Cello Biennale 2018
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Simfonies 1, 2, 3, 4 JORDI SAVALL
Simfonies 1, 2, 3, 4 JORDI SAVALL "An impressive recording" "Jordi Savall démontre une The Classic Review compréhension profonde du massif beethovénien ; il en révèle les équilibres singuliers” Classique News "L'enregistrement de l'année de Beethoven" MERKUR "It’s the organic nature of Savall’s conception that makes it stand head and shoulders above this year’s crop of Fifths" Limelight, EDITOR'S CHOICE "La perfección en estas grabaciones es difícil de comentar. La música está viva y coleando" POLITIKEN "A really first-class recording" Classical Candor 10/2/2021 Review | Gramophone BEETHOVEN Symphonies Nos 1-5 (Savall) Follow us View record and artist details Author: Peter Quantrill We know a lot about how Beethoven composed at the keyboard, and right from the clipped, slashed and rolled tutti chords of the First Symphony’s opening-movement Allegro, all weighted according to context by Le Concert des Nations, there’s a fine and rare sense of how his thinking transferred itself to an orchestral canvas. Made under studio conditions in the church of a medieval Catalonian fortress, these recordings BEETHOVEN enjoy plenty of string bass colour and timpani impact without Symphonies Nos 1-5 swamping the liveliest inner-part debates between solo winds (Savall) or divided-violin combat. Symphony No. 1 ‘Enjoy’ is the word for the set as a whole. The tempos are largely Beethoven’s own, at least according to the metronome Symphony No. 2 marks he retrospectively applied in 1809 to all the symphonies Symphony No. 3, he had composed up to that point, but almost no 'Eroica' interpretative decision feels insisted upon, no expressive horizon foreshortened by a ready-made frame. -
The Deacon As Wise Fool: a Pastoral Persona for the Diaconate
ATR/100.4 The Deacon as Wise Fool: A Pastoral Persona for the Diaconate Kevin J. McGrane* Deacons often sit with the hurt and marginalized. It is in keeping with our ordination vows as deacons in the Episcopal Church, which say, “God now calls you to a special ministry of servanthood. You are to serve all people, particularly the poor, the weak, the sick, and the lonely.”1 Ever task focused, deacons look for the tangible and concrete things we can do to respond to the needs of the least of Jesus’ broth- ers and sisters (Matt. 25:40). But once the food is served, the money given, the medicine dispensed, then what? The material needs are supplied, but the hurt and the trauma are still very much present. What kind of pastoral care can deacons bring that will respond to the needs of the hurting and traumatized? I suggest that, if we as deacons are going to be sources of contin- ued pastoral care beyond being simple providers of material needs, we need to look to the pastoral model of the wise fool for guidance. With some exceptions here and there, deacons are uniquely fit to practice the pastoral persona of the wise fool. The wise fool is a clinical pastoral persona most identified and de- veloped by the pastoral theologians Alastair V. Campbell and Donald Capps. The fool is an archetype in human culture that both Campbell and Capps view as someone capable of rendering pastoral care. In his essay “The Wise Fool,”2 Campbell describes the fool as a “necessary figure” to counterpoint human arrogance, pomposity, and despo- tism: “His unruly behavior questions the limits of order; his ‘crazy’ outspoken talk probes the meaning of ‘common sense’; his uncon- ventional appearance exposes the pride and vanity of those around * Kevin J. -
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. -
6Th European Music Analysis Conference – VII
