DOCSLIB.ORG

Alexandra Razskazoff Soprano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alexandra Razskazoff Soprano Alexandra Razskazoff Soprano 2 3 Dear Friends of the MSO, What a great pleasure it is to find you with us for this most wonderful time of the year! I couldn’t be prouder to be on stage with the great artists we are welcoming today! We also couldn’t be prouder than to present this program to you, our audience, as once again the Holidays bring us together. At this time, when we are more physically distant from each other than ever, I know that music brings us together, in our hearts and in our minds. Because music engages every part of our emotional and rational selves, it also brings us together in the most complete way, it is the ultimate antidote to loneliness and the most joyful way of celebrating our lives. I hope that you will feel uplifted by the marvelous voices of Alexandra Razskazoff and Michael Butler and the beautiful sound of Virgil Boutellis-Taft’s violin, as well as the incredible musicians of the MSO! Enjoy the concert, and Happy Holidays! Julien Benichou 4 MISSION STATEMENT: To enrich life across the Mid-Atlantic region through the power of classical music Board of Directors President Jeffrey Parker Vice President Valerie Mazur Secretary Raymond Vergne Treasurer John Pinney Vice President of Education & Outreach Patricia Campbell Area Vice Presidents Valerie Mazur, Easton Jean Wehner, Ocean View Vacant, Ocean Pines Peter Harrigan, Rehoboth Directors Donna Barker Andrea Barnes Katherine Barney Regina Brittingham Courtney Kane Marci Levin MSO Staff Music Director Julien Benichou General Manager Dane Krich Consultant Mary Lou Tietz Ticket Fulfillment Anne Marie Rogerson 5 6 GUIDELINES Music is an integral part of our lives. The Mid-Atlantic Symphony Orchestra is dedicated to making your concert-going experience one in which you will continually want to return. VENUES For the 2020-2021 Season Series, the Mid-Atlantic Symphony Orchestra will perform at one venue on the Eastern Shore of Maryland, the Easton Church of God, Easton, Maryland and will livestream the concerts. VENUE ACCESSIBILITY The venue is handicap accessible. PARKING Parking is available at the venue. TICKET PURCHASES There are four options for purchasing tickets. 1) Tickets may be purchased online via the MSO website midatlanticsymphony.org. 2) The ticket order form can be downloaded from the MSO website and mailed to the MSO address. 3) Tickets may be purchased by calling the MSO voice system at 1-888-846-8600. Leave a brief message with your name and telephone number and an MSO representative will return your call. 4) Tickets, if available, may be purchased at the door. TICKET PRICES Single tickets may be purchased for $45 and the livestream concert may be purchased for $15 per person. Tickets to the New Year’s Eve concert are $85 and $25 for the livestream. Complimentary tickets are available to youths up to 18 years old, however due to a limited number of these tickets, a reservation is required. TICKET PAYMENT The MSO accepts Visa, MasterCard, check or cash for payment. continued 7 DRESS CODE There is no official “dress code” for attending MSO concerts. In respect to the Maestro and the musicians, “smart casual” attire is suggested. “THEATER” TEMPERATURES Temperatures will fluctuate due to audience size and location of seating. Dress in layers so you can adjust your clothing to be comfortable in a variety of temperatures. LOST AND FOUND If you misplace your glasses, think you left a sweater on a seat, found keys in the parking lot, etc., call 1-888-846-8600, leave a message and an MSO representative will return your call. Turn off cell phones and any other electronic devices. The light/noise from these devices is a distraction. Please, no text messaging or flash photography during performances. Leave all food and drinks outside the “theatre”. NO food or drinks are allowed inside the “theatre”. If unwrapping a cough drop or piece of candy to soothe a dry or sore throat, please do so quietly. Respect those around you. Concert-goers are