DOCSLIB.ORG

Tanglewadd Music Center

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tanglewadd Music Center TanglewaDd Music R A M Center 50th Anniversary Season TANGLEWOOD MUSIC CENTER ORCHESTRA Fifth Concert Sunday, July 29, 1990 at 8:30 P.m. Theatre Concert Hall Elliott Carter Remembrance (1988) (b. 1908) (In Memory of Paul Fromm) Mendelssohn Overture to "A Midsummer Night's Dream," Op. 21 Stefan Anton Reck, conductor Sinzheim, West Germany Stravinsky "Chant du Rossignol" (Symphonic Poem) Stefan Asbury, conductor Oxford, England Intermission Schumann Symphony in E-flat Major, Op. 97 ("Rhenish") Vivace Scherzo Moderato Maestoso Vivace Roger Norrington, conductor This program was prepared under the supervision of Oliver Knussen, Gustav Meier and Roger Norrington. BALDWIN PIANO "Our problem is to help artists with good training and knowledge to acquire a penetrating and vivid conception of the music they create and interpret; to stir their imagination to new heights and new depths, because imagination invokes in the creator and interpreter the right intuition and emotions to conceive the inner meaning of their art . We want to be modest in our prom- ises. But by no means do we want to be modest in our aspirations. We are confident that our students will receive the very best of our ability and practical experience, as well as our spiritual guidance." Serge Koussevitzky Opening Exercises, 1941 Serge Koussevitzky's dream of a community devoted to the service of music rests firmly on the commit- ment of senior artists to share their wisdom and experience with young musicians. For fifty years the program Koussevitzky founded in 1940 has helped young musicians enter the profession alongside their more experienced colleagues. The teaching and performance activities of the Music Center are supported by the following permanently endowed Chairs and endowment funds: Berkshire Chair — Roger Voisin Dr. and Mrs. Edward L. Bowles Chair — Fenwick Smith Richard Burgin Chair — Eugene Lehner Charles E. Culpeper Chair (Chairman of the Faculty) — Gilbert Kalish Georges & Renee Longy Chair, a gift of Jane & John Goodwin — Dennis Helmrich Marian Douglas Martin Chair, endowed by Marilyn Brachman Hoffman — Peter Serkin Beatrice Sterling Procter Chair — Louis Krasner Sana H. Sabbagh and Hasib J. Sabbagh Chair — Gustav Meier Surdna Foundation Chair — Edwin Barker Eleanor Naylor Dana Visiting Artist Fund Paul Jacobs Memorial Commissioning Fund Louis Krasner Fund for Teaching & Performance, established by Marilyn Brachman Hoffman Northern California Audition Fund The Friends of Music at Tanglewood are invited to all concerts of the Tanglewood Music Center with a Family Season Membership of $75 or an Individual Season Membership of $50. Others attending each TMC event are asked to contribute a minimum of $5.00 at the gate, $6.00 for orchestra concerts. The Tanglewood Music Center is also supported by a grant from the National Endowment for the Arts. Program Notes Carterjborn 11 December 1908) - Remembrance (19881 Elliott Carter created Remembrance as a memorial tribute to Paul Fromm, a long-time supporter of contemporary music at Tanglewood and elsewhere. Fromm's influence was felt by every major American composer and every serious listener. The Fromm Foundation's commissioning of Carter's Double Concerto, funded with the assurance that the premiere performance would be sterling, was just one cause for Carter's gratitude to Fromm. The composer has provided the following note: "Remembrance, a short monologue for trombone and orchestra, invokes the memory of the late Paul Fromm, America's outstanding supporter of contemporary music. His commissioning of new works, his sub- sidizing of performance of new music, and his scholarships for young performers of it made a lasting contribution to American musical life..." Remembrance was commissioned by the Fromm Foundation for the Tanglewood Music Center. Composed in March 1988, the work was premiered by the TMC Orchestra under Oliver Knussen at the