THE TEMPEST Program FINAL.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

THE TEMPEST Program FINAL.Pdf Anamarie Dwyer, Chair, Department of Theatre FULL-TIME FACULTY FULL-TIME STAFF Design Alicia Lawrence Efren Delgadillo Jr. Financial Analyst Garry D. Lennon Amanda Cleveland Daniel Weingarten Costume Shop Supervisor Amy Zapata Administrative Coordinator History/Criticism Brian Hashimoto Ah-Jeong Kim Scene Shop Supervisor David Del Mundo Academic Advisor Performance Eric White Christine Menzies Theatre Production Lead Coordinator J'aime Morrison Erica Gonzalez Larry Biederman Theatre Marketing & PR Associate Sonia Norris Mike Ziegler Sound and Lighting Shop Supervisor Stage Management Scott McKim Matthew Jackson Technical Director Facebook | www.facebook.com/TheatreCSUN Instagram | @theatrecsun Twitter | @theatrecsun csun.edu/theatre California State University, Northridge Mike Curb College of Arts, Media, and Communication Department of Theatre presents William Shakespeare's THE TEMPEST Directed by Christine Menzies Scenic/Video Designer Lighting Designer Efren Delgadilo Jr. R.S. Buck Costume Designer Sound Designer Elizabeth A. Cox "Nanook" Steven Burkholder Stage Manager Kevin van der Veen Little Theatre, Nordhoff Hall March 6 - 15, 2020 7:30pm, except Sundays at 2:00pm Parking on campus is by permit only. Permit machines available in parking lot B-1. Act I runtime: 85 mins | Act II runtime: 40 mins There will be one 15-minute intermission. ADVISORIES: THIS PRODUCTION FEATURES STROBE LIGHT EFFECTS. PHOTOGRAPHY, VIDEO OR AUDIO RECORDING OF THIS PRODUCTION IS STRICTLY PROHIBITED. ADVERTISE WITH US B E N E F I T S R E A C H 8 , 0 0 0 + phy gra hoto A U D I E N C E M E M B E R S to P imo ash y H to b Pho A D V E R T I S E I N A T O T A L O F 5 2 P E R F O R M A N C E S R E C E I V E C O M P L I M E N T A R Y T I C K E T S email: [email protected] for more information! DIRECTOR'S NOTE It is a challenge to conceptualize in our post-emancipation, post-colonial, post holocaust #METOO 21st century, some of Shakespeare’s plays as written – The Merchant of Venice, Taming of the Shrew, The Tempest. As a descendant of island slaves and several years’ education harnessed by colonial historic and intellectual precepts, simply reading The Tempest was challenging – one cannot help but ponder the bard’s intention in presenting such a conflicting portrait by endowing the most c ursed, persecuted, and abused character, Caliban, with some of the most beautiful and melodic language in the canon. In directing The Tempest, I was compelled first to tackle Shakespeare’s first inhabitants of the island, Caliban and Ariel. From my personal experience I can imagine their relationship with the Europeans to be paradoxical. I mirrored my own colonial and post-colonial island home by peopling this Tempest with iconic characters from the Caribbean’s Carnival culture. Caliban and Ariel have become clandestine tribes of the West African zombies and spirits – the Blue Devils who recreate and mock slavery and the mythical Bat, spirit giver and taker of malady. Vestiges o f the Midnight Robber, Dame Lorraine, Saga Boy, and Pierrot in other characters. Also the island’s “noises” replicate the sound, beat, and song of the Caribbean – drum, bamboo, a nimals, birds – including the illusive bell bird – flanking the meter of Shakespeare’s verse. I have made adjustments to language without sacrificing verse or plot. I needed to delve into the b etrayal of a brother from a female perspective, sharing with this Prospera the enormous pain and impossible effort it could take to forgive. Then in spite of political and personal struggle the h ope of new love. The current outcome is a work-in-progress, a sketch of notions and ideas that could be further fleshed out given another opportunity, more time and resources. Most importantly, the students involved have had the benefit of International Education in a form that most other departments are not to equipped to offer – embodiment through research and performance. Christine Menzies SPRING 2020 PRODUCTIONS Tickets: Associated Students Ticket Office (818) 677-2488 Ticketmaster.com csun.edu/theatre WHO'S WHO IN THE CAST Prospera............................................ Antonia Siena Miranda.............................................................. Jocelyn Soriano Ariel 1........................................................... Erick Daniel Castro Ariel 2.................................................................Brayan Ramirez Ariel 3.................................................................. Alexis Ramirez Ariel 4............................................................... Nathan Williams Caliban 1............................................................... Olive Hosken Caliban 2.................................................... Jonathan Thompson Caliban 3............................................................... Remi Truman Caliban 4................................................................. Fred Garcia Ferdinand................................................. Marco Antonio Torres Gonzalo.............................................................A..r..a..bi "AJ" Jarrah Antonio........................................................... Manuel Contreras Sebastian...................................................... Alfred Robinson IV Alonso.................................................................. Gabriel Meeks Trincula............................................................... Megan Broyles Stephano........................................................... Daniel McKinley Boatswain/Master.......................................G...e..n..a..ro "Jack" Reyes Adriana................................................................. Jules Ciociolo Francisca........................................................... Maya Hallowitz FOLLOW US! Facebook | www.facebook.com/TheatreCSUN Instagram | @TheatreCSUN Twitter | @TheatreCSUN #theatrecsun WHO'S WHO IN THE CAST Antonia Jocelyn Erick Daniel Brayan Siena Soriano Castro Ramirez Alexis Nathan Olive Fred Ramirez Williams Hosken Garcia Jonathan Remi Marco Antonio Arabi "AJ" Thompson Truman Torres Jarrah WHO'S WHO IN THE CAST Manuel Alfred Gabriel Megan Contreras Robinson Meeks Broyles Daniel Genaro "Jack" Jules Maya McKinley Reyes Ciociolo Hallowitz Please join the cast in the drumming procession at the end of the show. Where Young Adults Take Center Stage L I M I T E D S P A C E A V A I L A B L E ! R E G I S T E R B Y A P R I L 2 2 J U N E 1 5 - J U L Y 2 6 , 2 0 2 0 T A D W | 8 1 8 - 6 7 7 – 3 0 8 6 C S U N . E D U / T A D W PRODUCTION STAFF & CREW Department Chair ............................................................................................... Anamarie Gallardo de Dwyer Technical Director ........................................................................................................................ Scott McKim Production Manager ............................................................................................................ Matthew Jackson Assistant Director .................................................................................................................. Teryn Eikenberry Assistant Scenic Designer...................................................................................................... Leila Mirfakhraei Assistant Costume Designer........................................................................................................... Shiku Thuo Music and Songs................................................................................................................... Christine Menzies Singing Coaches .............................................................................................. Jules Ciociolo, Ashley Morales Faculty Mentor for Stage Management................................................................................. Matthew Jackson Assistant Stage Managers ..................................................................................... Ashley Morales, Jihae Son Scene Shop Supervisor .......................................................................................................... Brian Hashimoto Scene Shop Assistants .................................................................................... Josh Alvarado, Jack Anderson ................................................................................... Jose Anguiano, Gila Goodman, Rachel Lee, Erik Perez Scenic Crew ........................................................................................................ Myles Brown, Sergio Ramos Faculty Mentor for Property Design .................................................................................... Efren Delgadillo Jr. Prop Master .................................................................................................................................. Shen