Full Concert Program

Total Page:16

File Type:pdf, Size:1020Kb

Full Concert Program St Paul’s Cathedral Together transforming our City and Diocese “Virtual” Concert Saturday 19 December 2020 • 2pm Kevin Chow (piano) WELCOME Welcome to St Paul’s Cathedral, the home for worshippers from more than two dozen nations, the seat of the Anglican Primate of Australia and the home church for Anglicans in Melbourne and Victoria. We meet on the traditional lands of the Wurundjeri People of the Kulin nation and we acknowledge and pay our respect to their elders past and present and to Aboriginal people and Torres Strait Islanders with us today. We also recognise that the traditional owners of this land have been singing, dancing, and telling their stories here for over 2000 generations, and today we are honoured to continue their tradition with our own music. Program Ludwig van Beethoven (1770 – 1827 Germany) Sonata No.29 in B-flat Major, Op.106 Franz Liszt (1811 – 1886 Hungary) Benediction de Dieu dans la solitude Igor Stranvinsky (1882 – 1971 Russia) transcribed by Guido Agosti (1901 – 1989 Italy) The Firebird Suite Kevin Chow completed his Bachelor of Music (Hons) degree at the Melbourne Conservatorium of Music studying piano with Glenn Riddle. He has recently completed a Master of Music degree at Yale University under full scholarship and fellowship, studying with Peter Serkin and Boris Slutsky. He is currently in the Master of Musical Arts program at Yale studying with Boris Berman. Kevin was a finalist in the 2018 ABC Young Performer of the Year, performing Prokofiev’s Piano Concerto No 2 with the Sydney Symphony Orchestra at the Sydney Opera House. Kevin has also given concerto performances that include Mozart, Beethoven, Liszt, Brahms, Tchaikovsky, Rachmaninoff and Prokofiev with orchestras such as the Sydney Symphony Orchestra, Thailand Philharmonic, Morocco Philharmonic Orchestra, Fremantle Symphony and Melbourne Conservatorium of Music Symphony Orchestras. Kevin's competition awards include First Prize in the Sydney Eisteddfod John Allison/Henderson Piano Scholarship and the 3MBS Performer of the Year. Kevin has been a finalist in the Thailand International Piano Competition and has been selected to participate in the upcoming Sydney International Piano Competition. He has received the Mary Clapp Howell Scholarship and Harry&Margaret Simeone Fellow from Yale University, as well as he Frederick Harlock and Phyllis Judd/Therese de Kretser at Melbourne Conservatory of Music. Kevin is a gracious recipient of the Mary Elizabeth McComas Foundation Piano Scholarship and the Ian Potter Cultural Award. Kevin has performed extensively throughout Australia and also given recitals in China, America, Thailand, Morocco, Greece, New Zealand and Indonesia. Highlights include performing for HRH Prince Charles and the Duchess of Cornwell in Melbourne. Kevin has broadcast major radio stations in Australia and New Zealand and has participated in masterclasses with notable musicians including Paavali Jumppanen, Boris Berman, Lang Lang, Alessio Bax and Leslie Howard. Kevin is keen chamber musician having worked with the New Haven New Music Initiative. He is greatly anticipating his multiple collaborations and performances during the Australian Festival of Chamber Music in 2021. Donations Help keep the music going! With a downturn in revenue due to the COVID-19 pandemic, your support in exchange for these concerts is most welcome. Tax deductible donations can be made to the Cathedral’s Music Foundation via this link: www.cathedral.org.au/donate Join us for a special concert event on January 17th featuring award winning pianist Amir Farid. Amir has been described as “a highly creative musician, a pianist of great intelligence and integrity. He brings strong musical substance to all that he does, imbuing it with his own particular experience and understanding.” We are very excited to have Amir performing at the Cathedral and to let you know that you will be able to come and enjoy this concert in person! Please email [email protected] if you would like to be included on the St Paul’s Lunchtime Concert Series email list, and you will be sent more information about this concert in the coming weeks. Please check www.cathedral.org.au for more details as they become available. This series of lunchtime concerts was launched in 2013 to encourage city workers and others to come into and enjoy the beautiful surroundings of the Cathedral during the day. They provide fine music and space for contemplation in the midst of a busy week. Like St Paul’s Cathedral Lunchtime Concert Series on Facebook to get regular updates on our performers and upcoming concerts. St Paul’s Cathedral Melbourne 209 Flinders Lane Melbourne Victoria 3000 www.cathedral.org.au • (03) 9653 4333 [email protected] twitter.com/stpaulscathmelb • facebook.com/stpaulscathedralmelbourne .