expected to arrive and be seated before the music commences. The audience waiting for a concert to begin may talk freely until the end of the applause greeting the entrance of the conductor (or the concertmaster if the orchestra tunes on stage). Please refrain from talk during the performance as it is extremely distracting to other audience members and the musicians. Unless there is an emergency, plan to stay seated during the performance. Refrain from returning to your seat while the musicians are performing. Do so when there is a “break” in the music. Applause, for musical performances, is held until the entire piece is completed even though there are sometimes pauses between the movements. In between these movements the music will stop for a few seconds. Take note of the program to determine the number of movements. Do not applaud until the conductor has dropped his hands and has turned around to acknowledge the audience. Sometimes this is prolonged past the cutoff of the orchestra, with hands held in the air or slowly lowered over several seconds, in the hope of allowing the audience to stay joined with the artistic creation even for just a moment after its sounds have ceased. Follow the Mid-Atlantic Symphony Orchestra onFacebook, Instagram, & YouTube 8 9 10 11 12 2020-2021 “Keep the Music Playing!” Campaign THANK YOU for your support to “Keep the Music Playing!” The Mid-Atlantic Symphony Orchestra Board of Directors, Maestro Julien Benichou, and the MSO musicians are grateful to the patrons, grantors, sponsors and advertisers who support the MSO concerts performed throughout the mid-Atlantic region. Contributions received between July 1, 2020 and December 1, 2020 are acknowledged. We have made every effort to ensure our list is accurate. For changes/additions, call 888-846-8600. GRANTORS Michele Moodispaw $15,000+ Marlene Ott Maryland State Arts Council Joseph Peters George Raitt $10,000-$14,999 Albert and Eleanor Smith Van Strum Foundation DONORS $5,000-$9,999 Maestro’s Circle- $10,000 + $2,500-$4,999 Sussex County Council Concertmaster’s Circle-$5,000-$9,999 Talbot County Arts Council John Pinney, Pinney Associates, Inc. Worcester County Arts Council Composers’ Circle-$2,500-$4,999 < $2,500 Peter & Joanne Harrigan Keegan Family Fund Soloists’ Circle-$1,000-$2,499 2020-2021 SEASON Jack & Andrea Barnes SPONSORS ($750) Dr. & Mrs. Sal Fiscina Robert and Faith Duncan Sandra Lehman Brendan and Laurie Keegan Marci Levin & Joel Resnick A. Hughlett Kirby Marci Levin and Joel Resnick Continued Arthur and Sallie Melvin Maxine Millar 13 Principals’ Circle-$500-$999 James Meckley Kathie Ochse Musicians’ Circle-$250-$499 Rosenblum Family Fund Helen & Charles Atkinson Diana Sable Katherine L. Barney Betty J. Sgro Dianne & Harry Burlew William & Mary Slot Patricia & Lawrence Campbell JoAnn Storey Albert Dannes Catherine Thomas DiFebo’s Restaurant (Bethany Beach Martha Withers and Rehoboth Beach locations) Vito & Donna Potenza Patrons’ Circle <$100 Rubel Family Foundation Donna Barker J. Patricia Barrett Friends’ Circle-$100-$249 Eileen Bogel Mrs. Gordon R. Baer Howard Boyd Edward & Elaine Bednarz Karen Cissel Carol S. Bishop Teresita Davin Dale Buley Priscilla De La Torre Dr. James Carder JoFran Falcon Alex & Joan Collins Carol Gadsby Nancy Collins Peter Gerardo C. Paul Cox Family Fund Kay & Lanny Hickman Edna Ellett Marshall Hodges Kathy Emmert Anneliese Hoffmann Carolyn Ewing Esperanza Holguin Doris Fields Faith Kauffmann Sylvia Garrett Bette Koontz John and Eileen Giaquinto Claire Liversidge Maryellen Gunther Melissa S. A. Lourie Carolyn Harrison William Manthorpe Kathleen Heintz Paolo Mercogliano Paul Herman & Karen Goldman Sandra Miller Martha Horner William Raecke Dale Jacobs Adrienne Rudge Diana Kingman Paul Sikoris Lynn LeBrun Anna Snow Karl Lemp Mary Lou Tietz Gloria & Michael Lindemann Terry Travers-Davin Martin Mason Philip Webster 14 CONTRIBUTIONS - MSO EDUCATION AND OUTREACH Note-Worthy Instruments Program School Education and Outreach Programs Jack & Andrea Barnes Women’s Club of Ocean Pines MEMORIAL CONTRIBUTIONS Jack & Andrea