Heckel Prop Master Assistants .......................................................................................................... Sabree Edwards ................................................................................................................ Madison Stribling, Cecilia de la Torre Prop Crew ....................................................................................................... Kevin Barcinas, Jocelyn Govea Goddess Standards Designer .................................................................................................... Avery Hludzik Costume Shop Supervisor ...................................................................................... Amanda Cleveland-Davey Costume Shop Assistants
Recommended publications
  • “Savage and Deformed”: Stigma As Drama in the Tempest Jeffrey R
    “Savage and Deformed”: Stigma as Drama in The Tempest Jeffrey R. Wilson The dramatis personae of The Tempest casts Caliban as “asavageand deformed slave.”1 Since the mid-twentieth century, critics have scrutinized Caliban’s status as a “slave,” developing a riveting post-colonial reading of the play, but I want to address the pairing of “savage and deformed.”2 If not Shakespeare’s own mixture of moral and corporeal abominations, “savage and deformed” is the first editorial comment on Caliban, the “and” here Stigmatized as such, Caliban’s body never comes to us .”ס“ working as an uninterpreted. It is always already laden with meaning. But what, if we try to strip away meaning from fact, does Caliban actually look like? The ambiguous and therefore amorphous nature of Caliban’s deformity has been a perennial problem in both dramaturgical and critical studies of The Tempest at least since George Steevens’s edition of the play (1793), acutely since Alden and Virginia Vaughan’s Shakespeare’s Caliban: A Cultural His- tory (1993), and enduringly in recent readings by Paul Franssen, Julia Lup- ton, and Mark Burnett.3 Of all the “deformed” images that actors, artists, and critics have assigned to Caliban, four stand out as the most popular: the devil, the monster, the humanoid, and the racial other. First, thanks to Prospero’s yarn of a “demi-devil” (5.1.272) or a “born devil” (4.1.188) that was “got by the devil himself” (1.2.319), early critics like John Dryden and Joseph War- ton envisioned a demonic Caliban.4 In a second set of images, the reverbera- tions of “monster” in The Tempest have led writers and artists to envision Caliban as one of three prodigies: an earth creature, a fish-like thing, or an animal-headed man.
    [Show full text]
  • Sibelius the Tempest: Incidental Music/Finlandia/Karelia Suite - Intermezzo & Alla Marcia/Scenes Historiques/Festivo Mp3, Flac, Wma
    Sibelius The Tempest: Incidental Music/Finlandia/Karelia Suite - Intermezzo & Alla Marcia/Scenes Historiques/Festivo mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: The Tempest: Incidental Music/Finlandia/Karelia Suite - Intermezzo & Alla Marcia/Scenes Historiques/Festivo Country: Europe Released: 1990 Style: Romantic MP3 version RAR size: 1802 mb FLAC version RAR size: 1394 mb WMA version RAR size: 1218 mb Rating: 4.8 Votes: 236 Other Formats: MIDI AIFF DMF RA MP3 DTS MP2 Tracklist Hide Credits The Tempest: Incidental Music Op. 109b & C Orchestra – The Royal Philharmonic Orchestra 1 Caliban's Song 1:21 2 The Oak Tree 2:45 3 Humoresque 1:07 4 Canon 1:32 5 Scene 1:29 6 Berceuse 2:30 7 Chorus Of The Winds 3:24 8 Intermezzo 2:21 9 Dance of the Nymphs 2:11 10 Prospero 1:51 11 Second Song 1:00 12 Miranda 2:23 13 The Naiads 1:11 14 The Tempest 4:06 Festivo, Op. 25, No. 3 (from Scenes Historiques, 1) 15 7:45 Orchestra – The Royal Philharmonic Orchestra Scenes Historiques, 2 Engineer – Arthur ClarkOrchestra – The Royal Philharmonic Orchestra 16 The Chase, Op. 66 No. 1 6:34 17 Love Song, Op. 66 No. 2 4:56 18 At The Drawbridge, Op. No. 3 6:48 Karelia Suite Orchestra – BBC Symphony Orchestra 19 Intermezzo, Op. 11 No. 1 3:00 20 Alla Marcia, Op. 11 No. 3 4:32 Finlandia-Symphonic Poem Op. 26 21 Engineer – Arthur Clark*Orchestra – The London 8:54 Philharmonic OrchestraProducer – Walter Legge Credits Composed By – Jean Sibelius Conductor – Sir Thomas Beecham Cover – John Marsh Design Associates Remastered By [Digitally Remastered By] – John Holland Notes Tracks 1-14 - The copyright in these sound recordings is owned by CBS Records Inc, p)1956.