6th European Music Analysis Conference – VII. Jahreskongress der Deutschen Gesellschaft für Musiktheorie Druck: Rombach Druck- und Verlagshaus GmbH & Co KG, Freiburg Redaktion: Prof. Ludwig Holtmeier Jens Awe Torang Sinaga Satz/Layout: Miriam Rieckmann Torang Sinaga Redaktionsadresse: Studium generale Belfortstr. 20, 79085 Freiburg Anfahrtsbeschreibung und Übersicht der Veranstaltungsorte Universität Freiburg Kollegiengebäude (KG) „Haus zur Lieben Hand“, Br eis Löwenstr.16 ac h . e r r S P t t s Domsingschule r. r e g Hochschule für Musik r u b s b P a H . Fahnen- B3 tr s DB bergpl. r e Freiburg L re ß e eo e a le p t r Hbf. l o in t a ld s ri W k r. ng lz c t r S o P Rotteckr. - h Be h g h ma rto P p in c lds B3 e r is tr. s A s o Münster rg u E B J to Werth- - e ba r b h mann- e s n s S s zu i alzs P o b Belfor Pl. a tr. l Schlossberg r tstr. K h in c g . er r g S M b n P it i AltstadtSchwaben- te in r l r torpl. w e e d r Kartäuserstr n . e h L c W eo -W S B31 o indenburgstr. D S h H b c r . reisam Dreisamstr. hw le r b g a -S st rz ß Hochschule . w tr unzstr. n r Schillerstr. a . R o l e t lds für Musik s tr. F n . -
Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello
Saturday Evening, January 25, 2020, at 7:30 The Juilliard School presents Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello SAMUEL BARBER (1910–81) Toccata Festiva (1960) DANIEL FICARRI, Organ DMITRI SHOSTAKOVICH (1906–75) Cello Concerto No. 2 in G major, Op. 126 (1966) Largo Allegretto Allegretto DANIEL HASS, Cello Intermission CHRISTOPHER ROUSE (1949–2019) Processional (2014) JOHANNES BRAHMS (1833–97) Symphony No. 2 in D major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito Performance time: approximately 1 hour and 50 minutes, including an intermission This performance is made possible with support from the Celia Ascher Fund for Juilliard. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Juilliard About the Program the organ’s and the orchestra’s full ranges. A fluid approach to rhythm and meter By Jay Goodwin provides momentum and bite, and intricate passagework—including a dazzling cadenza Toccata Festiva for the pedals that sets the organist’s feet SAMUEL BARBER to dancing—calls to mind the great organ Born: March 9, 1910, in West Chester, music of the Baroque era. Pennsylvania Died: January 23, 1981, in New York City Cello Concerto No. 2 in G major, Op. 126 DMITRI SHOSTAKOVICH In terms of scale, pipe organs are Born: September 25, 1906, in Saint Petersburg different from every other type of Died: August 9, 1975, in Moscow musical instrument, and designing and assembling a new one can be a challenge There are several reasons that of architecture and engineering as complex Shostakovich’s Cello Concerto No. -
Themenkatalog »Musik Verfolgter Und Exilierter Komponisten«
THEMENKATALOG »Musik verfolgter und exilierter Komponisten« 1. Alphabetisches Verzeichnis Babin, Victor Capriccio (1949) 12’30 3.3.3.3–4.3.3.1–timp–harp–strings 1908–1972 for orchestra Concerto No.2 (1956) 24’ 2(II=picc).2.2.2(II=dbn)–4.2.3.1–timp.perc(3)–strings for two pianos and orchestra Blech, Leo Das war ich 50’ 2S,A,T,Bar; 2(II=picc).2.corA.2.2–4.2.0.1–timp.perc–harp–strings 1871–1958 (That Was Me) (1902) Rural idyll in one act Libretto by Richard Batka after Johann Hutt (G) Strauß, Johann – Liebeswalzer 3’ 2(picc).1.2(bcl).1–3.2.0.0–timp.perc–harp–strings Blech, Leo / for coloratura soprano and orchestra Sandberg, Herbert Bloch, Ernest Concerto Symphonique (1947–48) 38’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc(3):cyms/tam-t/BD/SD 1880–1959 for piano and orchestra –cel–strings String Quartet No.2 (1945) 35’ Suite Symphonique (1944) 20’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc:cyms/BD–strings Violin Concerto (1937–38) 35’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc(2):cyms/tgl/BD/SD– harp–cel–strings Braunfels, Walter 3 Chinesische Gesänge op.19 (1914) 16’ 3(III=picc).2(II=corA).3.2–4.2.3.1–timp.perc–harp–cel–strings; 1882–1954 for high voice and orchestra reduced orchestraion by Axel Langmann: 1(=picc).1(=corA).1.1– Text: from Hans Bethge’s »Chinese Flute« (G) 2.1.1.0–timp.perc(1)–cel(=harmonium)–strings(2.2.2.2.1) 3 Goethe-Lieder op.29 (1916/17) 10’ for voice and piano Text: (G) 2 Lieder nach Hans Carossa op.44 (1932) 4’ for voice and piano Text: (G) Cello Concerto op.49 (c1933) 25’ 2.2(II=corA).2.2–4.2.0.0–timp–strings -
Playlist 12 - Wednesday, June 24Th, 2020
