr. 1 d-moll op. 28 (1907) Andante Allegro moderato Presto Lento Allegro molto Deux Poèmes op. 32 (1904) Andante cantabile ALEXANDER SkRJABIN Allegro. Con eleganza, con fiducia Nocturne für die linke Hand Des-Dur op. 9 (1894) Étude op. 42 Nr. 3 (1903) FRANZ LISZt (1811 – 1886) Étude op. 65 Nr. 1 (1912) »Totentanz« (1849/1865) – Ende ca. 22.10 Uhr – SERGEJ RACHMANINOW (1873 – 1943) Étude-tableaux op. 39 Nr. 6 (1916) Prélude G-Dur op. 32 Nr. 5 (1910) Prélude gis-moll op. 32 Nr. 12 (1910) Prélude h-moll op. 32 Nr. 10 (1910) Prélude g-moll op. 23 Nr. 5 (1903) – Pause ca. 20.45 Uhr – Einführung mit Prof. Dr. Michael Stegemann um 18.45 Uhr im Komponistenfoyer 6I7 PROGRAMM 8I9 PIANISTISCHE EXTRAVAGANZ³ Machlis schließt so, Skrjabin habe »den Weg zu einem freien Gebrauch von zwölf Tönen« aufge- WERKE VON SKRJABIN, RACHMANINOW UND LISZT zeigt und polytonale und atonale Denkweisen vorweggenommen. Liszt, Rachmaninow, Skrjabin: Diese drei waren nicht nur großartige, bis heute häufig gespielte Auch auf formaler Ebene entwickelte Skrjabin die Musik weiter. -
George Frideric Handel Cc 9127 George Frideric Handel
GEORGE FRIDERIC HANDEL CC 9127 GEORGE FRIDERIC HANDEL male lead in The Bear for Hemsley, who played it under the composer on BBC Television in George Frideric Handel (1685-1759) 1970. His book Singing and Imagination is a lucid guide to his finely-honed art. = `çåÅÉêíç=áå=_JÑä~í=ets=OVQ=léK=Q=kçK=S=ENTPSF= NNKNN Geraint Jones (1917-98). The son of a Glamorgan minister, Jones studied at the Royal 1-3 I Andante allegro 3.53 2 II Larghetto 4.31 3 III Allegro moderato 2.53 Academy of Music before being rejected for World War II service on grounds of poor health. Osian Ellis, harp. The Boyd Neel Orchestra directed by Thurston Dart Determined to ‘do his bit’, he made his debut as a harpsichordist in 1940 at one of Myra Hess’s A BBC studio broadcast, 26 February 1957 National Gallery concerts, later touring widely with his wife, the violinist Winifred Roberts. After the war he became highly influential in the ‘authentic’ baroque movement, forming his own = ^éçääç=É=a~ÑåÉ=ets=NOO=ENTNMF= QPKMR orchestra for the acclaimed performances at London’s Mermaid Theatre in 1951 of Dido and Aeneas, with Kirsten Flagstad and Thomas Hemsley. Jones’s many recordings included Dido 4 Recitative and Aria Apollo ‘La terra è liberata … Pende il ben dell’universo’ 5.18 (The earth is set free … The good of the universe) with those singers (plus Elisabeth Schwarzkopf as Belinda and Arda Mandikian as the 5 Recitative and Aria Apollo 3.54 Sorceress) as well as music by Bach, Handel and Mozart. -
Youtube's Classical Music Star Valentine Lisitsa Comes To
PRESS RELEASE FOR IMMEDIATE USE YouTube’s classical music star Valentine Lisitsa comes to Edinburgh’s Usher Hall Sunday Classics: Russian Philharmonic of Novosibirsk 3:00pm, Sunday 12 May 2019 Thomas Sanderling - Conductor Valentina Lisitsa - Piano Rimsky-Korsakov - Capriccio espagnol Rachmaninov - Rhapsody on a Theme of Paganini Mussorgsky - Pictures at an Exhibition Images available to download here Powerhouse all-Russian programme including Rachmaninov’s tender take on Paganini YouTube sensation Valentina Lisitsa is nothing less than a modern marvel. A brilliant pianist of the Russian old school who plays with fiery intensity and profound insight, she is also a musical evangelist who has taken classical music to millions through her online videos. Having posted her first video on YouTube in 2007, viewing figures soon exploded and more videos followed. The foundations of a social media-driven career unparalleled in the history of classical music were laid. Her YouTube channel now boasts more than 516,000 subscribers and over 200 million views. No wonder she’s in demand right across the world: her unprecedented global stardom is matched by her breath-taking playing. Lisitsa has long adored the romance and power of Rachmaninov and following her electrifying performance of his Third Piano Concerto at the Usher Hall in 2018, she makes a welcome return with the passionate Rhapsody on a Theme of Paganini. Niccolò Paganini’s famous piece has been adored and interpreted by many a composer, including Brahms, but it’s Rachmaninov’s take on the classic that sees it as its tenderest, and wittiest. He moulds the main theme into musical styles and interpretations previously unheard, and there is no finer pianist to bring this to the Usher Hall than Valentina Lisitsa. -