    [Show full text]
  • Valse Triste, Op. 44, No. 1
    Much of the Sibelius Violin Concerto’s beauty comes from its eccentricity — while it has elements of a traditional Romantic concerto, Sibelius constantly asks the musicians to play in quirky, counterintuitive ways, and often pits the soloist and orchestra against each other. BOB ANEMONE, NCS VIOLIN Valse triste, Op. 44, No. 1 JEAN SIBELIUS BORN December 8, 1865, in Hämeenlinna, Finland; died September 20, 1957, in Järvenpää, Finland PREMIERE Composed 1903; first performance December 2, 1903, in Helsinki, conducted by the composer OVERVIEW Though Sibelius is universally recognized as the Finnish master of the symphony, tone poem, and concerto, he also produced a large amount of music in the more intimate forms, including the scores for 11 plays — the music to accompany a 1926 production of Shakespeare’s The Tempest was his last orchestral work. Early in 1903, Sibelius composed the music to underscore six scenes of a play by his brother-in-law, Arvid Järnefelt, titled Kuolema (“Death”). Among the music was a piece accompanying the scene in which Paavali, the central character, is seen at the bedside of his dying mother. She tells him that she has dreamed of attending a ball. Paavali falls asleep, and Death enters to claim his victim. The mother mistakes Death for her deceased husband and dances away with him. Paavali awakes to find her dead. Sibelius gave little importance to this slight work, telling a biographer that “with all retouching [it] was finished in a week.” Two years later he arranged the music for solo piano and for chamber orchestra as Valse triste (“Sad Waltz”), and sold it outright to his publisher, Fazer & Westerlund, for a tiny fee.
    [Show full text]
  • Tchaikovsky Violin Concerto
    Tchaikovsky Violin Concerto Friday, January 12, 2018 at 11 am Jayce Ogren, Guest conductor Sibelius Symphony No. 7 in C Major Tchaikovsky Concerto for Violin and Orchestra Gabriel Lefkowitz, violin Tchaikovsky Violin Concerto For Tchaikovsky and The Composers Sibelius, these works were departures from their previ- ous compositions. Both Jean Sibelius were composed in later pe- (1865—1957) riods in these composers’ lives and both were pushing Johan Christian Julius (Jean) Sibelius their comfort levels. was born on December 8, 1865 in Hämeenlinna, Finland. His father (a doctor) died when Jean For Tchaikovsky, the was three. After his father’s death, the family Violin Concerto came on had to live with a variety of relatives and it was Jean’s aunt who taught him to read music and the heels of his “year of play the piano. In his teen years, Jean learned the hell” that included his disas- violin and was a quick study. He formed a trio trous marriage. It was also with his sister older Linda (piano) and his younger brother Christian (cello) and also start- the only concerto he would ed composing, primarily for family. When Jean write for the violin. was ready to attend university, most of his fami- Jean Sibelius ly (Christian stayed behind) moved to Helsinki For Sibelius, his final where Jean enrolled in law symphony became a chal- school but also took classes at the Helsinksi Music In- stitute. Sibelius quickly became known as a skilled vio- lenge to synthesize the tra- linist as well as composer. He then spent the next few ditional symphonic form years in Berlin and Vienna gaining more experience as a composer and upon his return to Helsinki in 1892, he with a tone poem.