Barnes, In Memory of Helen W. Parker Rodanthe and Paul Hanrahan, In Memory of Minnie Nichols Peter & Joanne Harrigan, In Memory of Helen W. Parker Mr. & Mrs. Richard Hynson, Jr., In Memory of Helen W. Parker Courtney Kane, In Memory of Helen W. Parker Susan & Barry Koh, In Memory of Helen W. Parker Maxine & William Millar, In Memory of Helen W. Parker 15 23rd Anniversary Gold Sponsor ($2,500) Additional Holiday Joy Margaret Keller Contributions Catherine McCoy Patty Campbell Rob and Ceci Nobel Joan Cox Joseph and Mary Lou Peters Jennie Hyatt Teresa Lynn 23rd Anniversary Silver Sponsor ($1,000) Thomas Markiewicz Donna Barker Bruce Wiltsie and Bill Davenport Eileen Martin Robert and Faith Duncan Patrick & Lynne McAllorum Peter and Joanne Harrigan Rev. Diane Nagorka Sandra Lehman Greg and Linda Neuner Joel Resnick & Marci Levin Ray and Linda Olsen Ann Marvin Neil Richman William Reybold III Robert and Karen Schultz Karen Taylor 23rd Anniversary Friend Sponsor ($500) Katherine Tillman William and Gail Alford Joe and Sue Bredekamp Sara and Myron Walker Regina Brittingham Patricia Winkelmayer Linda Goss Jan and Rick Hynson Courtney and Scott Kane Francisco Salazar and Jeffrey Parker Dave and Chloe Pitard Donald Grace and Nancy Smith 16 17 18 MSO AMBASSADORS* Sussex County Worcester County Talbot County Cape Region Mary Bucklew Janet Abler Betty Baer Sandi Bisgood Dolores Bushemi Keith Abler Shauna Beulah Joanne Cabry Gwenn Hoffman Gale Alford Patricia Brown Edna Ellett Lee Horn Dale Buley Susan Claggett Joanne Harrigan Sandra Lehman Marie Buley Shirley Cockey Sharon Kaplan Tom Markiewicz Kay Hickman Gloria Condrell Terri Rumble Diane Nagorka Lanny Hickman Steve Fillarte Warren Rumble Greg Neuner Dr. Donna Main Janet Friedberg Jeff Socorso Linda Neuner Eileen Martin Lauren Little Carol Olmstead Diane McGraw Rebecca Mullin Mary Pratt Ellen Morvick Ceci Nobel Priscilla Scott Linda Olsen Mari Stanley Ray Olsen Lee Walker Donna Potenza Anastasia Wrightson Vito Potenza Sandy Wrightson Howard Sribnick *Symphony Ambassadors are a valuable asset promoting the MSO to their “spheres of influence” throughout the mid-Atlantic region.
Load more

Recommended publications
  • Fiery Pianist Khatia Buniatishvili Makes Indianapolis Symphony Orchestra Debut in Lilly Classical Series Concerts Jan
    Date: Monday, January 16, 2012 Contact: Tim Northcutt – (317) 262-4904 Jessica Di Santo – (317) 229-7082 Fiery Pianist Khatia Buniatishvili Makes Indianapolis Symphony Orchestra Debut in Lilly Classical Series Concerts Jan. 26-28 at Clowes Memorial Hall 2008 Arthur Rubinstein Competition prize winner performs Rachmaninoff Second Piano Concerto INDIANAPOLIS – As one of the fast-rising young stars in classical music, pianist Khatia Buniatishvili will make her Indianapolis Symphony Orchestra debut in performances of Sergei Rachmaninoff’s passionate and colorful Second Piano Concerto to highlight Lilly Classical Series concerts Thursday through Saturday, January 26-28, at Clowes Memorial Hall, located at 4602 Sunset Avenue on the Butler University campus. Originally scheduled for the Hilbert Circle Theatre, the venue change was prompted by the needs of the National Football League and the Indianapolis Super Bowl XLVI Committee to reserve large venues in the downtown area that are capable of hosting various Super Bowl events and activities. Preparations to host NBC’s Live with Jimmy Fallon during Super Bowl week will be underway at the ISO’s home that weekend. This all-Russian classical weekend, conducted by Princeton Symphony Orchestra Music Director Rossen Milanov, will open with Dmitri Shostakovich’s Festive Overture, a light and celebratory piece that the composer wrote to mark the anniversary of the Bolshevik overthrow of the Russian government in 1917. Buniatishvili will introduce herself to Indianapolis audiences in performances of one of the crown jewels of the piano repertoire, Sergei Rachmaninoff’s popular Second Piano Concerto. This glittering and melodic work showcases the technical artistry of the soloist with many rhapsodic moments spotlighting the pianist.