TMC Festival of Contemporary Music on 10 August 1988. In this composition, one continues to find a key characteristic of Carter's mature work - his ability to treat each instrument as a character in an ongoing musical drama. Mendelssohn (13 February 1809 - 4 November 1847) - Overture to A Midsummer Night's Dream This overture to William Shakespeare's famous play was composed in 1826 for a performance (in a 4-hand piano version) in the Mendelssohns' Berlin home. It was an example of Felix Mendelssohn-Bartholdy's amazing talent as a composer prodigy; he was seventeen years old when he completed this work. It was first presented in public at Strettin (Sczcecin) in February 1827. Seventeen years passed before Mendelssohn returned to compose thirteen additional pieces of incidental music for the entire play. The first performance of the completed work was on 14 October 1843 in the Royal Palace at Potsdam. Mendelssohn was a devoted admirer of Shakespeare's contributions to English literature. The Overture sets the mood for the whole play, with the first act describing the dilemma of mismated lovers, the second depicting Shakespeare's world of fairies and dreams, and finally, the last act solving and reordering the relationships of the lovers to the happy strains of the famous Wedding March. The virtuoso wind and string writing in the Overture continues to pose challenges to modern orchestras. Stravinsky (17 June 1882 - 6 April 1971) - The Song of the Nightingale (Le Chant du Rossignol Igor Stravinsky adapted music from his opera The Nightingale to create this work, a symphonic poem. Completed in 1917, The Song of the Nightingale was premiered in Geneva on 6 December 1919 with Ernest Ansermet conducting the Orchestre de la Suisse Romande. The opera, The Nightingale, was based upon Hans Christian Andersen's fairy tale of the same name. It is the story of a nightingale who sings beautifully to a Chinese fisherman and is then brought to Europe to sing for an Emperor. Initially the Emperor is enchanted with the song of this beautiful bird. Three Japanese envoys present the Emperor with a mechanical nightingale as a gift but it does not sing as sweetly. The real nightingale escapes and the Emperor banishes the mechanical bird from the kingdom. In the final scene, the Emperor is on his deathbed when the real nightingale returns to sing to him. This magical song drives Death away and restores the Emperor to life. In 1917, Diaghilev suggested that this opera be remounted as a ballet, and Stravinsky responded by creating a symphonic poem based on the second and third acts. The original vocal line for soprano was replaced by the solo flute and violin. The mechanical nightingale is represented by the solo oboe. The score closes with a Funeral March which is interrupted when the Emperor's life is restored. Schumann (8 June 1810 - 29 July 1856) - Symphony No. 3 "Rhenish" Robert Schumann's E-flat Symphony brims with much energy and color. Despite the fact that the name "Rhenish" suggests music depicting the beautiful Rhine valley, Schumann did not intend this symphony to be considered as program music. Of special interest is the fourth movement, originally labelled by Schumann "in the character of a solemn ceremony"; he later withdrew this marking. It has been suggested that Schumann was inspired to write this movement as the result of a trip that he and his wife Clara took down the Rhine. During the trip, in Cologne, the two witnessed the enthronement of Cardinal Archbishop Geissel (30 September 1850). Schumann was fascinated by the gigantic Gothic cathedral with all its architectural intricacies. Overall, this five-movement work is a tribute to the genius of a man inspired - the sheer speed with which he created the music still astonishes us. Schumann began this Symphony on 2 November 1950 and completed the entire score just over one month later on 9 December! Program notes compiled by Thomas E. Reynolds, TMC Librarian. ORCHESTRA PERSONNEL (Winds, brass and percussion listed alphabetically) '40 