DOCSLIB.ORG

Andrew Lloyd Webber - Requiem / Domingo, Brightman, ECO, Maazel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Andrew Lloyd Webber - Requiem / Domingo, Brightman, ECO, Maazel Andrew Lloyd Webber - Requiem / Domingo, Brightman, ECO, Maazel Product Particulars Income Get ranking: #42546 around Popular music Company: Lloyd Published in: 2001-11-01 Unveiled about: 1995-11-14 Report: NR (Not Scored) Variety of dvds: One particular Arrangement: Cast Saving Authentic vocabulary: Language Volume of goods: A person Proportions: .47" h x 5.59" t times Several.88" r,.Twenty six lbs The effort by using looking at John Lloyd Webber's Requiem is intending that compares the item for some other Requiem's many of us are experienced with without having done any frequently function just about any unjustice.Convinced, We find out a specific impact with Benjaimin Britten, even perhaps just a little Bernstein Size, however, this is not any Struggle Requiem, and also contrasting that with controls simply by Verdi, Berlioz, Faure, Durufle, or perhaps Mozart could well be pointless.Instead, recognize this is the get the job done unto itself. Tim Lloyd Webber packages your Requiem along with Kyrie, Passes away Irae, Rex Tremendae, Recordare, Ingemisco, Lacrymosa, Offertorium, Sanctus (Hosanna), Pie Jesu, Lux Aeterna, and also the Libera My family series of your size from the expended.Have scored intended for full orchestra (including saxophones), a tremendous assortment of percussion (such as drum system), harp, cello, celeste, synthesizer, and body, it is deemed an orchestration associated with huge dimensions.This chorus about the saving includes boy sopranos along with altos plus masculine tenors in addition to basses coupled with solos regarding youngster soprano, tenor (Placido Domingo), plus soprano (Daphne Brightman).This voices, soloists especially, get excessive runs (everywhere) thus, making this a work needing virtuosity inside the entire attire. When it comes to new music, everybody's understanding of death is usually a distinct andpersonal practical knowledge, consequently, kinds concept of "Requiem" tunes are going to be completely different from people.You'll find several snatches associated with chant-like content, 100 % pure melodiousness, terrific dissonance, revelry, bombasticity, and also prayerfulness in this placing.Claire Lloyd Webber intrusions his / her skills of producing memorable melodies and also makes use of thematic economic climate so that you can tie up the entire band together.Your love with the boy soprano will be announced in the beginning along with straightforward octave plus 5th steps, along with frames the project by simply conclusion on a comparable be aware.The actual soloists and their excessive ranges portray fantastic stress plus stress, but afterwards can become jubilation.I truly believe this is a really serious get the job done; every section supplies a personal visual image of your Requiem text message and helps to create any roller- coaster with tips.The introduction more ethnic/modern percussion every now and again supply the popular music a John Lloyd Webber private rotate. The complete Requiem is hardly ever executed completely, however registered.That Disc is likely to stay the most well-liked functionality to own 'till the end of their time, and for good motive.Them captures the thrilling excitment on the top recording by simply complete painters along with musicians and singers.If you are looking for the interesting, and maybe cutting edge, choral get the job done, your search is over. The following Requiem is amongst the best That i've ever heard. We would don it the same amount since Verdi's Requiem as well as Mozart's Requiem. Webber methods that holy utilize a fashion virtually all his very own, a method that breaks significantly out of that of Mozart, Verdi, Berlioz, in addition to Faure. A flowing Passes away Irae -- Tuba Mirum is certainly exceptional on the list of alternative some key Requiems, out of the box the "Hosanna". We're absolutely no expert throughout songs, on the other hand perform personal files on the Beethoven plus Verdi Requiems in addition to this a single, plus in my opinion, Webber's Requiem shines like a unique work from the exceptional speech. Whenever Toby Lloyd Webber's papa William, a composer within his private correct, perished within The early 80's, his or her with that time famed daughter chose to honor his or her passing away which has a item of fresh created popular music. But it surely wasn't the particular musical technology that will ALW been in intellect with this seductive event; they alternatively came back to be able to his or her own common roots your dog obtained while frequenting this Westminster new music classes, the place his / her papa has been a organist. The effect of the following effort is captured about this Mp3 healthy of your requiem size. This particular highly accurate kind, immortalized