    [Show full text]
  • INTERVIEW Tasmin Little Records the Elgar Violin Concerto
    Tasmin Little records the Elgar Violin Concerto - an interview with Nic... http://www.musicweb-international.com/classrev/2010/Nov10/Elgar_Li... RECORDING OF THE MONTH SPECIAL OFFER RECORDING OF THE MONTH Exceptional £12 Post free worldwide ELGAR The Kingdom Elder 2CDS ONLY £12 post free Worldwide Search What's New Classical CD Reviews Live Reviews Jazz CD Reviews Composers Resources Contact Us Classical CD and DVD reviews. MusicWeb is not a subscription site and it is our advertisers that pay for it. Please visit their sites regularly to see if anything might interest you. Purchasing from them keeps MusicWeb free. Classical Editor: Rob Barnett Founder Len Mullenger EXPLORE Advertising Rates INTERVIEW Printable version Visitor stats Musicweb - CLICK MusicWeb International has over 30,000 Classical CD reviews on offer Tasmin Little records the Elgar Violin Concerto - an interview with Nick Barnard With the major release of a long-awaited recording from Gerard Hoffnung Concerts & one of Britain’s best-loved and The Bricklayer Story Shostakovich Symph. 10 finest violinists imminent, RLPO Petrenko MusicWeb can now offer £4.99 post free Tasmin Little very kindly found you discs from the an hour in her busy schedule to following catalogues: talk about this important new Prices include postage disc … and other things [Acte Préalable £13.50 ] [Arcodiva £12.00] [Avie from £6.25] Nick Barnard [NB]: In [British Music Society researching this interview it £12.00] [CDACCORD from £13.50 ] amazed me to realise that it is [ClassicO £12.50] now some twenty-one years [Hallé from £11] [Hortus £14.99 ] since your breakthrough [Lyrita ONLY £11.75 ] Berlin Philharmoniker Rattle recording.
    [Show full text]
  • Curriculum Vitae
    Name: Taiseer Elias Date: 08/11/2015 CURRICULUM VITAE 1. Personal Details Permanent Home Address: P.O. Box 686, El-Fawar, 20200 Shefaram, Israel Home Telephone Number: (04) 986-2365 Office Telephone Number: (04) 828-8481 Cellular Phone: (050) 780-5055 Fax Number: (04) 986-2365 Electronic Address: [email protected] 2. Higher Education . A. Undergraduate and Graduate Studies Period of Name of Institution Degree Year of Approval of Study and Department Degree 1974–79 Rubin Conservatory graduated cum 1979 of Music - Haifa laude 1980–83 Jerusalem Academy performance and - of Music and Dance music education 1983–85 Hebrew University B.A. in 1985 of Jerusalem: musicology cum Musicology laude; Department minor in Arabic literature and language, and Theatre. 1986–91 Hebrew University M.A. in 1991 of Jerusalem: musicology cum Musicology laude Department 2001–07 Hebrew University Ph.D. in 2007 of Jerusalem: Musicology Musicology Department 1 B. Post-Doctoral Studies NONE 3. Academic Ranks and Tenure in Institutes of Higher Education Dates Name of Institution and Rank/Position Department 1982-1983 David Yellin Teachers Music Lecturer College, Jerusalem 1993 Oranim College, Tivon Music Lecturer 1993-1995 Arab Teachers Training Music Lecturer Institute - Beit Berl College, Kfar Saba 1996-Present Jerusalem Academy of Music Professor of Violin, and Dance: Eastern Music Oud, Singing and Department Theory - Adjunct Associate Professor (with tenure) 2001– 2011 Bar-Ilan University – Professor of Theory - Department of Music Adjunct Associate Professor
    [Show full text]
  • SHEDDING LIGHT on BULGARIAN SYMPHONY ORCHESTRAS /PIANO Or FORTЕ
    SHEDDING LIGHT ON BULGARIAN SYMPHONY ORCHESTRAS /PIANO or FORTЕ/ Brief historic notes Orchestral music-making in Bulgaria goes back to mid-nineteenth century when in the Northeastern, multilingual town of Shumen the first ensemble was founded. It had entertainment and promotional purposes rather than serious concert activities. The significance of the ensemble though is mainly in the first establishment of a repertoire (Bulgarian and foreign) which was suitable for performance, as well as bringing together professionally educated national musicians and music-makers. Over WW2 orchestras developed in Bulgaria in lows and peaks. Those days gave rise to the Guards Orchestra (1892) conducted by Joseph Hohola; the Academic Symphony Orchestra (1928) and the Royal Military Symphony Orchestra (1936)both