First violins Cellos Horns Min-Young Kim Karen Krummel Lisa Aplikowski Francine Trester Alexander Ezerman Nancy Billman David Denniston Wen Qian Gianna Abondolo Jennifer Dugle Jennifer Carsillo Brent Samuel Jennifer Scriggins Jill Wilson Keiko Shibota Margaret Parkins Timothy Schwarz Laura Koehl Trumpets Yu Yuan Achim Melzer Ying Jiang Darrett Adkins Wayne duMaine Clark Irwin Jessica Wakefield Charles Jacot Rodney Mack Mahoko Eguchi Eileen Moon Paul Merkelo Matthew Sonneborn Steven Frucht Hilary Metzger Melissa Kleinbart Amy Controulis Trombones Ann Shiau Ellen Pendleton Basses Brian Diehl Jon Etterbeek Yayoi Hasegawa Paul Sharpe Douglas Wright *Jason Uyeyama Dianna Richardson Stephen Schermer Bass trombone Second violins Jean Posekany Scott Cochran Wendy Putnam Jonathan Imsande Josefina Vergara Walter Schick Tuba Janice Graham Kilian Forster Sarah Roth *Ian Mitchell Anthony Kniffen Gabrielle Shek Susanne Ebner Flutes Percussion Seiko Sato Jane Garvin Riely Francis Andrea Schultz Dita Krenberga Timothy Genis Daniel Pailthorpe J. Scott Jackson Liana Zaretsky John Thorne Gabriela Jimenez Rui-Tong Wang Lisa Wienhold John Piskora Eric Schweikert Adrianna Hulscher Yoshiko Kawamoto Oboes Harps Mbvses Pogossian Washington Barella *Julie Rogers Gustav Highstein Licia Jaskunas Phillip Koch Emily Laurance Thomas Nugent Violas Paul Opie Piano Joan DerHovsepian Ayako Nitta Clarinets Olga Gross Predrag Muzijevic Jenny Douglass Daniel Gilbert Judith Ablon Vann Gary Ginstling Marianne Gythfeldt Celesta Ralph Farris Jerothe Simas Daniel Panner Jo-Ann Sternberg Olga Gross. Noriko Hayashi Tatjana Mead Terri Van Valkinburgh Bassoons Librarian Jennifer Stahl John Clouser Stephen Werczynski Susan Heineman John Grande Kristen Marks Stefanie Taylor Daniel Matsukawa David criliggle Kristin Wolfe Orchestra Manager Harry Shapiro Stage Manager *MeMber, Boston University Tanglewood Christopher A. Schaetzly Institute .
Load more

Recommended publications
  • Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
    Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys.
    [Show full text]
  • Chamber Music Society of Lincoln Center
    Chamber Music Society of Lincoln Center Saturday, April 18, 2015 8 p.m. 7:15 p.m. – Pre-performance discussion Regina A. Quick Center for the Arts www.quickcenter.com ~INTERMISSION~ COPLAND ................................ Two Pieces for Violin and Piano (1926) K. LEE, MCDERMOTT ANNE-MARIE MCDERMOTT, piano STRAVINSKY ................................Concertino for String Quartet (1920) DAVID SHIFRIN, clarinet AMPHION STRING QUARTET, HYUN, KRISTIN LEE, violin SOUTHORN, LIN, MARICA AMPHION STRING QUARTET KATIE HYUN, violin DAVID SOUTHORN, violin COPLAND ............................................Sextet for Clarinet, Two Violins, WEI-YANG ANDY LIN, viola Viola, Cello, and Piano (1937) MIHAI MARICA, cello Allegro vivace Lento Finale STRAVINSKY ..................................... Suite italienne for Cello and Piano SHIFRIN, HYUN, SOUTHORN, Introduzione: Allegro moderato LIN, MARICA, MCDERMOTT Serenata: Larghetto Aria: Allegro alla breve Tarantella: Vivace Please turn off cell phones, beepers, and other electronic devices. Menuetto e Finale Photographing, sound recording, or videotaping this performance is prohibited. MARICA, MCDERMOTT COPLAND ...............................Two Pieces for String Quartet (1923-28) AMPHION STRING QUARTET, HYUN, SOUTHORN, LIN, MARICA STRAVINSKY ............................Suite from Histoire du soldat for Violin, Clarinet, and Piano (1918-19) The Soldier’s March Music to Scene I Music to Scene II Tonight’s performance is sponsored, in part, by: The Royal March The Little Concert Three Dances: Tango–Waltz–Ragtime The Devil’s Dance Great Choral Triumphal March of the Devil K. LEE, SHIFRIN, MCDERMOTT Notes on the Program by DR. RICHARD E. RODDA Two Pieces for String Quartet Aaron Copland Suite italienne for Cello and Piano Born November 14, 1900 in Brooklyn, New York. Igor Stravinsky Died December 2, 1990 in North Tarrytown, New York.
