April 2013 List Blu-Ray New Releases
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Marvin Hamlisch
tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE MUSIC OF MARVIN HAMLISCH Monday, October 19, 2015 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building The Ira and Leonore Gershwin Fund in the Library of Congress was established in 1992 by a bequest from Mrs. Gershwin to perpetuate the name and works of her husband, Ira, and his brother, George, and to provide support for worthy related music and literary projects. "LIKE" us at facebook.com/libraryofcongressperformingarts loc.gov/concerts Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Monday, October 19, 2015 — 8 pm tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE mUSIC OF MARVIN hAMLISCH WHITNEY BASHOR, VOCALIST | CAPATHIA JENKINS, VOCALIST LINDSAY MENDEZ, VOCALIST | BRYCE PINKHAM, VOCALIST -
334 XIII. Revivals and Recreations; The
XIII. Revivals and Recreations; The Sociology of Jazz By the early 1970s, as we have seen, jazz was in a state of stylistic chaos. This was one reason why the first glimmers of “smooth jazz” came about as both an antidote to fusion and an answer to “outside jazz.” But classical music was also in a state of chaos. The majority of listen- ers had become sick of listening to the modern music that had come to dominate the field since the end of World War II and had only become more abrasive and less communicative to a lay audience. In addition, the influx of young television executives in that period had not only led to the cancellation of many well-loved programs who they felt only appealed to an older audience demographic, but also the chopping out of virtually all arts programming. Such long-running programs as The Voice of Firestone and The Bell Telephone Hour were already gone by then. Leonard Bernstein had been replaced at the New York Philharmonic by Michael Tilson Thomas, an excellent conductor but not a popular communicator, and thus CBS’s “Young People’s Con- certs” no longer had the same appeal. In addition, both forms of music, classical and jazz, were the victims of an oil shortage that grossly affected American pressings of vinyl LPs. What had once been a high quality market was now riddled with defective copies of discs which had blis- ters in the vinyl, scratchy-sounding surfaces and wore out quickly. Record buyers who were turned off by this switched to cassette tapes or, in some cases, the new eight-track tape format. -
June 1-3,2(>(>7
Leonard A. Anderson M. Seth Reines Executive Director Artistic Director June 1-3,2(>(>7 nte Media -I1 I - I , ,, This program is partially supportec grant from the Illinois Arts Council. Named a Partner In Excellence by the Illinois Arts Council. IF IT'S GOT OUR NAME ON IT YOlU'VE GOT OUR WORD ON If. attachments that are tough enough for folks Ib you. And then we put wr gllarantee on m,m, In fact,we ofb the WustryS only 3-year warm&, Visit mgrHd.com. Book By James Goldman Music Lyrics by Stephen Sondheim Produced Originally on Broadway by Harold Prince By special arrangement with Cameron Mackintosh Directed & Staged by Tony Parise Assistant To The Directorr AEA Stage Manager Marie Jagger-Taylor* Tom Reynolds* Lighting Designer Musical Director Sound Designer Joe Spratt P. Jason Yarcho David J. Scobbie The Cast (In Order of Appearance) Dimitri Weismann .............................................................................................Guy S. Little Jr.* Roscoe....................................................................................................................... Tom Bunfill Phyllis Rogers Stone................................................................................... Colleen Zenk Pinter* Benjamin Stone....................................................................................................... Mark Pinter* Sally Durant Plumrner........................................................................................ a McNeely* Buddy Plummer........................................................................................................ -
Goldberg Variations