founded in Sofia by Prof. Sasha Popov; the State Philharmonic Orchestra at the National Opera (1935). At concerts in Bulgaria and abroad they perform major works by national and international musical classics. These ensembles invited outstanding guest conductors and soloists – Fausto Magnani, Karl Bohm, Bruno Walter, Edmondo de Vecchi, Emil Kupper, Carlo Zecchi, Henry Marteau, Paul Wittgenstein, Dinu Lipatti etc. After the end of the war the dynamic history of Bulgarian orchestras included both the above listed and numerous new ensembles founded all over the country. The Sofia Philharmonic Orchestra continued the tradition of the Sofia-based ensembles. The Philharmonic has performed with conductors Konstantin Iliev, Dobrin Petkov, Vassil Stefanov, Vladi Simeonov, Dimitar Manolov, Yordan Dafov, Emil Tabakov etc. At approximately the same time the capital saw the rise and establishment of yet another outstanding ensemble – the Symphony Orchestra of the Bulgarian National Radio (1948).
    [Show full text]
  • 094-Au91431 1956 31
    BRAHMS: Viola Sonatas, Op. 120 A These are the "clarinet" sonatas, so called because Brahms composed them for a clarinetist friend. They Paul Doktor, violist. Nadia Reisenberg, A were published alternately for the viola, however, and the rich, mellow tones of this instrument are perfectly pianist A suited to them. Doktor's superb musicianship weaves a mood all its own, but Miss Reisenberg's sensitive Westminster WN- or SWN-18114 12" pianism is complementary in the extreme. The sound is unusually lifelike. RP GINASTERA: Quartet No. 1 B-B Ginastera's slow movement has a certain atmospheric beauty; its mingling of impressionism and jungle LAJHTA: Quartet No. 7, Op. 49 A-A evocations recalls early Villa-Lobos. His fast movements, however, are built on rhythmic ostinati that become Paganini Quartet B-B tiresome. La¡hta is a kind of Hungarian Virgil Thomson. His language is diatonic, spiced with dissonance and Decca DL-9823 12" Magyar tunes. His Opus 49 is attractive but inconsequential. Earnest performances. AS LECLAIR: 6 Violin Sonatas • Leclair's music does not stray far from the idiom of his time (when polyphony was "old fashioned" but George Alès, violinist; Isabelle Nef, harp- • melodic writing had not yet found its strength). These sonatas are thoroughly violinistic, and if the listener sichordist • can occasionally predict the next passage of sequential modulation there are compensating moments of London L'Oiseau -Lyre OL-50087 8 2-12" lovely invention. Playing is vigorous, musical, sometimes rough in tone. SF PROKOFIEV: Violin Sonata, op. 94 A-B The transcribed flute sonata of Prokofiev has enjoyed a succession of variously KAREN KHACHATURIAN: Violin A-A superb performances on LP.
    [Show full text]
  • The Voice and Singing Sample Pages.Pdf
    2 THE VOICE AND SINGING FRANCIS KEEPING AND ROBERTA PRADA Originally LA VOIX ET LE CHANT TRAITÉ PRACTIQUE J. FAURE PARIS 1886 this book, translated and expanded contains Faure’s original exercises with all the transpositions as indicated by the author. 3 Copyright © 2005 Francis Keeping and Roberta Prada. All rights reserved. No part of this book may be reproduced in any form, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2005 by Vox Mentor LLC. For sales please contact: Vox Mentor LLC. 343 East 30th street, 12M. New York, NY. 10016 phone: 212-684-5485 Email: [email protected] Website: www.voxmentor.biz Printed in USA. Awaiting Library of congress Cataloging-in-Publication Data ISBN 10: 0-9777823-0-1 Originally La Voix et le Chant, J. Faure, Paris, 1886, AU Menestrel, 2 bis, Rue Vivienne, Henri Heugel. The present volume is set in Times New Roman 12 point, on 28 lb. bright white acid free paper and wire bound for easy opening on the music stand. Page turns have been avoided wherever possible in the exercises, meaning that there are intentional blank spaces throughout. The cover photo of J. Faure as a younger man is from the collection of Bill Ecker of Harmonie Autographs, New York City. The present authors have faithfully translated the words of Faure, taking care to preserve the original intent of the author making changes only where necessary to assist modern readers. The music was written using Sibelius 3 and 4™ software.
