Britten in Beijing
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
74TH SEASON of CONCERTS April 24, 2016 • National Gallery of Art PROGRAM
74TH SEASON OF CONCERTS april 24, 2016 • national gallery of art PROGRAM 3:30 • West Building, West Garden Court Inscape Richard Scerbo, conductor Toru Takemitsu (1930 – 1996) Rain Spell Asha Srinivasan (b. 1980) Svara-Lila John Harbison (b. 1938) Mirabai Songs It’s True, I Went to the Market All I Was Doing Was Breathing Why Mira Can’t Go Back to Her Old House Where Did You Go? The Clouds Don’t Go, Don’t Go Monica Soto-Gil, mezzo soprano Intermission Chen Yi (b. 1953) Wu Yu Praying for Rain Shifan Gong-and-Drum Toru Takemitsu Archipelago S. 2 • National Gallery of Art The Musicians Founded in 2004 by artistic director Richard Scerbo, Inscape Chamber Orchestra is pushing the boundaries of classical music in riveting performances that reach across genres and generations and transcend the confines of the traditional concert experience. With its flexible roster and unique brand of programming, this Grammy-nominated group of high-energy master musicians has quickly established itself as one of the premier performing ensembles in the Washington, DC, region and beyond. Inscape has worked with emerging American composers and has a commitment to presenting concerts featuring the music of our time. Since its inception, the group has commissioned and premiered over twenty new works. Its members regularly perform with the National, Baltimore, Philadel- phia, Virginia, Richmond, and Delaware symphonies and the Washington Opera Orchestra; they are members of the Washington service bands. Inscape’s roots can be traced to the University of Maryland School of Music, when Scerbo and other music students collaborated at the Clarice Smith Center as the Philharmonia Ensemble. -
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 -
Contemporary Music Ensemble
Suffolk County Community College • Music Department • Ammerman Campus Presents Contemporary Music Ensemble Spring Concert May 12, 2001 7:30 pm Islip Arts Building, Shea Theatre Contemporary Music Ensemble William Ryan, Director ________________________________________________ Premonition (1997) Phil Kline for many boomboxes (b. 1953) Vanessa Bonet Malachy Gately Lauren Kohler Jamie Carrillo David Greenberg Anne McInerney Lisa Casal Duane Haynes Corin Misiano Chris Ciccone Ryan Himpler Michelle Orabona Mike Clark William Jantz Rachel Rodgers Anne Dekenipp Colin Kasprowicz Gerry Rulon-Maxwell Virginia Dimiceli Andrew Keegan Michael Sarling Jason Dobranski Melanie Scalice Jessica Drozd Pete Stumme Joe Fogarazzo Naomi Volkel New York Counterpoint (1985) Steve Reich for clarinet and tape (b. 1936) Joseph Iannetto, clarinet Evan Ziporyn, recorded clarinets Elvis Everywhere (1987) Michael Daugherty for string quartet and tape (b. 1954) Lisa Casal, violin Malachy Gately, violin Vanessa Bonet, viola Jason Dobranski, cello A Change of Hearts (2001) Phil Kline for chamber ensemble and boomboxes (b. 1953) World Premiere Commissioned by the SCCC Contemporary Music Ensemble Melanie Scalice, flute Joseph Iannetto, clarinet Lauren Kohler, clarinet David Greenberg, trumpet Lisa Casal, violin Malachy Gately, violin Vanessa Bonet, viola Jamie Carrillo, viola Jason Dobranski, cello Colin Kasprowicz, keyboard Rachel Rodgers, electric bass Joe Fogarazzo, electric guitar Gerry Rulon-Maxwell, guitar Program Notes Premonition was written as a fanfare for the Bang On A Can Festival’s 10th Birthday Party. It is scored for an imaginary orchestra of 1000 strings or, (let’s get this right,) a real orchestra of 1000 virtual (computer- midi) strings. -Phil Kline New York Counterpoint is one of a series of works for soloist accompanied by pre-recorded layers of themselves. -
Shostakovich (1906-1975)
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Symphony No. 1 in F minor, Op. 10 (1923-5) Yuri Ahronovich/Moscow Radio Symphony Orchestra ( + Overture on Russian and Kirghiz Folk Themes) MELODIYA SM 02581-2/MELODIYA ANGEL SR-40192 (1972) (LP) Karel Ancerl/Czech Philharmonic Orchestra ( + Symphony No. 5) SUPRAPHON ANCERL EDITION SU 36992 (2005) (original LP release: SUPRAPHON SUAST 50576) (1964) Vladimir Ashkenazy/Royal Philharmonic Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15, Festive Overture, October, The Song of the Forest, 5 Fragments, Funeral-Triumphal Prelude, Novorossiisk Chimes: Excerpts and Chamber Symphony, Op. 110a) DECCA 4758748-2 (12 CDs) (2007) (original CD release: DECCA 425609-2) (1990) Rudolf Barshai/Cologne West German Radio Symphony Orchestra (rec. 1994) ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15) BRILLIANT CLASSICS 6324 (11 CDs) (2003) Rudolf Barshai/Vancouver Symphony Orchestra ( + Symphony No. -