THE DELLER CONSORT ~ F MEANY HALL OCTOBER 3, 1964 F 8:30 P.M
· .' UNIVERSITY OF WASHINGTON OFFICE OF LECTURES AND CONCERTS AND FRIENDS OF MUSIC present THE DELLER CONSORT ~ f MEANY HALL OCTOBER 3, 1964 f 8:30 p.m. ~~----~~~~--~----== " .. == ROLAND DELASSUS ...... Mon coeur se recommande a vous THE DELLER CONSORT (1530- 94) o let me look on thee once more, since that my heart full sorely acheth, HONOR SHEPPARD. Soprano SALLY LESAGE. Soprano And spite of watching envious eyes, listen while my love its farewell taketh. ALFRED DELLER, Counter-tenor My lips which once smiled on thee gladly. and told my love with tender grace, MAX WORTHLEY, Tenor MAURICE BEVAN, Baritone Now alas are used but in cursing those who banish me from thy face o let me look on thee once more .... ,~ GUILLAUME COSTE LEY ... Allon gay, bergeres (1531-1606) Let us go merrily, Nymphs, let us go merrily. be light. Follow me THOMAS WEELKES Hark, all ye lovely saints above Let us go and see the King, who from Heaven, is born on earth. ( -1623) o care. thou wilt despatch me Merry, merryl Let us go merrily, Nymphs, Hence, care, thou art too cruel Let us go merrily, be light, Follow me. The nightingale A beautiful present shall I make him, Of this flageolet I have, I have so merry. Let us go merry nymphs. THOMAS MORLEY Fire. fire, my heart A cake shall I give himl Merry, merry I (1557-1603) Let us go merrily, be light, the King is drinking! JOHN DOWLAND Fine knacks for ladies (1563-1626) Me, me and none but me ROLAND DELASSUS ...... Bonjour, mon coeur Wilt thou unkind thus reave me Hello, my heart, hello my tender life; Sleep wayward thoughts Hello, my eye, hello my tender friend. -
The Blake Collection in Memory of Nancy M
The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma. -
King's Research Portal
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by King's Research Portal King’s Research Portal DOI: 10.1108/20442081111180377 Link to publication record in King's Research Portal Citation for published version (APA): Wilson, N. (2011). The business of authenticity: a false relation?. Arts Marketing: An International Journal, 1(2), 159-170. 10.1108/20442081111180377 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
P Ho To: G Ilb Ert F Ran Co Is
Photo: Gilbert Francois CONCERT SPONSOR The support from the organizations and individuals listed below has made this concert possible. The Board of Directors and all of us at the Festival are most appreciative and very thankful for their commitment to bringing musical excellence to Amelia Island and its environs. Barbara Alleva Gant and Donald R. Gant Bill Hensley and Anne Taylor Hensley Bob and Pat Stichweh BECOME A CONCERT SPONSOR We are truly grateful for all levels of financial support from our patrons, but there is a very special group of people, who give at least $2,500 each year to become Concert Sponsors. These valued contributors are publicly recognized at the concert they sponsor and given preferred up-front seating at most other concerts. To learn more about becoming a Concert Sponsor as well as the benefits of various giving levels, please visit our website (aicmf.com), click on the Support tab and then on Donate in the drop-down menu. Also feel free to contact our Executive Director Eric Sakurai or call our office at 904-261-1779 if you have any questions. BOARD OF DIRECTORS General & Artistic Director - Christopher Rex Emma Mills Bledsoe, President Barbara Alleva Gant Irene Sanchez, Vice President Sharon Lennon Sue Braddock, Secretary Tom Pippin Kathleen Minder, Treasurer Vicki Whittemore Hugh Williams Executive Director Emeritus - Dr. Joseph Marasco Staff Executive Director - Eric Sakurai Office Manager - Donna Hinton About the AICMF The Amelia Island Chamber Music Festival is nationally recognized as one of the foremost music events of its kind. The Festival is a not-for-profit, tax-exempt organization under Section 501 (c)(3) of the Internal Revenue Code. -