with the wants with Verdi plus Bach previously, looks an ungainly in addition to a fairly hazardous alternative for the musician that grew to be renowned simply by stimulating the theory along with the thought of the present day play theater. But yet, the whole bit managed not only to become shared with the consumer, and also that well-known on its own as an significant contribution for the genre. All of the huge parts as recorded on that Compact disk find a way to conjure up the much needed experiencing this type of perform necessitates. The opening `Requiem and Kyrie' selection, with its mild melody, any relocating chorus accompaniment plus the blend of money comments results in a deep and also haunting feeling with the fan base. We can easily oppose this kind of peaceful along with darkish events using the spicey strength with `Dies irae', whose tunes captures the remarkable speed of your prepared word. `Hosanna', however, are some things you would expect from this composer-a big, rich beat, along with robust choral back up along with crescendos. One should furthermore talk about `Pie Jesu', just about the most reaching statement on this rating, which was crowned most commonly known part from this full piece. Its soothing tune increases results in the full report. Currently the item reached a brand new age group involving people listening if this had been noted by way of youthful soprano Charlotte, nc Chapel. On the list of resources the following requiem draws its strength from is usually it has the forged. It absolutely was put together to get a substantial soprano, a highs and also a tenor. The soloists exactly who shout these voice overs are of high class. We now have Darlene Brightman (who has been in that case married to be able to Lloyd Webber), Placido Domingo (which achieved intercontinental fame and fortune quite a while later among the several tenors) plus a young boy Robert Miles-Kinsgston. His or her comments are perfect for this score to make an excellent plain. Lorin Maazel, a world famous maestro, conducted equally this particular taking and also the future world leading efficiency in January 85 on . Thomas' Episcopal Church inside Big apple. Both recording plus the simple `Pie Jesu' gotten to england top ten and the critics privileged that bit by means of giving Andrew Lloyd Webber a Grammy Award for the greatest modern time-honored part. Another crucial stage this scores helps make would be the fact precisely how proficient your musician ALW happens to be, quickly shifting relating to the world of the particular traditional as well as music cinema songs, anything his / her detractors haven't ever manage to comprehension or perhaps recognize. This kind of Compact disk is thus your verification of a new talent as it is an excellent connected your style. A fans on this type should have no difficulty within noticing them and it should also come up with a awesome accent accumulating of ALW's work. Likewise, it could merely popularRead More....... on the web individuals globally. Click this link for where particularly always keep suppliers. Have got comments thru consumers with obtained this title Shop will have to consist of authority Have purchased aspect merchandise. Set up some time of shipping. Also to be able to Places. And also the worth of shipping and shipping and delivery. Strategy to invest in items safely. like Credit standing reviews greeting card. Have got vote rating and buyer recommendations. Have got rate and review expense of manufacturers. AndrewBrightman,serve as a much Lloyd needed ECO, Webber relaxation Maazel at - this Requiem Review time whilst mourning./ Domingo, Whenever my own 93-year older good granny Monika passed away the following Jan, the following audio would be a excellent replacement for hear even though for the lack of some sort of cherished particular person as well as honoring the big event inside of a most very own method. I'm going to devote the following evaluate to the recollection with your ex. Notice almost all 46 user reviews... Product Description Absolutely no account out there. Style: Established Music Report: Relieve Time frame: 0000-00-00 Marketing Type: Small Disk More Information (Andrew Lloyd Webber - Requiem / Domingo, Brightman, ECO, Maazel) Andrew Lloyd Webber - Requiem / Domingo, Brightman, ECO, Maazel will possibly be beneficial. And hope Now i'm an area of allowing you find a outstanding product.On the other hand, I hope that reviews regarding this Andrew Lloyd Webber - Requiem / Domingo, Brightman, ECO, Maazel type Amazon online marketplace.com will turn out to be valuable. And pray I am just a section of aiding you to obtain a top-quality item. You should have a expertise and review shape in this article. I am wanting you can expect to buying and ensure Andrew Lloyd Webber - Requiem / Domingo, Brightman, ECO, Maazel right after read through this very best testimonials. You will acquire a review and encounter shape here.