    [Show full text]
  • Meteorological Phenomena in Western Classical Orchestral Music
    Meteorological phenomena in Western classical orchestral music Karen L. Aplin1 and Paul included only if other types of weather are to represent different meteorological events 2 represented in the same piece of music. will be discussed in more detail later in this D. Williams Vocal music has been excluded for a article. 1Department of Physics, University number of reasons. First, this restriction Another form of music which can explic- of Oxford reduces the number of works discussed: itly refer to weather is the ‘tone poem’. This 2Department of Meteorology, University inclusion of more musical genres would pro- is similar to programmatic music, but the of Reading duce a much longer list. Second, words in image intended is often referred to in the a piece of music also lead to a fundamental title of the piece without defining a change in character, since the music then sequence of events as clearly as programme Introduction becomes more specifically associated with music. An example of a tone poem is Out the words than is possible with a purely of the Mist by Elkington, a twentieth-century Weather Weather – November 2011, Vol. 66, No. 11 Depictions of the weather are common throughout the arts. For example, there has instrumental piece. Orchestral sections of British (female) composer. Operatic inter- been much discussion of meteorological vocal pieces, such as operas, and pieces that ludes that have become successful as stand- phenomena in the work of painters such as include voices but not words, have been alone orchestral pieces often include explicit Monet and Constable (e.g.
    [Show full text]
  • The Tempest and the Discourse of Colonialism
    SYDNEY STUDIES The Tempest and the Discourse of Colonialism G. A. WILKES If the study of Shakespeare itself can be viewed as an act of cultural imperialism, a play like The Tempest can readily be seen as a text which is complicit with colonial power. Prospero is the usurping invader, nervous about the legitimacy of his rule, and Caliban is the representative of the subjugated race, his language lessons seen as an attempt to eradicate his own culture, or to bring it under imperialist control. The best way of entry into this debate is still Stephen Greenblatt's essay of 1976, 'Learning to Curse: Aspects of Linguistic Colonialism in the Sixteenth Century', though its implications may not yet have been fully grasped. l Greenblatt begins with the prospect held out in Samuel Daniel's Musophilus (1599), that in the New World the 'unknowing Nations' are to be enriched with 'the treasure of our tongue', and in this vast civilizing process of the future, who can say What worlds in th' yet unformed Occident May come refin'd with th' accents that are ours? Greenblatt cites Spanish, Portuguese and English authorities to show the assumptions that underlie or accompany this prophecy: that the inhabitants of the new world were without a culture of their own; that they had no language, or else language at the level of gibberish; that they might conform to European conceptions of the Wild Man, or that they might be hardly distinguishable from beasts. Although Greenblatt adduces The Tempest for its exploration of these issues, he does not fit it to any paradigm.
    [Show full text]
  • Composers and Works List
    Composers and Works List Adams, John Coolidge (American, 1947-) Common Tones in Simple Time Grand Pianola Music Harmonielehre Shaker Loops The Chairman Dances Two Fanfares for Orchestra Adams, John Luther (American, 1953-) Dark Waves The Farthest Place The Light that Fills the World Addinsell, Richard Stewart (British, 1904-1977) A Christmas Carol Suite Warsaw Concerto Agapkin, Vasily Ivanovich (Russian, 1884-1964) Farewell to Slavianka Albéniz y Pascual, Isaac Manuel Francisco (Spanish, 1860-1909) Suite española, Op 47 Alexandrov, Alexander Vasilyevich (Russian, 1883-1946) Sacred War Soviet National Anthem Alfvén, Hugo Emil (Swedish, 1872-1960) Symphony 1, Op 7 Symphony 2, Op 11 Swedish Rhapsody 1, Op 19 'Midsummer Vigil' Symphony 3, Op 23 The Mountain King, Op 37 Symphony 4, Op 39 'From the Outermost Skerries' Andriessen, Hendrik Franciscus (Dutch, 1892-1981) Ricercare Symphony 2 Symphony 3 Andriessen, Jurriaan Hendrik (Dutch, 1925-1996) Rococo Concerto Antheil, George (American, 1900-1959) A Jazz Symphony Capital of the World Hot-Time Dance Jazz Sonata 4 Specter of the Rose Symphony 3 ‘American’ Symphony 4 ‘1942’ Symphony 5 Symphony 6 Arnič, Blaž (Slovenian, 1901-1970) Overture to a Comic Opera, Op 11 Symphony 5, Op 22 'Particularistic' Artyomov, Vyacheslav Petrovich (Russian, 1940-) Guria Hymn Requiem Atterberg, Kurt Magnus (Swedish, 1887-1974) Symphony 1, Op 3 Symphony 2, Op 6 Auerbach, Lera (Russian-American, 1974-) Icarus, symphonic poem Symphony 1 ‘Chimera’ Bach, Johann Sebastian
