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Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett: -
San Francisco Symphony MICHAEL TILSON THOMAS MUSIC DIRECTOR
Audio And Video from the San Francisco Symphony MICHAEL TILSON THOMAS MUSIC DIRECTOR the San francisco Symphony is the first uS orchestra with its own in-house label, SfS media™, offering a distinctive series of recordings and dVds. under the leadership of music director michael tilson thomas, the orchestra has recorded a GrAMMY®-winning, critically acclaimed cycle of the symphonies of Gustav mahler. our groundbreaking Keeping Score series, available on dVd and Blu-ray, features MTT and the orchestra exploring great works and the people behind them, and is designed to make classical music accessible to those of all ages and musical backgrounds. Also on dVd is A Celebration of Leonard Bernstein: Carnegie Hall Opening Night 2008, the San francisco Symphony’s gala Bernstein concert, broadcast originally on PBS’s Great Performances. MAHLER SYMPHONY NO. 1 “it’s not unheard of for this orchestra and conductor to sound so good together; anyone who’s been going to davies Symphony hall with any frequency in recent years has heard comparable performances. But to hear the dramatic sweep and sonic depth of the performance caught so resplendently on disc—that’s another story. thomas’ dedication to live recordings has never seemed so thoroughly justified.” – San Francisco Chronicle Mahler: Symphony No. 1 SFS-0002 Hybrid SACD MAHLER SYMPHONY NO. 2 SOLOISTS Isabel Bayrakdarian Lorraine Hunt Lieberson with the San francisco Symphony Chorus “At times demoniacally dramatic, [MTT] … yields a forceful, stunning interpretation (sumptuous brass) with sepulchral undertones (strings from beyond the grave). the vocal parts are almost supernatural.… it is a decidedly classy performance.” – Le Monde Mahler: Symphony No. -
Ferruccio Busoni 1866–1924
Ferruccio Busoni 1866–1924 150. Geburtstag 2016 150th Birthday 2016 150. Geburtstag Busoni-Jahr 2016 Zwischen Klassizität und Experiment – die Orchesterwerke Ferruccio Busonis „Unsicherheit ist charakteristisch für diese Zeit“ be- Neben seiner pianistischen Laufbahn betätigte fand Nietzsche 1886 und kommentierte damit die sich Busoni als Pädagoge (Lehrtätigkeiten in Hel- sich in Europa verstärkenden außerstaatlichen und sinki, Moskau und Boston), Dirigent, Herausgeber, innergesellschaftlichen Spannungen. Industri a - Bearbeiter von Musik, Verfasser von Libretti sowie lisierung, Verstädterung und Säkula risie rungs - zahlreicher Abhandlungen zur Musikästhetik und prozesse vereinigten sich zu einem verbreiteten anderen Themen. Mittelpunkt seines Wirkens bildete Kulturpessimismus, dem ein unerschütterlicher Fort- für Busoni jedoch das Komponieren. Hierbei wollte schrittsglaube gegen über stand. er „noch einen Zipfel der neuen Tonkunst erwischen Die Kunstschaffenden reagierten auf diesen und womöglich selbst einen Saum daran nähen“. Zwiespalt mit der Suche nach neuen, adäquaten Mehr als die Hälfte der etwa 300 Kompositionen Ausdrucksmitteln, in deren Folge sich auch die Busonis entstanden bis 1900 und gelten heute als Sprache der Musik ändern sollte: schon kurz nach Frühwerke. Trotz kompositorischer Eigenart orien- der Jahrhundertwende begannen Schönberg und tierte sich Busoni noch an klassischen Vorbildern wie Webern mit Tönen in freier Atonalität zu experi- Bach, Beethoven und Brahms. Danach wollte Busoni mentieren. Abbild für diese Zeit des Umbruchs sich hiervon lösen und wandte sich dem Experimen- und des Suchens sind Werk und Persönlichkeit von tellen zu. Äußerlich tritt dies an den von ihm ab und empfinde, dass jeder Gedanke, jedes Motiv, Ferruccio Busoni (1866–1924) – eine epochale, 1902 geleiteten Berliner Orchesterabenden hervor, jedes Individuum eine eigene im Verhältnis zum europäische Künstlerfigur, dessen 150. -