    [Show full text]
  • Serge Diaghilev/Serge Lifar Collection [Finding Aid]. Library of Congress
    Serge Diaghilev/Serge Lifar Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2006 Revised 2012 November Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu003011 LC Online Catalog record: http://lccn.loc.gov/2006568220 Processed by the Music Division of the Library of Congress Collection Summary Title: Serge Diaghilev/Serge Lifar Collection Span Dates: 1750-1950 Bulk Dates: (bulk 1890-1929) Call No.: ML31.D53 Creator: Diaghilev, Serge, 1872-1929 Extent: around 1,350 items ; 81 boxes ; 91 linear feet Language: Collection material in English, French, and Russian Location: Music Division, Library of Congress, Washington, D.C. Summary: This collection is comprised in large part of printed music, widely representing 18th century Italian and 19th century Russian operatic music. Includes rare pre-revolutionary editions of Russian folk songs, annotated performance scores of Stravinsky, Mussorgsky, Rimsky-Korsakov, Gounod, Cimarosa. Non-musical materials include three letters from S. Prokofiev to S. Diaghilev, rare edition of books on music, literature and theater, libretti and synopses, souvenir books and programs and photographs. Several of the programs and photographs show Léon Bakst's set and costume designs. Non- musical materials also include Diaghilev’s personal notebook, containing entries in French, Russian, and English made in 1926-1929. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein.
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • Cristian Macelaru Conductor Yefim Bronfman Piano Debussy Prelude
    Please note that Pierre Boulez has withdrawn from these concerts due to illness. the Cso welcomes Cristian macelaru, who has graciously agreed to conduct. Please note that Bartók’s Divertimento for string orchestra replaces messiaen’s Chronochromie. Program oNe HuNDreD TweNTY-SeCoND SeASoN Chicago symphony orchestra riccardo muti Music Director Pierre Boulez Helen regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, March 7, 2013, at 8:00 Saturday, March 9, 2013, at 8:00 Tuesday, March 12, 2013, at 7:30 Cristian macelaru Conductor Yefim BronfmanPiano Debussy Prelude to The Afternoon of a Faun Bartók Piano Concerto No. 2 Allegro Adagio—Presto—Adagio Allegro molto YefiM BroNfMAN IntermIssIon Bartók Divertimento for String orchestra Allegro non troppo Molto adagio Allegro assai stravinsky The Song of the Nightingale CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PhilliP huscher Claude Debussy Born August 22, 1862, Saint-Germain-en-Laye, France. Died March 25, 1918, Paris, France. Prelude to The Afternoon of a Faun he year Debussy returned to and the lively exchange of ideas, TParis from Rome—where and in time he and Mallarmé he unhappily served time as the became friends. In 1898, he was upshot of winning the coveted Prix among those first notified of the de Rome—he bought a copy of poet’s death. Stéphane Mallarmé’s The Afternoon Mallarmé’s poem, The Afternoon of a Faun to give to his friend Paul of a Faun, was published in 1876, Dukas, who didn’t get beyond the in a slim, elegantly bound volume preliminary round of the competi- with a line drawing by Edouard tion.
    [Show full text]
  • Mengjiao Yan Phd Thesis.Pdf
    The University of Sheffield Stravinsky’s piano works from three distinct periods: aspects of performance and latitude of interpretation Mengjiao Yan A thesis submitted for the degree of Doctor of Philosophy Department of Music The University of Sheffield Jessop Building, Sheffield, S3 7RD, UK September 2019 1 Abstract This research project focuses on the piano works of Igor Stravinsky. This performance- orientated approach and analysis aims to offer useful insights into how to interpret and make informed decisions regarding his piano music. The focus is on three piano works: Piano Sonata in F-Sharp Minor (1904), Serenade in A (1925), Movements for Piano and Orchestra (1958–59). It identifies the key factors which influenced his works and his compositional process. The aims are to provide an informed approach to his piano works, which are generally considered difficult and challenging pieces to perform convincingly. In this way, it is possible to offer insights which could help performers fully understand his works and apply this knowledge to performance. The study also explores aspects of latitude in interpreting his works and how to approach the notated scores. The methods used in the study include document analysis, analysis of music score, recording and interview data. The interview participants were carefully selected professional pianists who are considered experts in their field and, therefore, authorities on Stravinsky's piano works. The findings of the results reveal the complex and multi-faceted nature of Stravinsky’s piano music. The research highlights both the intrinsic differences in the stylistic features of the three pieces, as well as similarities and differences regarding Stravinsky’s compositional approach.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Notes on the Oedipus Works