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. -
Cellist Zuill Bailey with Helen Kim and the KSU Symphony Orchestra
SCHOOL of MUSIC where PASSION is Zuill Bailey,heard Cello featuring Helen Kim, Violin Robert Henry, Piano KSU Symphony Orchestra Nathaniel F. Parker, Music Director and Conductor Wednesday, October 9, 2019 | 8:00 PM Dr. Bobbie Bailey & Family Performance Center, Morgan Hall musicKSU.com 1 heard Program LUKAS FOSS (1922-2009) CAPRICCIO MAX BRUCH (1838-1920) KOL NIDREI, OPUS 47 PYOTR ILYICH TCHAIKOVSKY (1840-1893) VARIATIONS ON A ROCOCO THEME, OPUS 33 Zuill Bailey, Cello Robert Henry, Piano –INTERMISSION– JOHANNES BRAHMS (1833-1897) CONCERTO FOR VIOLIN, CELLO, AND ORCHESTRA IN A MINOR, OPUS 102 I. ALLEGRO II. ANDANTE III. VIVACE NON TROPPO Zuill Bailey, Cello Helen Kim, Violin Kennesaw State University Symphony Orchestra Nathaniel F. Parker, Conductor We welcome all guests with special needs and offer the following services: easy access, companion seating locations, accessible restrooms, and assisted listening devices. Please contact a patron services representative at 470-578-6650 to request services. 2 Kennesaw State University School of Music KSU Symphony Orchestra Personnel Nathaniel F. Parker, Music Director & Conductor Personnel listed alphabetically to emphasize the importance of each part. Rotational seating is used in all woodwind, brass, and percussion sections. Flute Violin Cello Don Cofrancesco Melissa Ake^, Garrett Clay Lorin Green concertmaster Laci Divine Jayna Burton Colin Gregoire^, principal Oboe Abigail Carpenter Jair Griffin Emily Gunby Robert Cox^ Joseph Grunkmeyer, Robert Simon Mary Catherine Davis associate principal -
An Analysis of Honegger's Cello Concerto
AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S -
In Low-Key Buffalo, a New-Music Milestone
Music - June in Buffalo Celebrates 35th Anniversary - NYTimes.com Page 1 of 4 • Reprints This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. June 4, 2010 In Low-Key Buffalo, a New-Music Milestone By ALLAN KOZINN BUFFALO — This city may not seem as glamorous a place for a summer new-music festival as Tanglewood in Massachusetts or Ojai in California, and puzzlingly, the University at Buffalo does relatively little to promote the annual June in Buffalo festival, which the composer Morton Feldman founded in 1975. But June in Buffalo has a sense of mission that has made it an important part of the new- music ecology. Its drawing cards are accomplished new-music performers — among them this year, the Arditti Quartet, Signal and Ensemble SurPlus — playing works by established composers. Equally important is the part of the festival devoted to young composers. Every year about 70 apply for 20 to 25 positions as “participants.” Those chosen have their music played by the guest ensembles and dissected in workshops. This year June in Buffalo, which opened on Monday and runs through Sunday, is celebrating its 35th anniversary, as well as the 25th anniversary of the composer David Felder’s directorship — or actually, revival — of the festival. When Mr. Felder joined the University at Buffalo faculty in 1985, June in Buffalo had been dormant for five years. -
There's a Real Buzz and Sense of Purpose About What This Company Is Doing
15 FEBRUARY 7.15PM & 17 FEBRUARY 2PM “There’s a real buzz and sense of purpose about what this company is doing” ~ The Guardian www.niopera.com Grand Opera House, Belfast Welcome to The Grand Opera House for this new production of The Flying Dutchman. This is, by some way, NI Opera’s biggest production to date. Our very first opera (Menotti’s The Medium, coincidentally staged two years ago this month) utilised just five singers and a chamber band, and to go from this to a grand opera demanding 50 singers and a full symphony orchestra in such a short space of time indicates impressive progress. Similarly, our performances of Noye’s Fludde at the Beijing Music Festival in October, and our recent Irish Times Theatre Award nominations for The Turn of