LORI LAITMAN the Scarlet Letter Libretto by David Mason
AMERICAN OPERA CLASSICS LORI LAITMAN The Scarlet Letter Libretto by David Mason Claycomb • Armstrong MacKenzie • Belcher Knapp • Gawrysiak Opera Colorado Orchestra and Chorus Ari Pelto Lori CD 1 66:18 LAITMAN Act I (b. 1955) 1 Scene I: A Meeting Place 14:47 The Scarlet Letter (2008, rev. 2015–16) (Wilson, Bellingham, Dimmesdale, Chillingworth, Prynne, Chorus) Opera in Two Acts 2 Scene II: The Prison 13:33 (Chillingworth, Prynne) Libretto by David Mason (b. 1954) 3 Interlude: Time Passing 2:29 Based on the novel by Nathaniel Hawthorne (1804–64) (Chorus) Commissioned by The University of Central Arkansas through Robert Holden and the UCA Opera Program 4 Scene III: The Governor’s Rose Garden, Seven Years Later 14:18 (Bellingham, Wilson, Chillingworth, Dimmesdale, Prynne) Cast in order of vocal appearance 5 Scene IV: Dimmesdale’s Study – His Nightmare 21:11 A Sailor . Charles Eaton, Baritone (Chillingworth, Dimmesdale, Hibbons) A Farmer . Benjamin Werley, Tenor Goodwife 1 . Emily Robinson, Soprano John Wilson, an elder minister . Kyle Knapp, Tenor CD 2 45:04 Governor Bellingham . Daniel Belcher, Baritone Arthur Dimmesdale, a young minister . Dominic Armstrong, Tenor Act II Congregation Leader . William Bryan, Baritone 1 Scene I: The Forest 22:33 Goodwife 2 . Becky Bradley, Soprano (Chillingworth, Prynne, Dimmesdale) Goodwife 3 . Danielle Lombardi, Mezzo-soprano Roger Chillingworth, Hester’s long-missing husband . Malcolm MacKenzie, Baritone 2 Scene II: A Meeting Place – Election Day 22:31 Hester Prynne, a young seamstress . Laura Claycomb, Soprano (Hibbons, Prynne, Bellingham, Wilson, Dimmesdale, Chillingworth, Chorus) Mistress Hibbons, a witch . Margaret Gawrysiak, Mezzo-soprano A Shipmaster . William Bryan, Baritone Pearl, Hester’s daughter . -
Ferruccio Busoni Biography
Ferruccio Busoni His Life And Times Beginnings Youth in Italy The Prodigy is Heard Busoni as Composer Free at Last First Experiences Marriage Busoni as Editor Hitting his Stride Busoni as Conductor Masterpiece Unveiled America again Turandot /Die Brautwahl The Author Debuts Back on the Road Paris, D’Annunzio Opera’s Seduction Liceo Rossini War in Europe The Artist at 50 The Last Years Final Enthusiasms Last Days FERRUCCIO BUSONI - HIS LIFE AND TIMES The Busoni heritage begins in Spicchio, a little village on the north bank of the Arno, inhabited mainly by barge-men, one of whom bore the name. The family is thought originally to have come from Corsica. Though reasonably well-off in their day, the Busonis fell on hard times, and upon the father’s death, moved to Empoli. Additional misfortune followed when the second son of three, Giovanni Battista also died later of a long illness in 1860, his wife following shortly thereafter. From this group of three sons, it would be the eldest, Ferdinando who would produce the artist the world learned to know and cherish. In Empoli his siblings became prosperous makers of felt hats, but Ferdinando would have none of that. He hid himself in corners to read the classics and practice the clarinet. Nothing would alter his intention to be a musician of prominence; he was capricious, self-willed, hot-tempered and impatient. These qualities would, lifelong, result in a reputation as difficult, highly-strung, opinionated, quarrelsome and to some a jeffatore...the possessor of the “evil eye.” He was largely self-taught, attained a high degree of proficiency on his instrument, adopted a career as a travelling virtuoso. -