The Interval Dissonance Rate in Chopin's Études Op. 10, Nos
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 5-22-2018 The nI terval Dissonance Rate in Chopin’s Études Op. 10, Nos. 1-4: Dissecting Arpeggiation, Chromaticism, and Linear Progressions Nikita Mamedov Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Theory Commons Recommended Citation Mamedov, Nikita, "The nI terval Dissonance Rate in Chopin’s Études Op. 10, Nos. 1-4: Dissecting Arpeggiation, Chromaticism, and Linear Progressions" (2018). LSU Doctoral Dissertations. 4588. https://digitalcommons.lsu.edu/gradschool_dissertations/4588 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE INTERVAL DISSONANCE RATE IN CHOPIN’S ÉTUDES OP. 10, NOS. 1-4: DISSECTING ARPEGGIATION, CHROMATICISM, AND LINEAR PROGRESSIONS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in School of Music by Nikita Mamedov B.M., Rider University, 2013 M.M., Rider University, 2014 August 2018 PREFACE This dissertation has been submitted to fulfill the graduation requirements for the degree of Doctor of Philosophy at the Louisiana State University. This study was conducted under the supervision of Professor Robert Peck in the Music Theory Area. I began my initial research for this project in the summer of 2016. -
Die Zeitschrift Von Bösendorfer Österreich Nr. 6 | Dezember 2011
BÖSENDORFERDie Zeitschrift von Bösendorfer Österreich Nr. 6 | Dezember 2011 Flying Bach: Der wohltemperierte Kulturclash Interviews: Yuko Hisamoto/Valentina Lisitsa Neues Flügel-Modell 155 P.B.B. | Postentgelt bar bezahlt | Verlagspostamt 1010 Wien L. Bösendorfer Klavierfabrik GmbH, Bösendorferstraße 12, A-1010 Wien, [email protected], www.boesendorfer.com | Falls unzustellbar, bitte zurück an den Absender © Coverfoto: Ray Demski/Red Bull Content Pool 1 | B Ö S E N D O R F E R – Die Zeitschrift von Bösendorfer Österreich LISZT & JAPAN Der Liszt Jubiläumsflügel – eine Hommage an die Freundschaft Mehr als 40 Briefe und Telegramme schrieb der große Pianist und Komponist an seinen en- gen Freund Ludwig Bösendorfer und mehrere Instrumente der Wiener Manufaktur nannte er mit Stolz seinen eigenen Besitz. Aus Anlass seines 200sten Geburtstages hat Bösendorfer den »Liszt Jubiläumsflügel« in limitierter Stückzahl von 25 Instrumenten aufgelegt. ranz Liszt erblickt 1811 im etwa 100 Kilometer von Wien 1862 in London eine Medaille. Im Liszt-Gedenkmuseum be- entfernt liegenden Raiding das Licht der Welt. Trotz die- findet sich ferner ein 1,87 Meter langer, siebenoktaviger serF Nähe zu Wien dauert es bis 1846, bis Franz Liszt – inzwi- Bösendorfer-Flügel, geradebesaitet, mit Wiener Mechanik. schen ein als Star gefeierter Virtuose – erstmals auf einem Diesen benutzte Liszt in seiner Wohnung in Pest bis zu sei- Bösendorfer spielt. Am 28. März spielt Franz Liszt sein denk- nem Tode 1886. würdiges Konzert »mit allem Aufgebote seines großen Ta- lentes, so feurig, mächtig und hinreißend, in einer so aufge- n Gedenken an den genialen Klaviervirtuosen, Kompo- regten, glücklichen Stimmung, dass die Begeisterung des nisten und Dirigenten, welcher zugleich auch als »Erfinder« Publikums unaufgehalten losbrach. -
Alfred Deller Portrait of a Legend ALFRED DELLER (1912-1979) CD 1 Opera & Stage Music by Henry Purcell CD 2 Sacred Song
Alfred Deller Portrait of a Legend ALFRED DELLER (1912-1979) CD 1 Opera & Stage Music by Henry Purcell CD 2 Sacred Song The Fairy Queen 1 Incipit lamentatio Jeremiae prophetae (Gregorian chant) 5’01 Dernière Leçon du Samedi Saint (Office des Ténèbres) 1 Act II A Fairy: Come all ye songsters of the sky 1’57 2 Prelude 0’41 2 Te lucis ante terminum (Cantiones sacrae) • Thomas Tallis 2’08 3 Three Elves: May the God of Wit inspire / While Echo 2’05 Deller Consort 4 Act III Dialogue Corydon / Mopsa 3’50 5 Act IV Symphony 1’05 3 Deuxième Leçon de Ténèbres pour le Mercredy • François Couperin 13’17 6 Act V A Chinese Man: Thus, thus the gloomy world 4’48 4 Cantata Jubilate Domino • Dietrich Buxtehude 7’58 7 A Chinese Woman: Thus happy and free 0’51 for solo voice, viola da gamba and basso continuo 8 A Chinese Man: Yes, Xansi, in your looks