    Notes on the Oedipus Works Matthew Aucoin The Orphic Moment a dramatic cantata for high voice (countertenor or mezzo-soprano), solo violin, and chamber ensemble (15 players) The story of Orpheus is music’s founding myth, its primal self-justification and self-glorification. On Orpheus’s wedding day, his wife, Eurydice, is fatally bitten by a poisonous snake. Orpheus audaciously storms the gates of Hell to plead his case, in song, to Hades and his infernal gang. The guardians of death melt at his music’s touch. They grant Eurydice a second chance at life: she may follow Orpheus back to Earth, on the one condition that he not turn to look at her until they’re above ground. Orpheus can’t resist his urge to glance back; he turns, and Eurydice vanishes. The Orpheus myth is typically understood as a tragedy of human impatience: even when a loved one’s life is at stake, the best, most heroic intentions are helpless to resist a sudden instinctive impulse. But that’s not my understanding of the story. Orpheus, after all, is the ultimate aesthete: he’s the world’s greatest singer, and he knows that heartbreak and loss are music’s favorite subjects. In most operas based on the Orpheus story – and there are many – the action typically runs as follows: Orpheus loses Eurydice; he laments her loss gorgeously and extravagantly; he descends to the underworld; he gorgeously and extravagantly begs to get Eurydice back; he is granted her again and promptly loses her again; he laments even more gorgeously and extravagantly than before.
    [Show full text]
  • The Artists Gustavo Gimeno Returns Next
    Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director Friday, June 28, 2019 at 7:30pm Saturday, June 29, 2019 at 7:30pm Sunday, June 30, 2019 at 3:00pm Gustavo Gimeno, conductor Jonathan Crow, violin Jean Sibelius Violin Concerto in D Minor, Op. 47 (rev. 1905) I. Allegro moderato II. Adagio di molto III. Allegro, ma non tanto Intermission Sergei Prokofiev Symphony No. 1 in D Major, Op. 25 “Classical” I. Allegro con brio II. Larghetto III. Gavotte: Non troppo allegro IV. Finale: Molto vivace Igor Stravinsky Suite from The Firebird (rev. 1945) Stay in your seats after Introduction each performance of Prelude & Dance of the Firebird The Firebird for a special Variations (Firebird) onstage conversation Pantomime I with incoming Music Pas de deux (Firebird & Ivan Tsarevitch) Director Gustavo Gimeno, Pantomime II Concertmaster Jonathan Scherzo (Dance of the Princesses) Crow, and TSO Chief Pantomime III Executive Officer Rondo: Chorovod Matthew Loden. Infernal Dance (King Kastchei) Lullaby (Firebird) Final Hymn The performance on June 29 is generously supported by Bettie Moore in memory of Donald Moore. As a courtesy to musicians, guest artists, and fellow concertgoers, please put your phone away and on silent during the performance. JUNE 28, 29 & 30, 2019 35 ABOUT THE WORKS Jean Sibelius Violin Concerto in D Minor, Op. 47 Born: Hämeenlinna, Finland, December 8, 1865 31 Died: Järvenpää, Finland, September 20, 1957 min Composed: 1903 (rev. 1905) “Dreamt I was twelve years old and a virtuoso,” The second movement is melancholy and Sibelius confided to his diary, in 1915, at the elegiac in character, concise but dramatic age of 50; becoming a famous virtuoso violinist in form.
    [Show full text]
  • Classic Terms
    Classic Terms Alberti Bass: "Broken" arpeggiated triads in a bass line, common in many types of Classic keyboard music; named after Domenico Alberti (1710-1740) who used it extensively but did not invent it. Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Bel Canto: (Italian for "beautiful singing") An Italian singing tradition primarily in opera seria and opera buffa in the late17th- to early-19th century. Characterized by seamless phrasing (legato), great breath control, flexibility, tone, and agility. Most often associated with singing done in the early-Romantic operas of Rossini, Bellini and Donizetti. Cadenza: An improvised or written-out ornamental virtuosic passage played by a soloist in a concerto. In Classic concertos, a cadenza occurs at a dramatic moment before the end of a movement, when the orchestra stops so the soloist can play in free time, and then after the cadenza is finished the orchestra reenters to bring the movement to its conclusion. Castrato The term for a male singer who was castrated before puberty to preserve his high soprano range (this practice in Italy lasted until the late 1800s). Today, the rendering of castrato roles is problematic because it requires either a male singing falsetto (weak) or a mezzo-soprano (strong, but woman must impersonate a man). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Empindsam: (German for "sensitive") The term used to describe a highly-expressive style of German pre- Classic/early Classic instrumental music, that was intended to intensely express true and natural feelings, featuring sudden contrasts of mood.