    [Show full text]
  • Weather-Inspired Classical Orchestral Music 29/05/2012
    Weather-inspired classical orchestral music 29/05/2012 Click here to link to the article about this table composer title Year Nationality Storm (Frontal)ThunderstormRain Fog/Mist Cloud Sun Wind/Calm Snow/Ice Optical PhenomenaFair WeatherType Nationality Bax November Woods 1917 British x tone poem British Beamish Sally The Imagined Sound of sun on Stone 2000 British x concerto British Beethoven Symphony no. 6 / Allegro 1808 German x symphony German Berlioz Symphonie Fantastique/ Scene in the Fields 1830 French x x French Berlioz Royal Hunt and Storm/The Trojans 1858 French x x operatic interlude Brian Symphony no. 10 / Scherzo 1954 British x x overture British Bridge The Sea / Seascape 1911 British x x symphony British Bridge The Sea / Moonlight 1911 British x x tone poem Bridge The Sea / Storm 1911 British x tone poem Britten Four Sea Interludes / Storm 1945 British x operatic interludeBritish Debussy La Mer/ Dialogues of wind and sea 1905 French x tone poem Debussy Nuages/Nocturnes 1899 French x tone poem French Delius Song of Summer 1931 British x x film score British d'Indy Jour d’été à la montagne 1905 French x x x tone poem d'Indy Diptyque méditerranéen 1926 French x symphony French Elkington Out of the Mist 1921 British x tone poem British Gough Orlando Traditional Values / Brollie Brits 2012 British x overture British Grime Helen Virga 2011 British x overture British Grofe Grand Canyon Suite / Cloudburst 1931 American x x x tone poem American Henze Symphony no. 6 1969 German x symphony German Klami Uuno Aurora Borealis op 38 1938 Finnish x symphony Klami Uuno Sea Pictures / 3 Bf 1931 Finnish x symphony Klami Uuno Sea Pictures / Foggy Morning 1931 Finnish x tone poem Finnish Ligeti Gyorgy Clocks and Clouds 1972 Hungarian x Hungarian Maxwell Davies Symphony no.
    [Show full text]
  • Shakespeare Program For
    GENEVA CONCERTS presents Syracuse Symphony Orchestra Shakespeare in Music Thursday, November 2, 2006 • 8:15 p.m. Smith Opera House GENEVA CONCERTS, INC. 2006-2007 SEASON Friday, 29 September 2006, 8:15 p.m. State Street Ballet of Santa Barbara Carmen A passionate story of lust, treachery and fate, based on the fabled temptress of Seville, told in ballet and set to the music of Georges Bizet. Thursday, 2 November 2006, 8:15 p.m. Syracuse Symphony Orchestra Daniel Hege, conductor “Shakespeare in Music” Walton, Mendelssohn, Sibelius, Strauss Saturday, 20 January 2007, 8:15 p.m. Cantus One of America’s finest professional male vocal ensembles, Cantus’ repertoire spans many periods and genres including Gregorian chant, Renaissance motets, contemporary works, art songs, folk music, spirituals, and pop. Friday, 9 March 2007, 8:15 p.m. Rochester Philharmonic Orchestra Pinchas Zukerman, conductor and violin Ariana Ghez, oboe Bach, Stravinsky, Elgar Friday, 30 March 2007, 8:15 p.m. Hesperus “The Buxtehude Project” Saturday, 21 April 2007, 8:15 p.m. Syracuse Symphony Orchestra Ron Spigelman, conductor Allen Vizzutti, trumpet De Falla, Vizzutti, Bernstein, Copland Performed at the Smith Opera House, 82 Seneca Street, Geneva, NY These concerts are made possible, in part, with public funds from the New York State Council on the Arts, a state agency, and by a continuing subscription from Hobart and William Smith Colleges. GENEVA CONCERTS, INC. Thursday, November 2, 2006 • 8:15 p.m. Syracuse Symphony Orchestra Daniel Hege, Music Director Shakespeare in Music Daniel Hege, conductor Malcolm Ingram, special guest Janet Brown, soprano Kristen Lloyd, soprano Bridget Moriarty, mezzo-soprano WILLIAM WALTON Overture to Henry V 1902-1983 FELIX MENDELSSOHN Incidental Music to A Midsummer 1809-1847 Night’s Dream, Op.