JOHANN SEBASTIAN BACH Goldberg Variations PASCAL DUBREUIL harpsichord CONTENTS 2-Programme 5-English text 12-German text 19-French text 26-Imprint JOHANN SEBASTIAN BACH Goldberg Variations BWV 988 1. Aria. 5:13 2. Variatio 1. a 1 Clav. 2:01 3. Variatio 2. a 1 Clav. 1:55 4. Variatio 3. Canone all Unisuono. a 1 Clav. 1:58 5. Variatio 4. a 1 Clav. 1:03 6. Variatio 5. a 1 ô vero 2 Clav. 1:56 7. Variatio 6. Canone alla Seconda. a 1 Clav. 1:56 8. Variatio 7. a 1 ô vero 2 Clav. al tempo di Giga. 1:54 9. Variatio 8. a 2 Clav. 2:03 10. Variatio 9. Canone alla Terza. a 1 Clav. 2:48 11. Variatio 10. Fugetta. a 1 Clav. 1:36 12. Variatio 11. a 2 Clav. 2:01 13. Variatio 12. Canone alla Quarta. 4:05 14. Variatio 13. a 2 Clav. 5:18 15. Variatio 14. a 2 Clav. 2:11 16. Variatio 15. Canone alla Quinta. a 1 Clav. andante. 3:32 ^menu 17. Variatio 16. Ouverture. a 1 Clav. 2:50 18. Variatio 17. a 2 Clav. 1:59 19. Variatio 18. Canone alla Sexta. a 1 Clav. 1:31 20. Variatio 19. a 1 Clav. 1:48 21. Variatio 20. a 2 Clav. 2:31 22. Variatio 21. Canone alla Settima. 3:06 23. Variatio 22. a 1 Clav. allabreve. 1:26 24. Variatio 23. a 2 Clav. 2:20 25. Variatio 24. Canone all Ottava. a 1 Clav. 3:50 26. Variatio 25. -
State Dinners - 5/8/75 - Singapore” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 31, folder “State Dinners - 5/8/75 - Singapore” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Revised (Pg. 2} May 8, 1975 10:00 a.m. THE WHIT£ HOUSE. WASHINGTON DINNER IN HONOR OF HIS EXCELLENCY THE PRIME MINISTER OF THE REPUBLIC OF SINGAPORE AND MRS. LEE May 8, 1975 8:00 p. m. Dress: Black tie ... long dresses for the ladies Arrival: 8:00 p. m .... at North Portico Entrance ... Prime Minister and Mrs. Lee, Ambassador and Mrs. Catto You and Mrs. Ford will greet Photo coverage of greeting Yellow Oval Room: Secretary and Mrs. Kissinger; His Excellency Sinnathamby Rajaratnam, Minister of Foreign Affairs of the Republic of Si~gapore; His Excellency The Ambassador of the Republic of Singapore and Mrs. Monteiro will assemble just prior to the 8: 00 p. m. arrival of Prin1e Minister and Mrs. Lee and Ambassador and Mrs. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Un Voyage À Paris Il Nuovo Concerto
Un Voyage à Paris Il Nuovo Concerto Pascal Dubreuil, clavecin & direction musicale Programme Georg Philipp Telemann (1681-1767) : - Suite III en si mineur pour flûte, violon et basse continue - Jean-Philippe Rameau (1683-1764) : - Deuxième Concert des Pièces de Clavecin en Concert - Georg Philipp Telemann : - Sonate Méthodique II en La Majeur pour violon et basse continue - Jean-Philippe Rameau : - Cinquième Concert des Pièces de Clavecin en Concert - Georg Philipp Telemann : - Concerto IV en mi mineur pour flûte, violon et basse continue Ursula Garnier, violon baroque Delphine Leroy, traverso Emily Audouin, viole de gambe Pascal Dubreuil, clavecin Un Voyage à Paris Il Nuovo Concerto Pascal Dubreuil, clavecin & direction musicale A propos du programme Septembre 1737 - mai 1738 : G. Ph. Telemann est à Paris. Compositeur déjà reconnu dans une Allemagne qui célèbre le « bon gout » à la française, il a ainsi l'occasion de rencontrer ses collègues français et, surtout, d'écouter les musiciens parisiens jouer leur propre musique. Probablement a-t-il rencontré J. Ph. Rameau, dont les Pièces de Clavecin en Concert illustrent un genre très en vogue à l'époque dans la capitale, les pièces pour clavecin avec accompagnement d'instruments de dessus. Avec son sens de l'à-propos et de l'éloquence, l'ensemble Il Nuovo Concerto propose une rencontre musicale entre l'Allemagne et la France, autour de cette notion de « bon goût » qui a constitué une référence commune pour les musiciens du XVIIIe siècle. Après avoir travaillé le clavecin plusieurs années avec Yannick le Gaillard, Pascal Dubreuil obtient au CNSM de Paris ses premiers prix de clavecin et de basse continue. -
Lorin Hollander