Recommended publications
  • Rachmaninoff, Paganini, & the Piano; a Conversation
    Rachmaninoff, Paganini, & the Piano; a Conversation Tracks and clips 1. Rachmaninoff in Paris 16:08 a. Niccolò Paganini, 24 Caprices for Solo Violin, Op. 1, Michael Rabin, EMI 724356799820, recorded 9/5/1958. b. Sergey Rachmaninoff (SR), Rapsodie sur un theme de Paganini, Op. 43, SR, Leopold Stokowski, Philadelphia Orchestra (PO), BMG Classics 09026-61658, recorded 12/24/1934 (PR). c. Fryderyk Franciszek Chopin (FC), Twelve Études, Op. 25, Alfred Cortot, Deutsche Grammophon Gesellschaft (DGG) 456751, recorded 7/1935. d. SR, Piano Concerto No. 3 in d, Op. 30, SR, Eugene Ormandy (EO), PO, Naxos 8.110601, recorded 12/4/1939.* e. Carl Maria von Weber, Rondo Brillante in E♭, J. 252, Julian Jabobson, Meridian CDE 84251, released 1993.† f. FC, Twelve Études, Op. 25, Ruth Slenczynska (RS), Musical Heritage Society MHS 3798, released 1978. g. SR, Preludes, Op. 32, RS, Ivory Classics 64405-70902, recorded 4/8/1984. h. Georges Enesco, Cello & Piano Sonata, Op. 26 No. 2, Alexandre Dmitriev, Alexandre Paley, Saphir Productions LVC1170, released 10/29/2012.† i. Claude Deubssy, Children’s Corner Suite, L. 113, Walter Gieseking, Dante 167, recorded 1937. j. Ibid., but SR, Victor B-24193, recorded 4/2/1921, TvJ35-zZa-I. ‡ k. SR, Piano Concerto No. 3 in d, Op. 30, Walter Gieseking, John Barbirolli, Philharmonic-Symphony Orchestra, Music & Arts MACD 1095, recorded 2/1939.† l. SR, Preludes, Op. 23, RS, Ivory Classics 64405-70902, recorded 4/8/1984. 2. Rachmaninoff & Paganini 6:08 a. Niccolò Paganini, op. cit. b. PR. c. Arcangelo Corelli, Violin Sonata in d, Op. 5 No. 12, Pavlo Beznosiuk, Linn CKD 412, recorded 1/11/2012.♢ d.
    [Show full text]
  • Elena Ulyanova – Biography
    Piano Jack Price Founding Partner / Managing Director Marc Parella Partner / Director of Operations Brenna Sluiter Marketing Operations Manager Karrah Cambry Opera and Special Projects Manager Mailing Address: 520 Geary Street Suite 605 San Francisco CA 94102 Telephone: Contents: Toll-Free 1-866-PRI-RUBI (774-7824) 310-254-7149 / Los Angeles Biography 415-504-3654 / San Francisco Reviews & Testimonials Skype: pricerubent | marcparella Repertoire Email: Short Notice Concertos [email protected] CD/DVDs [email protected] Recordings Curriculum Vitae Website: http://www.pricerubin.com Complete artist information including video, audio Yahoo!Messenger and interviews are available at www.pricerubin.com pricerubin Elena Ulyanova – Biography Praised as "a phenomenal, gifted performer" by Roy Gillinson of the Beethoven Society of America, Elena Ulyanova is a pianist whose style runs the gamut of power, strength, and technique to a delicate, floating elegant finesse. Hailed by the Moscow Conservatory as one of their most gifted musicians, her Professor Victor Merzhanov noted that she possesses "Great virtuosity, brilliant artistic temperament, unique interpretive expression and a rich sound pallet." At the age of 5, Elena Ulyanova began to study piano with her mother, Larisa Ulyanova, in Saki, Ukraine. After winning several first prizes in Ukrainian and Russian competitions, she was awarded full scholarships for study in Moscow at Gnessin College of Music, Gnessin Academy of Music, and Moscow Tchaikovsky Conservatory. While at Gnessin Academy, she won the Momontov competition, which also resulted in tours of Russia, Bulgaria, and Romania. She was also awarded a tour of Austria, along with the best students representing Gnessin Academy, which included Alexander Kobrin.
    [Show full text]
  • Rehearing Beethoven Festival Program, Complete, November-December 2020
    CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time.