Load more

Recommended publications
  • PROGRAM NOTES Wolfgang Mozart Clarinet Concerto in a Major, K
    PROGRAM NOTES by Phillip Huscher Wolfgang Mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Clarinet Concerto in A Major, K. 622 Mozart composed this concerto between the end of September and mid-November 1791, and it apparently was performed in Vienna shortly afterwards. The orchestra consists of two flutes, two bassoons, two horns, and strings. Performance time is approximately twenty-nine minutes. The Chicago Symphony Orchestra’s first performance of Mozart’s Clarinet Concerto was given at the Ravinia Festival on July 25, 1957, with Reginald Kell as soloist and Georg Solti conducting. The Orchestra’s first subscription concert performance was given at Orchestra Hall on May 2, 1963, with Clark Brody as soloist and Walter Hendl conducting. Our most recent subscription concert performances were given on October 11 and 12, 1991, with Larry Combs as soloist and Sir Georg Solti conducting. The Orchestra most recently performed this concerto at the Ravinia Festival on July 15, 2001, with Larry Combs as soloist and Sir Andrew Davis conducting. This concerto is the last important work Mozart finished before his death. He recorded it in his personal catalog without a date, right after The Magic Flute and La clemenza di Tito. The only later entry is the little Masonic Cantata, dated November 15, 1791. The Requiem, as we know, didn’t make it into the list. For decades the history of the Requiem was full of ambiguity, while that of the Clarinet Concerto seemed quite clear. But in recent years, as we learned more about the unfinished Requiem, questions about the concerto began to emerge.
    [Show full text]
  • “Ein Deutsches Requiem” De Brahms : Una Aproximación Hermeneútica
    Scarabino, Guillermo Religiosidad en “Ein deutsches requiem” de Brahms : una aproximación hermeneútica Revista del Instituto de Investigación Musicológica “Carlos Vega” Año XXVI, Nº 26, 2012 Este documento está disponible en la Biblioteca Digital de la Universidad Católica Argentina, repositorio institucional desarrollado por la Biblioteca Central “San Benito Abad”. Su objetivo es difundir y preservar la producción intelectual de la institución. La Biblioteca posee la autorización del autor para su divulgación en línea. Cómo citar el documento: Scarabino, Guillermo. “Religiosidad en Ein deutsches requiem de Brahms : una aproximación hermeneútica” [en línea]. Revista del Instituto de Investigación Musicológica “Carlos Vega” 26,26 (2012). Disponible en: http://bibliotecadigital.uca.edu.ar/repositorio/revistas/religiosidad-ein-deutsches-requiem-brahms.pdf [Fecha de consulta:..........] (Se recomienda indicar fecha de consulta al final de la cita. Ej: [Fecha de consulta: 19 de agosto de 2010]). Revista del Instituto de Investigación Musicológica “Carlos Vega” Año XXVI, Nº 26, Buenos Aires, 2012, pág. 657 RELIGIOSIDAD EN EIN DEUTSCHES REQUIEM DE BRAHMS. UNA APROXIMACIÓN HERMENÉUTICA GUILLERMO SCARABINO Resumen El Requiem Alemán de Brahms ha sido objeto de numerosos análisis teológico- musicológicos, debido principalmente a dos características peculiares: 1. es una obra del género requiem que no utiliza el texto de la Missa pro defunctis, sino que emplea una selección de textos bíblicos elegidos por su autor, y 2. su contenido motívico deriva de manipulaciones sobre la melodía del coral Wer nur den lieben Gott lässt walten, que aparecen a lo largo de los 7 números de la obra. Este trabajo pone de relieve la existencia de un motivo autónomo, independiente del contenido del coral, que aparece en cinco de los siete números y al que el autor asigna la representación simbólica de la Redención.