    [Show full text]
  • Yhtenäistetty Jean Sibelius Teosten Yhtenäistettyjen Nimekkeiden Ohjeluettelo
    Suomen musiikkikirjastoyhdistyksen julkaisusarja 115 Yhtenäistetty Jean Sibelius Teosten yhtenäistettyjen nimekkeiden ohjeluettelo Heikki Poroila Suomen musiikkikirjastoyhdistys Helsinki 2012 Julkaisija: Suomen musiikkikirjastoyhdistys Layout Heikki Poroila Kuva Akseli Gallén-Kallela © Heikki Poroila 2012 Neljäs tarkistettu laitos (verkkoversio 2.2) kesäkuu 2015. Suomen kirjastosäätiö on tukenut tämän verkkojulkaisun valmistamista. 01.4 Poroila, Heikki Yhtenäistetty Jean Sibelius : Teosten yhtenäistettyjen nimekkeiden ohjeluettelo. - Neljäs tarkistettu laitos. – Helsinki : Suomen musiikkikirjastoyhdistys, 2012. – 75 s. : kuv. – (Suomen musiikkikirjastoyhdistyksen julkaisusarja, ISSN 0784-0322 ; 115). – ISBN 952- 5363-14-7. ISBN 952-5363-14-7 (PDF) Yhtenäistetty Jean Sibelius 2 Lukijalle Tällä Sibelius-luettelolla on ollut kaksi varhaisempaa paperille painettua olomuotoa. Ensimmäinen versio ilmestyi jo vuonna 1989 tilanteessa, jossa kansallissäveltäjämme tuotannon perusteellinen tutkimus ja kunnollisen teosluettelon valmistaminen oli paradoksaalisesti vasta käynnistynyt. Ohje- luetteloa kootessani tiesin monien asioiden tulevaisuudessa muuttuvan, mutta perusluettelon tarvetta ei voinut kiistää. Kun toinen, korjattu painos vuonna 1996 ilmestyi, ratkaiseva askel tutkimuspuo- lella oli jo otettu. Fabian Dahlström oli saanut teosluettelonsa niin pitkälle, että oli kyennyt nume- roimaan opusnumerottomat teokset JS-koodilla. Tämä oli jo riittävä syy uuden laitoksen valmista- miseen, mutta samalla päästiin korjaamaan lukuisia virheitä ja epäjohdonmukaisia
    [Show full text]
  • SIBELIUS, Johan (Jean) Christian Julius (1865-1957)
    BIS-CD-1265 Sib cantatas 7/12/04 10:04 AM Page 2 SIBELIUS, Johan (Jean) Christian Julius (1865-1957) 1 Snöfrid, Op. 29 (1900) (Wilhelm Hansen) 14'15 Improvisation for recitation, mixed chorus and orchestra Text: Viktor Rydberg Allegro molto – Andantino – Melodrama. Pesante – Andante (ma non troppo lento) Stina Ekblad narrator Jubilate Choir (choral direction: Astrid Riska) 2 Overture in A minor for orchestra, JS 144 (1902) (Fazer) 9'13 Andante molto sostenuto – Allegro – Tempo I Cantata for the Coronation of Nicholas II, JS 104 (1896) (Manuscript) 18'37 (Kantaatti ilo- ja onnentoivotusjuhlassa Marraskuun 2. päivänä 1896) for mixed chorus and orchestra Text: Paavo Cajander 3 I. Allegro. Terve nuori ruhtinas… 8'33 4 II. Allegro. Oikeuden varmassa turvassa… 9'58 Jubilate Choir (choral direction: Astrid Riska) 2 BIS-CD-1265 Sib cantatas 7/12/04 10:04 AM Page 3 Rakastava, Op. 14 ( [1894]/1911-12) (Breitkopf & Härtel) 12'18 for string orchestra, timpani and triangle 5 I. The Lover. Andante con moto 4'06 6 II. The Path of His Beloved. Allegretto 2'26 7 III. Good Evening!