Sir Colin Davis Anthology Volume 1
London Symphony Orchestra LSO Live Sir Colin Davis Anthology Volume 1 Sir Colin Davis conductor Colin Lee tenor London Symphony Chorus London Symphony Orchestra Hector Berlioz (1803–1869) – Symphonie fantastique, Op 14 (1830–32) Recorded live 27 & 28 September 2000, at the Barbican, London. 1 Rêveries – Passions (Daydreams – Passions) 15’51’’ Largo – Allegro agitato e appassionato assai – Religiosamente 2 Un bal (A ball) 6’36’’ Valse. Allegro non troppo 3 Scène aux champs (Scene in the fields) 17’16’’ Adagio 4 Marche au supplice (March to the Scaffold) 7’02’’ Allegretto non troppo 5 Songe d’une nuit de sabbat (Dream of the Witches’ Sabbath) 10’31’’ Larghetto – Allegro 6 Hector Berlioz (1803–1869) – Overture: Béatrice et Bénédict, Op 27 (1862) 8’14’’ Recorded live 6 & 8 June 2000, at the Barbican, London. 7 Hector Berlioz (1803–1869) – Overture: Les francs-juges, Op 3 (1826) 12’41’’ Recorded live 27 & 28 September 2006, at the Barbican, London. Hector Berlioz (1803–1869) – Te Deum, Op 22 (1849) Recorded live 22 & 23 February 2009, at the Barbican, London. 8 i. Te Deum (Hymne) 7’23’’ 9 ii. Tibi omnes (Hymne) 9’57’’ 10 iii. Dignare (Prière) 8’04’’ 11 iv. Christe, Rex gloriae (Hymne) 5’34’’ 12 v. Te ergo quaesumus (Prière) 7’15’’ 13 vi. Judex crederis (Hymne et prière) 10’20’’ 2 Antonín Dvořák (1841–1904) – Symphony No 9 in E minor, Op 95, ‘From the New World’ (1893) Recorded live 29 & 30 September 1999, at the Barbican, London. 14 i. Adagio – Allegro molto 12’08’’ 15 ii. Largo 12’55’’ 16 iii. -
Renée Fleming Sings Her First La Traviata
DAVID GOCKLEY, GENERAL DIRECTOR PATRICK SUMMERS, MUSIC DIRECTOR Subscribe Now! 2002–2003 Season Renée Fleming sings her first La Traviata. See it FREE when you SUBSCRIBE NOW! DHoustonivas,divas,divas! Grand Opera celebrates “The Year of the Diva.” Renée Fleming will at long last sing her first Violetta—and, where might this Experience all the anticipated debut happen? The Met? La Scala? Vienna? No, Renée has chosen to excitement and premiere this significant role here at Houston Grand Opera. In a year of firsts— Susan Graham’s first Ariodante and The Merry Widow and Elizabeth Futral’s benefits of a full first Manon—Ms.Fleming’s Violetta will be a defining moment in the world of opera. season subscription: The season begins with the return of Ana Maria Martinez as Mimi in Puccini’s • Free parking beloved La Bohème. Laura Claycomb,the young Te x a s soprano who had • Free subscription to audiences on their feet in this season’s Rigoletto,will return in Donizetti’s Scottish Opera Cues magazine masterpiece, Lucia di Lammermoor.The season closes with the world premiere of • Free season preview The Little Prince,when Oscar-winning composer Rachel Portman turns Antoine CD or cassette de Saint-Exupéry’s much loved novel into a magical and moving opera. • Free lost ticket replacement Extraordinary singers in extraordinary productions.As a full season subscriber, • Exchange privileges you get 7 operas for the price of 6. That means you can see Renée Fleming’s debut • 10% discount on as Violetta for free! I urge you to take advantage of this offer, it’s the only way we additional tickets can guarantee you a seat. -