    [Show full text]
  • Lyrics by Tim Rice Music by Andrew Lloyd Webber Directed by Rob Ruggiero
    2018–2019 SEASON EVITA LYRICS BY TIM RICE MUSIC BY ANDREW LLOYD WEBBER DIRECTED BY ROB RUGGIERO CONTENTS 2 The 411 3 A/S/L, HTH 4 FYI 6 B4U 7 IRL 8 RBTL At The Rep, we know HOW TO BE THE BEST AUDIENCE EVER! that life moves fast— TAKE YOUR SEAT okay, really fast. But An usher will seat your class as a group, and often we have we also know that a full house with no seats to spare, so be sure to stick with some things are your school until you have been shown your section in the worth slowing down theatre. for. We believe that live theatre is one of those pit stops worth making and are excited that you are going to stop SILENCE IS GOLDEN by for a show. To help you get the most bang for your buck, Before the performance begins, be sure to turn off your cell we have put together WU? @ THE REP—an IM guide that will phone and watch alarms. If you need to talk or text during give you everything you need to know to get at the top of your intermission, don’t forget to click off before the show theatergoing game—fast. You’ll find character descriptions resumes. (A/S/L), a plot summary (FYI), biographical information (F2F), BREAK TIME historical context (B4U), and other bits and pieces (HTH). Most This performance includes an intermission, at which time importantly, we’ll have some ideas about what this all means you can visit the restrooms in the lobby.
    [Show full text]
  • A Conductor's Guide to the Da Vinci Requiem by Cecilia Mcdowall
    University of South Carolina Scholar Commons Theses and Dissertations Spring 2020 A Conductor’s Guide to the Da Vinci Requiem by Cecilia McDowall Jantsen Blake Touchstone Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Commons Recommended Citation Touchstone, J. B.(2020). A Conductor’s Guide to the Da Vinci Requiem by Cecilia McDowall. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5920 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A CONDUCTOR’S GUIDE TO THE DA VINCI REQUIEM BY CECILIA MCDOWALL by Jantsen Blake Touchstone BaChelor of MusiC Mississippi College, 2011 BaChelor of MusiC Education Mississippi College, 2013 Master of MusiC Mississippi College, 2013 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of MusiCal Arts in Conducting SChool of MusiC University of South Carolina 2020 ACCepted by: AliCia W. Walker, Major Professor Jabarie Glass, Committee Member Andrew Gowan, Committee Member J. Daniel Jenkins, Committee Member Cheryl L. Addy, ViCe Provost and Dean of the Graduate SChool © Copyright by Jantsen Blake Touchstone, 2020 All Rights Reserved ii DEDICATION To my wife, Amy Touchstone, for your endless support, patience, love, and saCrifiCe. Your support, patience and understanding have allowed me to complete this projeCt; I thank you. iii ACKNOWLEDGEMENTS I would begin by thanking CeCilia MCDowall for writing such wonderful choral musiC and allowing such aCCess to her life and thoughts.