Legato in Times of Staccato Playlist 12 - Wednesday, June 24th, 2020 Curated by Music Director, Fouad Fakhouri William Dawson: Negro Folk Symphony William Dawson was a renowned African American composer, choir director, and professor who incorporated African American themes and melodies into his music. With the Negro Folk Symphony, Dawson aimed to “write a symphony in the Negro folk idiom, based on authentic folk music but in the same symphonic form used by the composers of the [European] romantic-nationalist school.” The work consists of three movements, each with its own programmatic subtitle. Dvorak: Serenade for Strings & Wind Dvořák composed his entire Serenade in E major for string orchestra in less than two weeks in May 1875. The piece is in five movements, and in the finale, the main theme from the first movement is quoted before the coda, effectively unifying the work. Overall, the piece is light and carefree, reflecting a happy and productive time in Dvořák’s life. The Serenade in D minor for wind instruments was also composed in just two weeks in January 1878. The winds play atop a foundation of cello and string bass, and like in the Serenade for Strings, the opening theme is quoted in the final movement to unify the piece. The work is Classical in form but Czech in character as Dvořák incorporated folk melodies and rhythms from his native Bohemian culture. The piece was dedicated to music critic Louis Ehlert who promoted Dvořák’s famous Slavonic Dances and helped to advance Dvořák’s musical career. Haydn: Cello Concerto No. 1 Haydn’s Cello Concerto No. -
Climate Change Vulnerability and Adaptation in the Intermountain Region Part 1
United States Department of Agriculture Climate Change Vulnerability and Adaptation in the Intermountain Region Part 1 Forest Rocky Mountain General Technical Report Service Research Station RMRS-GTR-375 April 2018 Halofsky, Jessica E.; Peterson, David L.; Ho, Joanne J.; Little, Natalie, J.; Joyce, Linda A., eds. 2018. Climate change vulnerability and adaptation in the Intermountain Region. Gen. Tech. Rep. RMRS-GTR-375. Fort Collins, CO: U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station. Part 1. pp. 1–197. Abstract The Intermountain Adaptation Partnership (IAP) identified climate change issues relevant to resource management on Federal lands in Nevada, Utah, southern Idaho, eastern California, and western Wyoming, and developed solutions intended to minimize negative effects of climate change and facilitate transition of diverse ecosystems to a warmer climate. U.S. Department of Agriculture Forest Service scientists, Federal resource managers, and stakeholders collaborated over a 2-year period to conduct a state-of-science climate change vulnerability assessment and develop adaptation options for Federal lands. The vulnerability assessment emphasized key resource areas— water, fisheries, vegetation and disturbance, wildlife, recreation, infrastructure, cultural heritage, and ecosystem services—regarded as the most important for ecosystems and human communities. The earliest and most profound effects of climate change are expected for water resources, the result of declining snowpacks causing higher peak winter -
John Cage Stemkunst, Orgel En Piano Jan Welmers Beethoven
16 najaar 14 Alle kleuren van het Orgelpark 13 september John Cage Prepared piano en orgel 1 november Timbres • Alle kleuren van het Orgelpark najaar 2014 Stemkunst, orgel en piano Jaap Blonk en Samuel Vriezen 16 november Jan Welmers Componistenportret Zondag 19 oktober Beethoven Pianoconcerten Pieter-Jelle de Boer Timbres nummer 16 • najaar 2014 1 Welkom in het Orgelpark! Het Orgelpark heeft als doel het orgel door In het Orgelpark staat het orgel centraal: als drager van oude muziek én als bron van inspiratie voor nieuwe muziek. Het monumentale gebouw van het Orgelpark, een nieuwe presentatie te integreren in gesitueerd aan het Vondelpark in Amsterdam en voorzien van een mooie akoestiek, voegt aan beide facetten een bijzondere dimensie toe. het muziekleven. Timbres is het tijdschrift van het Orgelpark en biedt achtergrond- Het concertpalet van het Orgelpark reikt dit najaar vrijwel naadloos van de 18de eeuw tot vandaag. Op zaterdag 6 september presenteert ensemble Severijn het informatie bij de