    [Show full text]
  • La Sonnambula, Robert Le Diable, and Norma
    PERFORMANCE SUGGESTIONS FOR FRANZ LISZT'S OPERATIC ARRANGEMENTS ON DON JUAN (DON GIOVANNI), LA SONNAMBULA, ROBERT LE DIABLE, AND NORMA BY CHARLES JOSEPH SMITH B.M., Roosevelt University (Chicago), 1994 M.M., University of Illinois at Urbana-Champaign, 1995 TRANSCRIPTS OF THE TWO LECTURE-RECITALS Submitted in partial fulfillment for the degree of Doctor of Musical Arts in Piano Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2002 Urbana, Illinois UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN SCHOOL OF MUSIC DECEMBER 2002 WE HEREBY RECOMMEND THAT THE RESEARCH PROJECT BY CHARLES JOSEPH SMITH ENTITLED PERFORMANCE SUGGESTIONS FOR FRANZ LISZTrS OPERATICE ARRANGEMENTS ON DON JUAN (Don GIOVANNI), LA SONNAMBULA, ROBERT LE DIABLE, AND NORMA BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS IN PERFORMANCE AND LITERATURE. Director of Research Head of Department Committee on Final Examination O 1H42 ABSTRACT The purpose of the dissertation is to find out how would a modern-day pianist of a new generation interpret the Liszt opera fantasies for piano--as Liszt wanted it to be done. The foci of the problem were in five interpretative areas of piano performance: tempo, dynamics, phrasing, pedal, and articulation. The study focused on these Liszt opera fantasies: Don Juan (Mozart), La Sonnambula (Bellini), Robert le Diable (Meyerbeer), and Norma (Bellini) . They not only give the best possible sample of Liszt's opera fantasies, but also show the best of the piano transcriptions Liszt had in his repertoire. Primary sources for this study included Dover's Franz Liszt: Piano Transcriptions of French and Italian Operas, Diary Notes of August Gollerich, and past and present recordings of pianists playing the selected fantasies, including Leslie Howard, Ferruccio Busoni, Louis Kentner, Raymond Lewenthal, Ian Hobson, and Michele Campanella.
    [Show full text]
  • New Resume Ate Fim De 9, Completo
    I. Personal Data CAIO PAGANO BIRTH DATE: 5/14/1940 CITIZENSHIP: American/ Italian/Brazilian II. FORMAL SCHOOLING AND TRAINING A/ K-12 Dante Alighieri School in São Paulo, Brazil concluded 1957. B/ Higher Education 1- Masters in Law, College of Law, University of São Paulo 1965. 2- Doctorate in Music, Catholic University of America, Washington D.C., U.S.A., 1984. C/ Music Education Magda Tagliaferro School of Piano, with teacher Lina Pires de Campos, São Paulo, Brazil, 1948-1958. Private teaching: Magda Tagliaferro, São Paulo 1948-1958. Mozarteum Academy Buenos Aires, Argentina, teacher Moises Makaroff May-August, 1961. École Magda Tagliaferro: Magda Tagliaferro, 1958, Paris, France. Mozarteum Academy, Salzburg, Austria, teacher Magda Tagliaferro, 1958. Professor Sequeira Costa, Lisbon, Portugal, August- December, 1964. !Professor Helena Costa Oporto, Portugal, January- !September, 1965. 1 Summer Camp Cascais, Portugal, teachers Karl Engel and Sandor Vegh, 1965-1966. Hochschule für Musik Hannover, Germany, teacher Karl Engel, 1966-1968. !Hochschule für Musik Hamburg, Germany, teacher Conrad !Hansen, 1968-1970 Harpsichord Studies, Pro-Arte, São Paulo, Brazil, teacher Stanislav Heller, 1964. Theory & Harmony, teachers O. Lacerda and Caldeira Filho, São Paulo, Brazil, 1952-1957. Form and Analysis, São Paulo, Brazil, teacher Camargo Guarnieri 1958. 2 1. Full-Time Professorships .1 Piano Professor in Music seminars at Pro-Arte; São Paulo, Brazil, 1963. .2 Piano Professor at the University of São Paulo, Brazil Department of Music, 1970-1984. .3 Visiting Professor at Texas Christian University, Fort Worth, TX, U.S.A., 1984-1986. Second term 1989/1990. .4 Professor at Arizona State University, Tempe AZ, U.S.A., 1986-present; since 1999, Regents’ Professor; in 2010 !selected Professor of the Year .5 Artistic Director at Centre for Studies of the Arts, Belgais, Portugal, 2001-2002.