    [Show full text]
  • Andrew Lloyd Webber's Musicals
    MASARYK UNIVERSITY Faculty of Education Department of English Language and Literature ANDREW LLOYD WEBBER’S MUSICALS Diploma Thesis Brno 2009 Radka Adamová Supervisor: Mgr. Lucie Podroužková, PhD. 1 BIBLIOGRAPHICAL ENTRY Adamová, Radka. Andrew Lloyd Webber’s Musicals Brno: Masaryk University, Faculty of Education, Department of English Language and Literature, 2007. Diploma thesis supervisor Mgr. Lucie Podroužková, Ph. D. ANNOTATION This diploma thesis deals with British musical composer Andrew Lloyd Webber and his works. The first part of the thesis introduces Lloyd Webber’s biography, his close collaborators as well as his production company the Really Useful Group and description of all his works. The main part of the thesis is aimed at his musicals Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ Superstar , rather their origin and development, the main plot and their main characters that have many things in common. Both these musicals are based on topics from the Bible. The thesis also deals with the librettos and their translation into Czech. ANOTACE Diplomová práce se zabývá britským hudebním skladatelem Andrew Lloyd Webberem a jeho díly. První část práce seznamuje s Lloyd Webberovým životopisem, jeho blízkými spolupracovníky, stejně jako s jeho produkční společností Really Useful Group a popisem všech jeho děl. Hlavní část práce je zaměřena na muzikály Josef a jeho úžasný pestrobarevný plášť a Jesus Christ Superstar , přesněji řečeno jejich vznik a vývoj, hlavní dějovou linii a jejich hlavní postavy, které mají mnoho společného. Oba tyto muzikály jsou založeny na příbězích z Bible. Práce se také zabýva librety obou muzikálů a jejich překladem do češtiny. 2 I declare that I have worked on this thesis on my own and used only the sources listed in the Bibliography.
    [Show full text]
  • Grande Messe Des Morts: Hector Berlioz's Romantic Interpretation Of
    GRAND MESSE DES MORTS: HECTOR BERLIOZ'S ROMANTIC INTERPRETATION OF THE ROMAN CATHOLIC REQUIEM TRADITION Amber E. Broderick A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC December 2012 Committee: Arne Spohr, Advisor Eftychia Papanikolaou © 2012 Amber E. Broderick All Rights Reserved iii ABSTRACT Arne Spohr, Advisor Hector Berlioz (1803-1869) was commissioned by the French government in 1836 to compose a requiem mass for a state ceremony and to restore sacred music to a respected position in France. Berlioz envisioned a requiem that both continued the Roman Catholic requiem tradition and expanded it in context of the Romantic era and Kunstreligion. Berlioz conceived his Grande messe des morts (Requiem) as a “music drama,” in which the thirteenth-century Latin prose wa s used as secular poetry rather than an immutable sacred text. Berlioz’s Requiem is not religious in strict theological terms but relates more closely to what Frank Heidlberger calls an artistic statement of “secular moral philosophy.” Berlioz devised a first-person physiological narrative which presented the listener with a private emotional experience, achieving this psychological journey, in part, through a Romantic interpretation: textual alterations, programmatic orchestration, and the innovative use of antiphonal brass orchestras. The text was freely edited and rearranged to produce a libretto-type program, which Edward Cone deems a “dramatic portrayal of an imaginary progress through this world and the next.” Berlioz enhanced his interpretation by shifting from the traditional third-person perspective to the first-person. This adjustment required minimal changes to the text but maximum changes for the listener, who experienced a personal journey focused on the individual, rather than the divine.
    [Show full text]
  • The Laguardia Bell Tower Carillon
    The LaGuardia Bell Tower Carillon By Frank Angel Although the LaGuardia Tower has housed a carillon from the very first days it opened its doors, details about the original carillon are sketchy at best. About the only thing we know is that is was a manual operation with the bells struck by hand. A carillonneur had to go up to the tower and manually strike the bells. There is no record of who manufactured it or any details of the original design or how many bells were used. Only a cork-covered "sounding" room which housed the system and a few rusted tubular bells are all that remain of that first instrument which indicate that it may only have been able to play the simple Westminster, four note melody. How it was played, how often or by whom, remains a mystery. The first automated carillon capable of playing a double octave of notes and full melodies on campus was installed circa 1959 in the LaGuardia Tower by the Schulmerich Carillon Company of Pennsylvania. It consisted of eight tuned sounding rods which struck the familiar Westminster melody sequence on the quarter hours as well as striking the hour. The entire clockworks were driven by electro-mechanical components -- a mass of metal rods, pins, relays and motors. Except for the occasional mechanical failure, it was used on a daily basis for nearly twenty years. In 1986, the 17-year- old Schulmerich instrument broke down beyond repair. The carillon and the LaGuardia Tower with its blue-lighted belfry and amber turret lights had long become a cherished fixture of campus life, while the LaGuardia Tower and gold Dome had become the very symbol of Brooklyn College.