I find 2’09 Raphaël Perulli (viola da gamba), Michel Chapuis (organ) 9 Monkey’s Dance 0’55 A Fairy: Alfred Deller / Three Elves: Alfred Deller, John Buttrey, Maurice Bevan 5 In guilty night (Saul and the Witch of Endor) • Henry Purcell 9’20 Corydon & Mopsa: Norman Platt, Alfred Deller Honor Sheppard (Witch), Alfred Deller (Saul), Maurice Bevan (Samuel) A Chinese Man: Alfred Deller / A Chinese Woman: Jean Knibbs Anna Shuttleworth (cello), Robert Elliott (organ) Stour Music Chorus & Orchestra, dir. Alfred Deller 6 Great King of Gods • Orlando Gibbons 6’00 King Arthur Deller Consort & Jaye Consort of Viols 10 Act I, scene 2: I call ye all 2’26 Jane Ryan (viola da gamba), Robert Elliott (harpsichord) 7 Ave verum • G. -
Performer's Guide to Michael Tippett's the Blue Guitar Orlando Roman
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Performer's Guide to Michael Tippett's the Blue Guitar Orlando Roman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC PERFORMER’S GUIDE TO MICHAEL TIPPETT’S THE BLUE GUITAR By ORLANDO ROMAN A Treatise submitted to the School of Music In partial fulfillment of the Requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2003 The members of the Committee approve the treatise of Orlando Roman, defended on April 25, 2003. _______________________________ Charles Brewer Professor directing Treatise _______________________________ Bruce Holzman Committee Member _______________________________ Larry Gerber Committee Member ________________________________ James Streem Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Examples………………………………………………………………………... iv Abstract………………………………………………………………………………...... vi INTRODUCTION…………………………………………………………………...….. 1 1. THE OLD GUITARIST……………………………………………………………… 2 2. THE MAN WITH THE BLUE GUITAR…………………………………………..… 9 3. MICHAEL TIPPETT………………………………………………………………... 17 4. THE BLUE GUITAR……………………………………………………………….. 33 BIBLIOGRAPHY…………………………………………………………………… 48 DISCOGRAPHY……………………………………………………………………. 50 BIOGRAPHICAL SKETCH………………………………………………………... 51 iii LIST OF EXAMPLES 1. Tippett, The Blue Guitar, “Transforming,” m. 5 and m. 13……………………...… 35 2. Tippett, The Blue Guitar, “Transforming,” mm. 17-19………………………...….. 35 3. Tippett, The Blue Guitar, “Transforming,” m. 23 and m. 24…………………...….. 37 4. Tippett, The Blue Guitar, “Transforming,” m. 31…………………………….…… 37 . 5. Tippett, The Blue Guitar, “Transforming,” m. 36 and m. 45…………………...….. 38 6. Tippett, The Blue Guitar, “Transforming,” mm. 54-56………………………...….. 38 7. Tippett, The Blue Guitar, “Transforming,” m. 57……………………………...….. 38 8. -
Purcell King Arthur (Extraits) Mp3, Flac, Wma
Purcell King Arthur (Extraits) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: King Arthur (Extraits) Country: France Released: 1979 Style: Baroque MP3 version RAR size: 1305 mb FLAC version RAR size: 1317 mb WMA version RAR size: 1878 mb Rating: 4.9 Votes: 100 Other Formats: WMA MP2 MPC WAV DTS AC3 RA Tracklist A1 Ouverture Et Air A2 Acte I, Scène 2 A3 Acte II, Scène 2 «How Blest Are Shepherds» B1 Acte III, Scène 2 «Scène Du Froid» Acte V, Scène 2 B2a - Air «Ye Blust'ring Brethern Of The Skies» B2b - Symphony B2c - Harvest Home B2d - Air «Fairest Isle» B2e - Trumpet Tune B2f - Air Et Chœur «St George, The Patron Of Our Isle» B2g - Chaconne Credits Choir – Deller Choir* Composed By – Henry Purcell Conductor – Alfred Deller Conductor [The King's Musick] – Roderick Skeaping Ensemble – Deller Consort, The King's Musick Notes Disque-Catalogue 25e Anniversaire de Harmonia Mundi. Label on back sleeve states "Distribution Harmonia Mundi France HM 31". This is non-gatefold variant. Other versions Category Artist Title (Format) Label Category Country Year Purcell* - Deller Purcell* - Deller Consort, The King's Consort, The Musick, Roderick King's Musick, Harmonia HM 252/53 Skeaping, Alfred HM 252/53 France 1979 Roderick Mundi Deller - King Arthur Skeaping, Alfred Or The British Worthy Deller (2xLP + Box) Purcell* – Deller Purcell* – Deller Consort & Choir* Consort & Choir* / Harmonia HMC HMC / The King's The King's Musick / Mundi Germany Unknown 90252.53 90252.53 Musick / Alfred Alfred Deller - King France Deller Arthur (2xCD,