    [Show full text]
  • Igor Stravinsky
    A PORTRAIT Igor Stravinsky 1882–1971 Igor Stravinsky: A Portrait Preface Among the carefully adapted transcriptions of conversations between the veteran Stravinsky and Robert Craft, there is one especially telling passage. Referring to his 1920 ballet Pulcinella, the composer recalls the reaction to his arrangements of Pergolesi and other eighteenth-century musicians: People who had never heard of, or cared about, the originals cried ‘sacrilege’: ‘The classics are ours. Leave the classics alone.’ To them all my answer was and is the same: You ‘respect’, but I love. A great genius’s love for all his models is what lies at the heart of Stravinsky’s creativity. (It is worth noting that although he was apt to put inverted commas around the word ‘heart’, Stravinsky leaves the word ‘love’ to stand unqualified in the above quotation.) He made everything he touched become his own, whether it was the lush nationalist influence of his teacher Rimsky-Korsakov, or the extreme refinement of Anton Webern, whose music he discovered so late in life. No theme was deemed too cheap or outlandish a subject for transformation, and his inspiration was wide-ranging. Prokofiev thought him a disgraceful thief for pilfering other ballet composers’ ideas in Apollo, but Stravinsky’s genuine admiration for composers as unlikely as Gounod and Delibes was unlimited. Hungarian and Greek folk music, the antics of the music hall 4 Igor Stravinsky: A Portrait entertainer Little Tich, and the jazz trumpeting of Shorty Rogers: all these were grist to his creative mill. As the awed conductors who welcomed the eighty-year-old Stravinsky back to Russia so eloquently wrote at the time, the only figure with whom he could be compared was Picasso.
    [Show full text]
  • Igor Stravinsky, One of the Greatest Masters of Modern Music, Was Born in Oranienbaum, Near St
    FROM: AMERICAN BALLET THEATRE 890 Broadway New York, New York 10003 (212) 477-3030 Kelly Ryan IGOR (FEDOROVITCH) STRAVINSKY Igor Stravinsky, one of the greatest masters of modern music, was born in Oranienbaum, near St. Petersburg, on June 17, 1882. The son of a famous bass singer at the Imperial Opera, Feodor Stravinsky, he was raised in an artistic atmosphere. He studied law until age nineteen, when Rimsky- Korsakov in Heidelberg encouraged him to study composition seriously and he studied theory with Kalafati. In 1907, Stravinsky studied with Rimsky-Korsakov in St. Petersburg and on January 22, 1908, his first symphony, which showed a mastery of technique, was performed in St. Petersburg. This was followed on February 29, by his critically successful set of songs for mezzo-soprano and orchestra, Le Faune et la Bergere. In celebration of Maxmillian Steinberg's marriage to Rimsky-Korsakov's daughter (June 17, 1908), Stravinsky wrote an orchestral fantasy, Feu d'artifice, and when Rimsky-Korsakov died a few days later, he wrote a threnody as a tribute. Stravinsky's next orchestral work, Scherzo fantastique, was performed in St. Petersburg (February 6, 1909) and the famous impresario, Diaghilev, heard it and commissioned Stravinsky to write a work on a Russian subject. The result was the production of the first of Stravinsky's ballet masterpieces, L'Oiseau de feu (Paris, June 15, 1910) and the beginning of the successful collaboration between the composer and producer. Stravinsky’s association with Diaghilev concentrated his activities in Paris and he moved there in 1911. His second ballet for the impresario, Petrouchka, (Paris, June 13, 1911), was a great success and was so new and original that it marked a turning point in 20th century modernism.
    [Show full text]