    [Show full text]
  • WH Monthly Diary: May/April 2018
    APR/ MAY 2017/18 SEASON www.wigmore-hall.org.uk 2 • SEPTEMBER-OCTOBER www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office TICKETS 36 Wigmore Street, London W1U 2BP Unless otherwise stated, tickets are divided into five prices ranges: In Person ■ Stalls C – M Highest price 7 days a week: 10am – 8.30pm. ■ Stalls A – B, N – P 2nd highest price Days without an evening concert 10am – 5pm. ■ Balcony A – D 2nd highest price No advance booking in the half hour prior to ■ Stalls BB, CC, Q – S 3rd highest price a concert. ■ Stalls AA, T – V 4th highest price ■ Stalls W – X Lowest price By Telephone: 020 7935 2141 7 days a week: 10.00am–7.00pm. AA AA Days without an evening concert: AA STAGE AA AA AA 10.00am–5.00pm. BB BB There is a non-refundable £3.00 administration CC CC A A charge for each transaction. B B C C D D Online: www.wigmore-hall.org.uk E E F FRONT FRONT F STALLS STALLS 7 days a week; 24 hours a day. G G There is a non-refundable £2.00 administration H H I I charge. J J K K L L Standby Tickets M M N N Standby tickets for students, senior citizens and O O P P the unemployed are available from one hour Q Q before the performance (subject to availability) R R S S with best available seats sold at the lowest price. REAR REAR T STALLS STALLS T U U NB standby tickets are not available for V V Lunchtime and Coffee Concerts.
    [Show full text]
  • Percy Grainger and New Worlds of Concert Pianism
    Percy Grainger and New Worlds of Concert Pianism: A Study of Repertoire and Programming (1914-1926) Natalie Stephanie Bellio Dissertation submitted in partial fulfillment of the requirements of the degree of Master of Music (By Research) October 2013 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper Abstract This thesis presents an overview of Percy Grainger’s piano repertoire and programming on his tours in the United States and elsewhere in the period 1914-1926. In the United States, Percy Grainger encountered a new and wider audience, which gave him the recognition he desired to become well established as a concert pianist, and allowed him the freedom to explore a wider range of piano repertoire, as well as perform his own piano works. He developed an individual approach to programming his piano recitals and committed himself to a role as ambassador for the piano works of selected modern composers throughout America, Scandinavia and Australia. This thesis briefly explores Grainger’s performing career in London from 1901 to 1914, to provide background on Grainger’s roles as a pianist, the diversity of the piano repertoire he performed, and the restrictive circumstances surrounding his early career whilst under the management of his mother Rose. Through new research conducted on concert programmes and other relevant archival material available at the Grainger Museum, this thesis examines Grainger’s transformation as a pianist, the evolution of his selection of piano repertoire and his innovative and maturing approach to recital programming in the United States from 1914 to 1926. In addition, this study explores Grainger’s developing professional role as an educator and promoter of his preferred piano repertoire in the United States.
    [Show full text]
  • We Are TEN – in This Issue
    RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more .
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • The Ithacan, 1934-02-23
    Ithaca College Digital Commons @ IC The thI acan, 1933-1934 2-23-1934 The thI acan, 1934-02-23 Ithaca College Follow this and additional works at: http://digitalcommons.ithaca.edu/ithacan_1933-34 Recommended Citation Ithaca College, "The thI acan, 1934-02-23" (1934). The Ithacan, 1933-1934. 19. http://digitalcommons.ithaca.edu/ithacan_1933-34/19 This Newspaper is brought to you for free and open access by Digital Commons @ IC. It has been accepted for inclusion in The thI acan, 1933-1934 by an authorized administrator of Digital Commons @ IC. ' "Scampers" The Oracle! ''Srampers"J Get Your ·Tickets! aran February 28 rOI .. IV. No. 19 Ithaca College, Ithaca, New York, Febduary 23, 1934 I. C. Basketball T earn Sergei Rachmaninoff Ithaca College Engages Scores Another Victory Accepts Membership Pryor, Noted Conductor, ·th M h . On I. College Board I n Game W1 ec antes - To Head I. C. Band Dept. ~---------- ·------ At the meeting of the Boar<l ol • T i'rustees of Ithaca College formerly Ben Pismanoff Stars, Making TO TEACH HERE Famous Conductor and Trom­ I • C• W restI tng earn lthaca Conservatory, held' Februar\' bonist, Engaged for Summer 19 Points; Score 50-43. Frosh Loses To E. Stroud. 1 ?, the n~te<l . composer ~nd pian~ Will Probably Continue 1d Also Score Over M. I. virtuoso, Sergei Rachmamnoff, was Fall The Ithaca College wrestling team el.ected a member of the Board. In went down to a 24¼ to 7 ½ defeat his letter of acceptance, to the Cha.ir­ The following is reprinted from Ithaca College's basketball team at the hands of a powerful East man ~f t~~ Board, ~1r ..Rachmamn­ the Ithaca-Journal News and is of continued along its winning way Fri­ Stroudsburg contingent on the local off said: .