the Screw, demonstrate that our focus on bringing high quality, innovative opera to the widest possible audience continues to bear fruit. It feels appropriate for us to be staging our first Wagner opera in the bicentenary of the composer’s birth, but this production marks more than just a historical anniversary. Unsurprisingly, given the cost and complexities involved in performing Wagner, this will be the first fully staged Dutchman to be seen in Northern Ireland for generations. More unexpectedly, perhaps, this is the first ever new production of a Wagner opera by a Northern Irish company. Northern Ireland features heavily in this production. The opera begins and ends with ships and the sea, and it does not take too much imagination to link this back to Belfast’s industrial heritage and the recent Titanic commemorations. -
Classical Series 1 2019/2020
classical series 2019/2020 season 1 classical series 2019/2020 Meet us at de Doelen! Bang in the middle of Rotterdam’s vibrant city centre and at a stone’s throw from the magnificent Central Station, you find concert hall de Doelen. A perfect architectural example of the Dutch post-war reconstruction era, as well as a veritable people’s palace, featuring international programming and festivals. Built in the sixties, its spacious state- of-the-art auditoria and foyers continue to make it look and feel like a timelessly modern and dynamic location indeed. De Doelen is home to the Rotterdam Philharmonic Orchestra, with the very young and talented conductor Lahav Shani at its helm. But that is not all! With over 600 concerts held annually, our programming is delightfully varied, ranging from true crowd-pullers to concerts catering to connoisseurs, and from children’s concerts to performances of world music, jazz and hip-hop. What’s more, de Doelen is the beating heart of renowned cultural festivals such as the IFFR, Poetry International, Rotterdam Unlimited, HipHopHouse’s Make A Scene and RPhO’s Gergiev Festival. Check this brochure for this season’s programme. You will hopefully be as thrilled as we are with what’s on offer. Meet us at de Doelen and enjoy! Janneke Staarink, director & de Doelen team Janneke Staarink © Sanne Donders classical series 3 contents classical series 2019/2020 season preface 3 Pierre-Laurent Aimard © Marco Borggreve Grupo Ruta de la Esclavitud © Claire Xavier classical series 6 - 29 suggestions per subject 30 chronological overview 32 piano great baroque ordering information 36 From classics to cross-overs: the versatility of the This series features great themes and signature baroque floor plans 38 piano takes centre stage. -
Death and the Powers Release
For Immediate Release: February 23, 2011 Contact: Kati Mitchell 617-495-2668 [email protected] American Repertory Theater in association with MIT’s FAST Arts Festival presents DEATH AND THE POWERS: The Robots’ Opera by Tod Machover directed by Diane Paulus March 18-25 Cutler Majestic Theatre at Emerson College When the eccentric patriarch Simon Powers departs his physical being and downloads himself into The System, his house assumes his immortal presence around his family and friends… So begins Death and the Powers, a groundbreaking new opera created by Tod Machover and his Opera of the Future Group at the MIT Media Lab, which receives its North American premiere at the American Repertory Theater. Performances take place at the Cutler Majestic Theater in Boston on March 18 (press opening), March 20, March 22, and March 25. The September 24, 2010 world premiere of Death and the Powers at l’Opéra de Monte-Carlo was praised by audiences and critics alike: “A grand, rich, deeply serious new opera, presented by a team with manifold, coherent accomplishments. Machover has a command of expressive vocal gesture. Voices and electronic sound are well balanced, often with telling counterpoints. Diane Paulus’s staging and Alex McDowell’s scenes were dazzling in their inventions.” — Opera magazine, London “The technological triumph of linking voice to stage, and the acoustical instruments of the excellent orchestra to the synthesized instruments is impressive… Mr. Machover and his students invented magical machines. “ — Herald Tribune The libretto for Death and the Powers is written by U.S. Poet Laureate Robert Pinsky, story by Pinsky and Randy Weiner and directed by Diane Paulus, with choreography by Karole Armitage.