    [Show full text]
  • Evita Music: Andrew Lloyd Webber Lyrics: Tim Rice Premiere: Wednesday, June 21, 1978
    -------------------------------------------------------------------------------- Evita Music: Andrew Lloyd Webber Lyrics: Tim Rice Premiere: Wednesday, June 21, 1978 -------------------------------------------------------------------------------- * ACT ONE * 1. A CINEMA IN BUENOS AIRES, 26 JULY 1952 (An audience is watching a less than distinguished movie [in both the original London and New York productions of EVITA a clip from one of Eva Peron's own movies was used]. The soundtrack dialogue is in Spanish, the music melodramatic. Suddenly the film grinds to a halt. The people in the cinema begin to protest but are silenced by an announcement) THE VOICE OF THE SECRETARY OF THE PRESS (in Spanish) It is the sad duty of the Secretary of the Press... (in English) ...to inform the people of Argentina that Eva Peron, spiritual leader of the nation, entered immortality at 20.25 hours today. 2. REQUIEM FOR EVITA / OH WHAT A CIRCUS (EVA's funeral. CHE is the only non-participant. He moves through the mourners, apparently unseen.) CROWD Requiem aeternum dona Evita Requiem Evita Evita Evita CHE Oh what a circus! Oh what a show! Argentina has gone to town Over the death of an actress called Eva Peron We've all gone crazy Mourning all day and mourning all night Falling over ourselves to get all of the misery right Oh what an exit! That's how to go! When they're ringing your curtain down Demand to be buried like Eva Peron It's quite a sunset And good for the country in a roundabout way We've made the front page of all the world's papers today But who
    [Show full text]
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria. Ein deutsches Requiem, Op. 45 The earliest music in Brahms's Ein deutsches Requiem (A German requiem) dates from 1854; six of the seven movements were completed in August 1866. The first three movements were premiered in Vienna on December 1, 1867. Brahms added a movement in fifth place in May 1868, and the first performance of the complete work was given in Leipzig on February 18, 1869. The score calls for four-part chorus, soprano and baritone soloists, and an orchestra consisting of two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones and tuba, harp, timpani, organ, and strings. The Chicago Symphony Orchestra's first subscription concert performances of Brahms's A German Requiem were given at the Auditorium Theatre on April 15 and 16, 1898, with Minnie Fish-Griffin and Charles W. Clark as soloists, the Chorus of the Association (Arthur Mees, director), and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on February 18, 19, and 20, 1999, with Dorothea Röschmann and Thomas Quasthoff as soloists, the Chicago Symphony Chorus (Duain Wolfe, director), and Daniel Barenboim conducting. The Orchestra first performed this requiem at the Ravinia Festival on June 30, 1983, with Kathleen Battle and Håkan Hagegård as soloists, the Chicago Symphony Chorus (Margaret Hillis, director), and James Levine conducting; and most recently on August 2, 1997, with Rebecca Evans and Thomas Hampson as soloists, the Chicago Symphony Chorus (Duain Wolfe, director), and Christoph Eschenbach conducting.
    [Show full text]
  • The Role of Turkish Percussion in the History and Development of the Orchestral Percussion Section
    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2003 The oler of Turkish percussion in the history and development of the orchestral percussion section D. Doran Bugg Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Bugg, D. Doran, "The or le of Turkish percussion in the history and development of the orchestral percussion section" (2003). LSU Major Papers. 27. https://digitalcommons.lsu.edu/gradschool_majorpapers/27 This Major Paper 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 Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE ROLE OF TURKISH PERCUSSION IN THE HISTORY AND DEVELOPMENT OF THE ORCHESTRAL PERCUSSION SECTION A Monograph 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 Musical Arts In The School of Music The College of Music and Dramatic Arts by D. Doran Bugg B.M.E., University of Mississippi, 1988 M.M., Baylor University, 1990 December 2003 ACKNOWLEDGMENTS I would like to express my sincere appreciation to the many persons who so generously contributed their time, knowledge, and support during the preparation and completion of this monograph. Special thanks are extended to Professor James Byo, Professor Larry Campbell, Professor Michael Kingan, Professor Patricia Lawrence, Professor John Raush, Professor Joseph Skillen, and Professor James West, members of my doctoral committee.