    [Show full text]
  • Leslie Howard E Ludovico Troncanetti
    Cidade Aberta LESLIE HOWARD E LUDOVICO TRONCANETTI 1 31 OUT 2019 QUINTA-FEIRA LESLIE HOWARD E LUDOVICO TRONCANETTI Anton Rubinstein (1829-1894) Fantasia, op. 73 Franz Liszt (1811-1886) Grandes variações de concerto sobre um tema dos Puritanos de Bellini, S654i (extraídas do Hexaméron) 1. Introdução: Extremement lent (Liszt) 2. Tema: Allegro marziale (Bellini, transcrito por Liszt) 3. Variação I: Ben marcato (Thalberg) 4. Variação II: Moderato (Liszt) 5. Variação III: di bravura (Pixis) – Ritornello (Liszt) 6. Variação IV: Legato e grazioso (Herz) 7. Variação V: Vivo e brillante (Czerny) – Fuocoso molto energico; Lento quasi recitativo (Liszt) 8. Variação VI: Largo (Chopin) – (coda) (Liszt) 9. Final: Molto vivace quasi prestissimo (Liszt) Camille Saint-Saëns (1835-1921) Variações sobre um tema de Beethoven, op. 35 19H / M/6 CCB, PEQUENO AUDITÓRIO 2 3 NOTAS AO PROGRAMA Textos de Ludovico Troncanetti O Hexaméron S392 para piano solo está dividido em nove partes: Tradução de Ana Sampaio 1. Introdução: Extremement lent (Liszt) 2. Tema: Allegro marziale (Bellini, transcrito por Liszt) 3. Variação I: Ben marcato (Thalberg) 4. Variação II: Moderato (Liszt) 5. Variação III: di bravura (Pixis) – Ritornello (Liszt) 6. Variação IV: Legato e grazioso (Herz) 7. Variação V: Vivo e brillante (Czerny) – Fuocoso molto energico; Lento quasi recitativo (Liszt) 8. Variação VI: Largo (Chopin) – (coda) (Liszt) 9. Final: Molto vivace quasi prestissimo (Liszt) Anton Rubinstein: Fantasia op. 73 Esta primeira versão para dois pianos de 1840 inclui apenas as partes 1, 2, 3, 4, 6 Esta obra monumental em três andamentos foi composta em 1864, tendo e 9. Entre a 6 e a 9, Liszt acrescenta o tema Credeasi, misera!, do final do 3.º Ato, sido dedicada ao irmão do compositor, Nicolai Rubinstein, com quem Anton cantada por Arturo.
    [Show full text]
  • Rugby | August 2019
    19 - 23 Aug 2019 Programme £2 Programme FESTIVAL CONCERTS Memorial Chapel | Rugby School WWW.PIANOWEEK.COM 21341 Steinway Piano Week Moreton Hall.qxp_Layout 1 27/06/2019 16:31 Page 1 “If I am to play my best, there is no way but Steinway.” LANG LANG STEINWAY ARTIST ä ~ Å á ë ë ~ ä Å = ó å ç ë = ó ë É í ê ì ç Å = I í Ñ ç ê Å ë ~ = í ê É Ä ç ê = W ç í ç Ü é Steinway Hall 44 Marylebone Lane London W1U 2DB For more information or to arrange a private appointment at our London showrooms, please call: 0207 487 3391 or email [email protected] 1 A few words from the festival directors We are proud to present the second edition of PIANO WEEK Rugby, an exciting new chapter in the festival’s development in Europe & Asia. We are thrilled that so many of our returning participants chose to follow the festival to Rugby School, which is a true testament to the unique atmosphere of creativity and passion for music shared amongst our international faculty, participants and audiences alike. Our series of evening recitals are given by an acclaimed faculty of concert pianists who hail from all over the world, with a guest appearance by clarinettist Shelley Levy, who will join Samantha Ward in the final concert on Friday night. All artists performing throughout the week are highly experienced as pianists and pedagogues and they have all been giving master classes and lessons to our participants during the festival.
    [Show full text]