Holiday Issue 2014 CUES
OPERAVolume 55 Number 03 | Holiday Issue 2014 CUES World Premiere Iain Bell and Simon Callow A CHRISTMAS CAROL DECEMBER 5, 7, 9, 11, 14, 16, 17, 19, 20, 21 PATRICK SUMMERS PERRYN LEECH ARTISTIC & MUSIC DIRECTOR MANAGING DIRECTOR Margaret Alkek Williams Chair ADVERTISE IN OPERA CUES Opera Cues is published by Houston Grand Opera Association; all rights reserved. Opera Cues is produced by Houston Grand Opera’s Communications Department, Judith Kurnick, director. Director of Publications Laura Chandler Art Direction / Production Pattima Singhalaka Contributors Iain Bell Simon Callow Perryn Leech Myles Mellor For information on all Houston Grand Opera productions and events, or for a complimentary season brochure, please call the Customer Care Center at 713-228-OPERA (6737). Houston Grand Opera is a member of OPERA America, Inc., and the Theater District Association, Inc. Find HGO online: HGO.org facebook.com / houstongrandopera twitter.com / hougrandopera Readers of Houston Grand Opera’s Mobile: HGO.org Opera Cues magazine are the most desirable prospects for an advertiser’s message. LOYAL: 51 percent of readers have been reading Opera Cues for more than three years. DEDICATED: 42 percent of readers read the magazine from cover to cover. EDUCATED: More than 90 percent are college-educated, and 57 percent hold graduate degrees. SOCIAL: 44 percent patronize downtown restaurants when they go to a performance at Houston Grand Opera. For more information on advertising in Opera Cues, call Matt Ross at 713-956-0908. 2 | Opera Cues Holiday Issue 2014 www.HGO.org B:8.625” T:8.375” S:7.875” KEEPING ELITE PERFORMERS IN THE SPOTLIGHT. -
Polyphonic Harmony in Three of Ferruccio Busoni's Orchestral Elegies
POLYPHONIC HARMONY IN THREE OF FERRUCCIO BUSONI’S ORCHESTRAL ELEGIES Colin Davis, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Timothy L. Jackson, Major Professor Hendrik Schulze, Committee Member Stephen Slottow, Committee Member Frank Heidlberger, Committee Member and Chair of the Department of Music History, Theory, and Ethnomusicology Benjamin Brand, Directory of Graduate Studies for the College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Davis, Colin. Polyphonic Harmony in Three of Ferruccio Busoni’s Orchestral Elegies. Doctor of Philosophy (Musicology - Music Theory), May 2015, 225 pp., 82 musical examples, bibliography, 91 titles. This dissertation focuses on three of Busoni’s late orchestral works known as “orchestral elegies”: Berceuse élégiaque (Elegie no. 1, 1909), Gesang vom Reigen der Geister (Elegie no. 4, 1915), and Sarabande (Elegie no. 5, 1918-19). The study seeks to provide a better understanding of Busoni’s late style as a crucial bridge from late nineteenth-century chromaticism in the works of Liszt, Wagner, and others to the post-tonal languages of the twentieth century. At the heart of this study lies a particular concept that forms the basis of many characteristic features of Busoni’s late style, namely the concept of polyphonic harmony, or harmony as a cumulative result of independent melodic lines. This concept is also related to a technique of orchestration in which the collective harmony is sounded in such a way that the individual voices are distinct. In the highly personal tonal language of Busoni’s late works, passages often consist of a web of motives weaved throughout the voices at the surface level of the music. -