    [Show full text]
  • Ning Fengviolin Virtuosismo
    CHANNEL CLASSICS CCS 40719 NING FENG VIOLIN PAGANINI&VIEUXTEMPS VIRTUOSISMO ORQUESTA SINFÓNICA DEL PRINCIPADO DE ASTURIAS ROSSEN MILANOV CONDUCTOR Ning Feng (photo: Lawrence Tsang) 2 NING FENG returns to the Shanghai Symphony Orchestra under the baton of Yu Long. “Ning Feng’s total mastery could be seen in the In recital and chamber music Ning Feng precision and sweep of his bow, and heard in the regularly performs with Igor Levit and Daniel effortless tonal range, from sweet to sumptuous.” Müller-Schott, amongst others, and in 2012 New Zealand Herald - founded the Dragon Quartet. He appears at major venues and festivals such as the Wigmore Hall in Ning Feng is recognised internationally as an artist London, the Concertgebouw Amsterdam, National of great lyricism, innate musicality and stunning Centre for Performing Arts (Beijing) as well as the virtuosity. Blessed with an impeccable technique Schubertiade, Mecklenburg-Vorpommern and Hong and a silken tone, his palette of colours ranges from Kong International Chamber Music Festivals. intimate delicacy to a ferocious intensity. The Berlin Born in Chengdu, China, Ning Feng studied at based Chinese violinist performs across the globe the Sichuan Conservatory of Music, the Hanns Eisler with major orchestras and conductors, in recital School of Music (Berlin) with Antje Weithaas and and chamber concerts. the Royal Academy of Music (London) with Hu Kun Recent successes have included a return to where he was the first student ever to be awarded the Budapest Festival Orchestra with Iván Fischer
    [Show full text]
  • Donald N. Ferguson, Musician-Scholar and the Elements of Musical Expression
    Minnesota Musicians of the Cultured Generation Donald N. Ferguson, Musician-Scholar and the Elements of Musical Expression 1) Early Years 3 2) First Years in Minneapolis 13 3) A Leader among Music Teachers 17 4) The Quest Begins in Earnest 21 5) The Quest Deepens 26 6) Sudden Illumination 28 7) Fruits of a Sabbatical Year 33 8) The Bach Society 38 9) Retirement 45 10) List of works 48 11) Footnotes 53 As a supplement to this text, Dr. Laudon"s article "The Elements ofExpression in Music, A Psychological View" can be consulted in The International Review ofthe Aesthetics and Sociology ofMusic, IRASM 37 (2006) 2, 123-133 Robert Tallant Laudon Professor Emeritus of Musicology University of Minnesota 924 - 18th Ave. SE Minneapolis, Minnesota (612) 331-2710 [email protected] 2003 Donald N. Ferguson Ferguson around the time ofhis London residence A charcoal sketch by an unknown artists in possession ofthe Ferguson family Donald N. j:;crQusonc.. Ferguson around 1950 Courtesy of University ofMinnesota Archives Photo by the photographer and Curator ofPhotos, Museum of Modem Art New York City Donald N. Ferguson Donald N. Ferguson, Musician-Scholar and the Elements ofMusical Expression Sometime in the late 1940s, after the war, the Bureau of Concerts and Lectures began a unique series which brought a series of master pianists of the world to the University of Minnesota-each of these, a specialist: Rubenstein for Chopin, Arrau for Beethoven, and Tureck for Bach among others. While Rosalyn Tureck was in town, she gave a master class in the auditorium of Scott Hall.