    [Show full text]
  • Sinfonia Da Requiem, Op
    PROGRAM ONE HUNDRED TWENTy-THIRD SEASON Chicago Symphony Orchestra Riccardo Muti Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Saturday, May 31, 2014, at 8:00 Tuesday, June 3, 2014, at 7:30 Jaap van Zweden Conductor Shostakovich Five Fragments, Op. 42 TRUTH TO Moderato Andante POWER Largo Moderato Allegretto First Chicago Symphony Orchestra performances Britten Sinfonia da requiem, Op. 20 Lacrymosa— Dies irae— Requiem aeternum INTERMISSION Prokofiev Symphony No. 5 in B-flat Major, Op. 100 Andante Allegro moderato Adagio Allegro giocoso The Truth to Power Festival is made possible with a generous leadership gift from The Grainger Foundation. Additional support is provided by The Andrew W. Mellon Foundation; Richard and Mary L. Gray; U.S. Equities Realty, LLC and the Susan and Robert Wislow Charitable Foundation; Mr. & Mrs. Richard J. Franke; and The Wayne Balmer Grantor Trust. The Chicago Symphony Orchestra is grateful to WBEZ 91.5FM for its generous support as media sponsor of the Truth to Power Festival. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Daniel Jaff é Phillip Huscher Dmitri Shostakovich Born September 25, 1906, Saint Petersburg (formerly Leningrad), Russia. Died August 9, 1975, Moscow, Russia. Five Fragments, Op. 42 It is often said that had will take the place of Th e Rhinegold. Th e driving Shostakovich not been image of the next opera will be the heroine of the publicly censured by the People’s Will movement.” Pravda editorial in 1936, which attacked his he People’s Will movement was a hitherto highly acclaimed nineteenth-century Russian terrorist opera Lady Macbeth of organization most widely remem- Mtsensk, he would have beredT for assassinating Tsar Alexander II on become one of the March 13, 1881.
    [Show full text]
  • German Requiem
    German Requiem Choosing selections from Martin Luther’s translation of the Bible, Brahms wrote his German Requiem more with an eye to consoling the living than to commemorating the dead. It stands as an iconic work of the choral/orchestral repertoire. On the first half of tonight’s concert, we’ll hear a flute concerto by Brahms’s colleague and friend, Carl Reinecke. CARL REINECKE Born 23 June 1824; Hamburg, Germany Died 10 March 1910; Leipzig, Germany Concerto for Flute and Orchestra in D major, Opus 283 Composed: 1908 First performance: 15 March 1909; Leipzig, Germany Last MSO performance: MSO Premiere Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percussion (triangle), strings Approximate duration: 22 minutes Carl Reinecke was a German composer, teacher, administrator, conductor, and keyboard virtuoso. His playing was admired by two of the greatest pianists of the 19th century, Franz Liszt and Clara Schumann. He taught at the Leipzig Conservatory — where Edvard Grieg, Arthur Sullivan, and Cosima Liszt numbered among his composition students — later be- coming its director. As conductor of the Leipzig Gewandhaus Orchestra, Reinecke conduct- ed the premiere of the full seven-movement version of Brahms’s Ein deutsches Requiem. His D major flute concerto was written 1908. By that time, his compositional style was quite outdated; it was old-fashioned and rooted in the harmonic language of Mendelssohn and Schumann, even as Debussy, Schoenberg, and Stravinsky were writing new music. Never- theless, it is a pleasing, tuneful work, relished by flutists everywhere. The concerto opens with a four-bar introduction, as the flute plays over soft woodwind chords.
    [Show full text]