… Farewell! Andantino – Doppio più lento – Lento assai 5'34 Jaakko Kuusisto violin • Ilkka Pälli cello 8 Oma maa (My Own Land), Op. 92 (1918) (Fazer) 13'26 for mixed chorus and orchestra Text: Kallio (Samuel Gustaf Bergh) Allegro molto moderato – Allegro moderato – Vivace (ma non troppo) – Molto tranquillo – Tranquillo assai – Moderato assai (e poco a poco più largamente) – Largamente assai Jubilate Choir (choral direction: Astrid Riska) 9 Andante festivo, JS 34b (1922/1938) for strings and timpani (Fazer) 5'10 TT: 74'48 Lahti Symphony Orchestra (Sinfonia Lahti) (Leader: Jaakko Kuusisto) Osmo Vänskä conductor 3 BIS-CD-1265 Sib cantatas 7/5/04 10:31 AM Page 4 Snöfrid, Op.
    [Show full text]
  • Scandinavian Review Nielsen and Sibelius at 150 Autumn—2015
    SCANDINAVIAN REVIEW | Denmark | Finland | Iceland | Norway | Sweden | Nielsen & Sibelius at 150 Autumn 2015 Carl Nielsen Together with Norway’s Jean Sibelius Edvard Grieg, Carl Nielsen and Jean Sibelius are the foremost composers the Nordic countries have ever produced. The two are very different, but they at least share the same year of birth— 1865. NNielsenielsen andand SSibeliusibelius atat 150150 By Daniel M. Grimley YC N M NGER, NGER, A R G RTI / O IELSEN MUSEU GLI A N RL A HE C T PHOTO: 6 SCANDINAVIAN REVIEW AUTUMN 2015 / A. D DE AGOSTINI AUTUMN 2015 SCANDINAVIAN REVIEW 7 Both Nielsen (above) and Sibelius excelled in the field of large-scale orchestral music, but Sibelius (above) and Nielsen first met as students in Berlin in the early 1890s, and remained were equally adept in other genres. friends and colleagues for much of their professional careers. HERE ARE MANY REASONS TO ADMIRE THE LIVES AND WORKS Their strikingly divergent responses to this musical challenge, however, point of the two great Nordic composers, Jean Sibelius and Carl Nielsen, not only to profound differences of political context and cultural geography, Twell beyond celebrating the historical coincidence of their anniversary but also to their respective characters and temperaments. Casting even a year. Few composers can evoke an equivalent sense of time and place with cursory glance at the music of Sibelius and Nielsen is to acknowledge their such vivid intensity. It is difficult to name comparable figures that have been role in a remarkable wave of artistic and intellectual talent in the Nordic so intimately bound up with the formation and promotion of their countries’ region—the “breakthrough” decades of Munch, Strindberg, Gallen-Kallela, musical identities, even if both Nielsen and Sibelius struggled at times with Schjerfbeck, Lagerlöf, Bohr, and others—and to signal their essential impor- the burden that the role of “national composer” inevitably imposed.
    [Show full text]