vele activiteiten die er elk barok georiënteerde programma Odd Pearls. Op 19 oktober speelt Pieter-Jelle de Boer de pianoconcerten van Beethoven (waarbij het orgel de orkestpartijen voor seizoen plaatsvinden. Het aanbod varieert zijn rekening neemt!). Er is aandacht voor vroegmoderne componisten als Leos Janácek (24 oktober) en Carl Nielsen (8 november, met pianist Ralph van Raat), en van concerten met klassieke muziek tot ook de 20ste eeuw komt volop tot klinken, bijvoorbeeld in muziek van John Cage evenementen met film en beeldende kunst. (13 en 14 september), in het componistenportret van Jan Welmers (16 november) en natuurlijk in ons Min of meer Minimal Festival (begin oktober). -
Bizet Carmen Suite - L'arlesienne Suites Mp3, Flac, Wma
Bizet Carmen Suite - L'Arlesienne Suites mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Carmen Suite - L'Arlesienne Suites Country: US Released: 1950 Style: Romantic MP3 version RAR size: 1543 mb FLAC version RAR size: 1580 mb WMA version RAR size: 1783 mb Rating: 4.6 Votes: 131 Other Formats: RA MIDI MP3 AAC AA AHX MP4 Tracklist Carmen-Suite A1 Prélude, Act 1 A2 Entr'acte, Act 4 A3 Entr'acte, Act 2 A4 Entr'acte, Act 3 A5 Scène Des Contrebandiers, Act 3 A6 La Garde Montante, Act1 A7 Danse Bohème, Act2 L'Arlesienne Suites B1 Prélude B2 Minuetto B3 Adagietto B4 Menuet B5 Farandole Credits Composed By – Georges Bizet Conductor – Anthony Collins (tracks: A1 to A7), Eduard van Beinum (tracks: B1 to B5) Orchestra – The London Philharmonic Orchestra Photography – Roger Wood Barcode and Other Identifiers Matrix / Runout: ARL-280-AW Matrix / Runout: ARL-281-AW Other versions Category Artist Title (Format) Label Category Country Year Bizet* - Anthony Bizet* - Anthony Collins & Eduard Collins & Eduard van Beinum van Beinum Conducting The Ace Of ACL 9, ACL.9 Conducting The London Clubs, Ace ACL 9, ACL.9 UK Unknown London Philharmonic Of Clubs Philharmonic Orchestra - Carmen Orchestra And L'Arlesienne Suites (LP) Bizet* - Anthony Bizet* - Anthony Collins & Eduard Collins & Eduard van Beinum van Beinum Conducting The B 19013 Conducting The London Richmond B 19013 US Unknown London Philharmonic Philharmonic Orchestra - Carmen Orchestra Suite - L'Arlésienne Suite (LP) Georges Bizet, The Georges Bizet, London The London Philharmonic -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Festival of Contemporary Dutch Music: Calarts New Century Players
Music Wednesdays that has contributed to the programming content of concerts presented by CalArts at their new theatre REDCAT at the Disney Hall complex. He currently curates a series called Classics at CalArts, a chamber music series presented annually at the Valencia campus. Michael Pisaro was born in Buffalo in 1961. He is a composer and guitarist, a member of the Wandelweiser Composers Ensemble and founder and director of the Experimental Music Workshop. His work is frequently performed in the U.S. and in Europe, in music festivals and in many smaller venues. It has been selected twice by the ISCM jury for performance at World Music Days festivals (Copenhagen, 1996; Manchester, 1998) and has also been part of festivals in Hong Kong (ICMC, 1998), Vienna (Wien Modern, 1997), Aspen (1991) and Chicago (New Music Chicago, 1990, 1991). He has had extended composer residencies in Germany (Künstlerhof Schreyahn, Dortmund University), Switzerland (Forumclaque/Baden), Israel (Miskenot Sha'ananmim), Greece (EarTalk) and in the U.S. (Birch Creek Music Festival/ Wisconsin). Concert-length portraits of his music have been given in Munich, Jerusalem, Los Angeles, Vienna, Merano (Italy), Brussels, New York, Curitiba (Brazil), Amsterdam, London, Tokyo, Berlin, Chicago, Düsseldorf, Zürich, Cologne, Aarau (Switzerland), and elsewhere. He is a Foundation for Contemporary Arts, 2005 and 2006 Grant Recipient. Most of his music of the last several years is published by Timescaper Music (Germany). Several CDs of his work have been released by Edition Wandelweiser Records, Compost and Height, Sound323, Nine Winds and others, including most recently transparent city, volumes 1–4, an unrhymed chord and harmony series (11–16).