    [Show full text]
  • Trio Shaham Erez Wallfisch
    Trio Shaham Erez Wallfisch Trio Shaham Erez Wallfisch THE MENDELSSOHN TRIOS Rachmaninoff Arensky Shostakovich “The trio's sheer pleasure of playing is bouncing off this Elegiac Trio Piano Trio No. 1 Piano Trio No. 2 beautifully recorded CD” Kassieke Zaken “Given excellently balanced recordings, these first class performances are evidence of sensitive and imaginative music-making”. Musicweb-international.com “The trio was given a huge ovation which they responded to with an encore of Mendelssohn's scherzo, from the opus 49 trio, played with magical ease.” Südwest Presse, Hans Herdeg, January 2013 RAVEL • FAURÉ • DEBUSSY Luister Magazine, October 2013 – Top-Rating: 10 “When Trio Shaham Erez Wallfisch was founded in 2009, it was welcomed with great enthusiasm, and again now this trio has hit – exactly like it did with its first recording (Mendelssohn trios) – with breathtaking brilliance, pungency and precision. And all of this fully in support of the music. We could be using more superlatives here, but this recording, to my opinion, is an absolutely essential one for French chamber music, and one which any self- respecting music lover would want to have in their collection… The recording itself is extremely accurate and detailed… Highest recommendation!” www.wyastone.co.uk 8 NI 5917 NI 5917Hagai Shaham, violin Arnon Erez, piano Raphael Wallfisch, 1 cello When the press has them down as “ “ (American Record Guide) and “ ” (Leipziger Volkszeitung) and these three giants decide it’s time to join forces, one had better sit up and take notice
    [Show full text]
  • Evidence of Things Not Seen by Ned Rorem
    Evidence of Things Not Seen by Ned Rorem A presentation of baritone solos and other excerpts from the four-voice song cycle, Evidence of Things Not Seen André Chiang, baritone Alonso Saavedra, piano Louisiana State University Doctoral of Musical Arts Candidates The Composer: Ned Rorem Early Life Education - Northwestern University - Curtis Institute Notable Accolades - George Gershwin Memorial Prize in Composition (1948) - Pulitzer Prize for Air Music (1976) - Fulbright Fellowship (1951) - Guggenheim Fellowship (1957) Text and Music: A Notably Close Marriage - Art Song specialty - Diaries The Composer: Ned Rorem (cont.) - “In his diary, Lies, (published by Counterpoint Press in 2000) Rorem said: "My music is a diary no less compromising than my prose. A diary nevertheless differs from a musical composition in that it depicts the moment, the writer's present mood which, were it inscribed an hour later, could emerge quite otherwise. I don't believe that composers notate their moods, they don't tell the music where to go - it leads them....Why do I write music? Because I want to hear it - it's simple as that. Others may have more talent, more sense of duty. But I compose just from necessity, and no one else is making what I need." The Cycle’s Skeleton and Component Parts - Composed mostly in 1997 with two songs from earlier “Boy with a Baseball Glove” (used the melody as a theme for his violin concerto) and “He thinks upon his death” - The thirty-six texts chosen were by twenty-four authors of poetry and prose (with a translation by Rorem himself).
    [Show full text]
  • BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973)
    [Show full text]
  • AUSTIN V. COLUMBIA GRAPHOPHONE CO
    AUSTIN v. COLUMBIA GRAPHOPHONE CO. – ALLEGED MUSICAL COPYRIGHT INFRINGEMENT. The report below is taken from The Stage, 5th, 12th 19th and 26th July 1923, with obvious mistakes tacitly corrected. Click for other reports: - a fuller report in The Times - a shorter report in Musical Opinion - a summary of the legal implications in The Solicitor’s Journal - a personal memoir in a biography of Frederick Austin by his grandson, Martin Lee-Browne You can hear relevant recordings by clicking on the links found at bottom of this page. In the Chancery Division, on Tuesday, before Mr. Justice Astbury, an action was heard in which Mr. Frederic Austin, the composer, proceeded against the Columbia Graphophone Co. to restrain an alleged infringement of his copyright in the music of the opera “Polly,” and the passing off of defendant’s gramophone records, entitled “Selections From ‘Polly’” as being the records of the plaintiff’s work. Damages were also claimed. The defendants denied infringement, and denied the passing off. Mr. Luxmoore, K.C., and Mr. McGillivray were for the plaintiff; and Sir Duncan Kerly, K.C., and Mr. Henn Collins represented the defendants. Mr. Luxmoore said under the Copyright Act, when gramophone records had once been made of plaintiff’s music anyone else could make records, provided they had done from plaintiff’s music, upon a royalty being paid; but if it was necessary to make a score for the reproduction, the making of the score was an infringement of the plaintiff’s copyright. The most valuable right with regard to gramophone records that plaintiff had was his right to first production.
    [Show full text]