Lorin Hollander Lorin Hollander (born July 19, 1944) is an American Rudolf in 1966 presented by the Department of State.[13] classical concert pianist. He has performed with virtually His appearances in Europe began in 1965, when he all of the major symphony orchestras in the United States made a recording in London of Aram Khachaturian's pi- and many around the world.[1] A New York Times critic ano concerto and Ernest Bloch's Scherzo Fantasque with has called him, “the leading pianist of his generation.”[2] the Royal Philharmonic Orchestra and conductor André Previn. In 1968 he debuted with the Concertgebouw Orchestra. Among many others, Hollander has per- formed with the orchestras of Boston, Chicago, Cleve- 1 Early life land, Dallas, Detroit, Los Angeles, New York, Philadel- phia, Pittsburgh, San Francisco and Washington’s Na- Lorin Hollander was born in New York City into a Jewish tional Symphony, and internationally with the London family. His father, Max Hollander, was associate concert- Philharmonic, Royal Concertgebouw, Orchestre de la Su- master of the NBC Symphony Orchestra under Arturo isse Romande, Jerusalem Symphony Orchestra, ORTF Toscanini.[1] Lorin Hollander was a child prodigy and and New Tokyo Philharmonic.[12] gave his first public performance at age five playing ex- In 1969, Lorin Hollander gave the first public classical cerpts of Bach’s The Well-Tempered Clavier, and at age recital using the Baldwin Electric Concert Grand at the eleven, he made his Carnegie Hall debut with the National Fillmore East.[14] In 1971 he was the first classical pianist Orchestral Association.[1][3] to give street concerts in East Harlem and in Queens, un- He studied with Eduard Steuermann[4] from age eight and der the auspices of the Department of Cultural Affairs.[15] took courses at what is now the Juilliard Pre-College at Hollander premiered Norman Dello Joio's “Fantasy and age eleven. -
19.09.2020 Page 1 of 1 CANTO+ Gmbh Lichtentaler Str. 13 D 76530 Baden – Baden [email protected]
TEODORA GHEORGHIU - soprano CV Romanian soprano Teodora Gheorghiu has long made a name for herself as an outstanding interpreter of the lyric coloratura and belcanto repertoire. Making her debut at the Vienna State Opera at the age of only 25, she joined the company as a principal artist from 2007 to 2010, and has since been a regular guest on the stage of this prestigious opera house, where she sang a wide array of roles, including Adele in Die Fledermaus, the Queen of the Night, Nanetta, Fiakermilli, Adina in L’elisir d’amore, Elvira (L’Italiana in Algeri), Sophie (Werther), and Eudoxie (La Juive). Soon she was by being recognized as one of the world’s most exciting young talents. She has appeared in opera houses around the world, among them the Grand Théâtre de Genève, the Opéra de Nancy, Bucharest National Opera House, the Théâtre des Champs Elysées, Théâtre de la Monnaie, Opéra de Lausanne, Tokyo Metropolitan Theatre, Osaka Festival Hall, the Teatro de la Maestranza in Seville, the Festival International d'Opéra Baroque de Beaune and the Glyndebourne Festival. In 2010, conductor Christophe Rousset approached her with an idea for her first recording, an homage to the 18th century soprano Anna De Amicis. The resulting album, on the Harmonia Mundi distributed Aparté label, included mostly premiere recordings of arias by Mozart, Gluck, Borghi, Cafaro and Mysliveček and was labeled “Disc of the Month” by International Record Review (which praised Gheorghiu’s “stunning vocalism”) and Opera Magazine, and was the “Disc of the Week” on BBC Radio for 3 consecutive weeks. -
21E EDITION DU Festival Bach En Combrailles
21E EDITION DU Festival Bach en Combrailles Pontaumur – Puy-de-Dôme – Auvergne Du 11 au 17 août 2019 Président : Antoine Anquetil Directeur artistique : Vincent Morel Renseignements et réservations : 04 73 79 91 00 – [email protected] – www.bachencombrailles.com Contact presse : Accent Tonique, Véronique Furlan – Tél. : 01 74 80 48 26 & 06 09 56 41 90 – [email protected] 2 Sommaire • 20e anniversaire de Bach en Combrailles – l’édito p.04 • Calendrier des concerts et leurs programmes – concerts principaux en gras p.05 à p.11 | dimanche 11 août | CONCERT D'OUVERTURE – ORCH. D'AUVERGNE, PATRICK AYRTON / CHATEL-GUYON | lundi 12 août | AUDITION D'ORGUE – XIVE ACADEMIE D'ORGUE / PONTAUMUR SOLO ON BACH & GLENN / BOURG-LASTIC ENSEMBLE IL CONVITO – MAUDE GRATTON / PONTAUMUR | mardi 13 août | – Journée anniversaire des 15 ans de l'orgue de Pontaumur CAFE BACH – FRANÇOIS DELHUMEAU / VILLOSSANGES AUDITION D'ORGUE – JEAN-LUC HO & OLIVIER RIEHL / PONTAUMUR RECITAL D'ORGUE – MAUDE GRATTON / PONTAUMUR CHŒUR SEQUENZA 9.3, CATHERINE SIMONPIETTRI – PIERRE CAZES, CHRISTINE PLUBEAU / HERMENT NOCTURNE AUX BOUGIES – OLIVIER RIEHL / PUY-SAINT-GULMIER | mercredi 14 août | CAFE BACH – PHILIPPE LESAGE / VILLOSSANGES AUDITION D'ORGUE – DAMIEN NAUD / PONTAUMUR ENSEMBLE ARTIFICES / LES ANCIZES-COMPS ENSEMBLE LE PETIT TRIANON – J-L. HO / MONTEL DE GELAT | jeudi 15 août | ASSEMBLEE GENERALE / PONTAUMUR AUDITION D'ORGUE – DAVID SENEQUIER / PONTAUMUR ALICE JULIEN-LAFERRIERE / MIREMONT JULIEN WOLFS / GIAT | vendredi 16 août | CAFE BACH – PHILIPPE HERSANT, C. SIMONPIETRI, LES INATTENDUS / PONTAUMUR AUDITION D'ORGUE – ARTHUR SCANDOLA / PONTAUMUR LES INATTENDUS / MERINCHAL REPAS ANNIVERSAIRE DES 20 ANS DU FESTIVAL – JOSSELIN HAZARD QUARTET / PONTAUMUR | samedi 17 août | ATELIER CHORAL – BLAISE PLUMETTAZ / PONTAUMUR RENCONTRE – PHILIPPE HERSANT, VINCENT MOREL, LIONEL SOW / PONTAUMUR CONCERT DE CLOTURE – ENSEMBLE LES TIMBRES, CH. -