University of Cincinnati
UNIVERSITY OF CINCINNATI DATE: May 16, 2003 I, Nina Perlove , hereby submit this as part of the requirements for the degree of: Doctor of Musical Arts in: Flute Performance It is entitled: Ethereal Fluidity: The Late Flute Works of Aaron Copland Approved by: Dr. bruce d. mcclung Dr. Robert Zierolf Dr. Bradley Garner ETHEREAL FLUIDITY: THE LATE FLUTE WORKS OF AARON COPLAND A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS (DMA) in the Division of Performance Studies of the College-Conservatory of Music 2003 by Nina Perlove B.M., University of Michigan, 1995 M.M., University of Cincinnati, 1999 Committee Chair: bruce d. mcclung, Ph.D. ABSTRACT Aaron Copland’s final compositions include two chamber works for flute, the Duo for Flute and Piano (1971) and Threnodies I and II (1971 and 1973), all written as memorial tributes. This study will examine the Duo and Threnodies as examples of the composer’s late style with special attention given to Copland’s tendency to adopt and reinterpret material from outside sources and his desire to be liberated from his own popular style of the 1940s. The Duo, written in memory of flutist William Kincaid, is a representative example of Copland’s 1940s popular style. The piece incorporates jazz, boogie-woogie, ragtime, hymnody, Hebraic chant, medieval music, Russian primitivism, war-like passages, pastoral depictions, folk elements, and Indian exoticisms. The piece also contains a direct borrowing from Copland’s film scores The North Star (1943) and Something Wild (1961). -
Rehearsal and Concert
SYMPHONY HALL, BOSTON HUNTINGTON (S-MASSACHUSETTS AVENUES . ( Ticket Office, 1492 Telephones^ , { ^^"^^„, ^^^n„„ j Administration Offices, 3200 } THIRTIETH SEASON, 1910 AND 1911 MAX FIEDLER, Conductor Programme of % Sixteenth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, FEBRUARY 17 AT 2.30 O'CLOCK SATURDAY EVENING, FEBRIjARY 18 AT 8.00 O'CLOCK COPYRIGHT, 1910, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1165 WM. L, WHITNEY International School for Vocalists BOSTON NEW YORK SYMPHONY CHAMBERS 134 CARNEQIB HALL 246 HUNTINGTON AVE. CORNER OF 57th AND 7th AVB. PORTLAND HARTFORD Y. M. C. A. BUILDING HARTFORD SCHOOL OF MUSIC CONGRESS SQUARE 8 SPRING STREET 1166 Boston Symphony Orchestra PERSONNEL Thirtieth Season, 1910-1911 MAX FIEDLER, Conductor Violins, WItek. A., Roth, 0. Hoffmann, J. Canctrt-masUr. Kuntz, D. Krafft, F. W. Noack, S. JM.R^MW^AWR.^ Rw R« «^ MM.M.M w* R« ^n wiiw iw iw'iui iu» w im & Perfection m Piano Making 5 feet long THE Quarter Grand Style V, m ngurea Mahogany, price ^650 It is tut five :^eet long and in Tonal Proportions a Masterpiece or piano building. It is Ckickering ^ Sons' most recent triumpn, tke exponent of EIGHTY-SEVEN YEARS experience in artistic piano building, and tne neir to all tke qualities tbat tke name or its makers implies. CHICKERING ^ SONS Established 1823 791 TREMONT STREET, Comer Northampton Street, near Mass. Ave. BOSTON !Si wteimirw Mi.ioi lAi imwK mm kMW}i mttfwivwwWvwVtfwvVwVtfrtoVMi^ffi 1168 THIRTIETH SEASON, NINETEEN HUNDRED TEN AND ELEVEN ^txt^wtif S^lf^arsal attb Qlotir^rl FRIDAY AFTERNOON, FEBRUARY 17, at 2.30 o'clock SATURDAY EVENING, FEBRUARY J8, at 8 o'clock PROGRAMME Wagner Prelude to "Lohengrin" Strauss .