Ronan Khalil Conductor, Harpsichordist
Ronan Khalil Conductor, Harpsichordist CV CV PARNASSUS ARTS PRODUCTIONS Ronan Khalil Conductor, Harpsichordist French harpsichordist of Lebanese origin, Ro- Spring Organ Concert Series à Athènes, Grand nan Khalil first studied signing at the Maîtrise Théâtre de Bordeaux, Festival Anima Mundi de Bretagne (dir. Jean-Michel Noël) before stu- à Pise etc), the Middle East, Asia and South dying in Pascal Dubreuil’s harpsichord class at America. In 2013, he appeared in Le Neveu the Conservatoire à rayonnement régional in de Rameau at the Ranelagh Theater with the Rennes. His studies then led him to Manches- actors Nicolas Vaude and Gabriel Le Doze. In ter (Sharon Gould), Siena (Christophe Rousset) 2015, he was invited to conduct the Ensemb- and then The Hague (Fabio Bonizzoni) before le Desmarest in Havana (Cuba), and on that he received his degree at the Conservatoire na- occasion gave masterclasses to the students tional supérieur de musique et danse in Paris at the National Conservatory. In 2016, he has after studying with Olivier Baumont, Blandine once again been invited by the same festival Rannou and Kenneth Weiss. For three years and will perform the harpsichord concerto by he also received the precious advice of harp- Manuel de Falla with the Havana Orchestra sichordist Élisabeth Joyé. At the same time, he conducted by Leo Brouwer. continued his training as a singer alongside Peter Kooj, Christian Immler and Kees-Jan de Ronan Khalil has appeared with countertenor Koning. Max-Emanuel Cencic in recitals and with the Il Pomo d‘Oro in Paris, Münich, Froville, Stras- In 2008, Ronan was awarded the Fondation bourg, and Berlin. -
Beyond Simplicity Analytical Strategies for Contemporary Music
Beyond Simplicity Analytical Strategies for Contemporary Music Daniel March D.Phil University of York Department of Music July 1997 Abstract Focusing on a repertoire which has often been dismissed for its apparent simplicity, this thesis indicates appropriate strategies for analytical study of this significant body of contemporary music, often termed 'minimalist' or 'post-minimalist', but in fact escaping any such easy classification. Traditional analytical approaches have most usually failed to account successfully for this music, concentrating on the more obvious aspects of its construction and ignoring the complexities that arise when perceived. As a result, the current approach marks an explicit turning towards a consideration of effect, capturing the ways in which different parameters interact and how traditional models of expectation are subverted. Viewed as the means of refining the intentional representation of an individual piece of music, analysis is reinscribed within a cultural network of understanding, both losing its pretence of objective formalism, and gaining a particular and well-defined role within a contemporary musicological context. The evolution of a number of different strategies is a response both to deconstructive and postmodern approaches to text, a recognition of the multiplicity inherent in the repertoire involved, and a general avoidance of clearly theoretical orientations for a more ad hoc process. Situated within discussion both of analytical considerations in general and of this repertoire in particular, the analyses of seven representative pieces of music considerably extend those that have been offered previously. Approaches adopting different aspects of deconstruction are used for discussion of music by Ligeti, Nyman and Andriessen, displaying a number of 'Disorderings' of traditional concepts of how music behaves; further analyses of pieces by Feldman, Reich, Skempton and Monk place greater emphasis on aspects of sound.