MARCH 2017 Director’S Introduction
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Leihmaterial Bote & Bock
Leihmaterial Bote & Bock - Stand: November 2015 - Komponist / Titel Instrumentation Komp. / Dauer Aa, Michel van der 2 After Life B 2S,M,A,2Ba; 2005-06/ 95' Oper nach dem Film von Hirokazu Kore-Eda 0.1.1.BKl.0-0.1.0.1-Org(=Cemb)-Str(3.3.3.2.2); 2009 elektr Soundtrack; Videoprojektionen 1 The Book of DisquietB 1.0.1.1-0.1.0.0-Perc(1): 2008 75' Musiktheater für Schauspieler, Ensemble und Film Vib/Glsp/3Metallstücke/Cabasa/Maracas/Egg Shaker/ 4Chin.Tomt/grTr/Bambusglocken/Ratsche/Peitsche(mi)/ HlzBl(ti)/2Logdrum/Tri(ho)/2hgBe-4Vl.3Va.2Vc.Kb- Soundtrack(Laptop,1Spieler)-Film(2Bildschirme) 0 Here [enclosed] B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2003 17' für Kammerorchester und Soundtrack Soundtrack(Laptop, 1Spieler); Theaterobjekt K Here [in circles] B Kl.BKl.Trp-Perc(1)-Str(1.1.1.1.1); 2002 15' für Sopran und Ensemble kl Kassetten-Rekorder (z.B. Sony TCM-939) 0 Here [to be found]B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2001 18' für Sopran, Kammerorchester und Soundtrack Soundtrack(Laptop, 1 Spieler) Here Trilogy B 2001-03 50' siehe unter Here [enclosed], Here [in circles], Here [to be found] F Hysteresis B Fg-Trp-Perc(1)-Str*; Soundtrack(Laptop,1 Spieler); 2013 17' für Solo-Klarinette, Ensemble und Soundtrack *Streicher: 1.0.1.1.1 (alle vertärkt) oder 4.0.3.2.1 oder 6.0.5.4.2; Kb mit tiefer C-Saite 2 Imprint B 2Ob-Cemb-Str(4.4.3.2.1); 2005 14' für Barock-Orchester Portativ-Orgel zu spielen vom Solo-Violinisten; Historische Instrumente (415 Hz Stimmung) oder moderne Instrumente in Barock-Manier gespielt 1 Mask B 1.0.1.0-1.1.1.0-Perc(1)-Str(1.1.1.1.1)- -
The Most Common Orchestral Excerpts for the Horn: a Discussion of Performance Practice
The most common orchestral excerpts for the horn: a discussion of performance practice by Shannon L. Armer Submitted in partial fulfillment of the requirements for the degree Master of Music in the Faculty of Humanities University of Pretoria Supervisor: Dr. J. deC Hinch Pretoria January 2006 © University of Pretoria ii ABSTRACT This study describes in detail the preparation that must be done by aspiring orchestral horn players in order to be sufficiently ready for an orchestral audition. The general physical and mental preparation, through to the very specific elements that require attention when practicing and learning a list of orchestral excerpts that will be performed for an audition committee, is investigated. This study provides both the necessary tools and the insight borne of a number of years of orchestral experience that will enable a player to take a given excerpt and learn not only the notes and rhythms, but also discern many other subtleties inherent in the music, resulting in a full understanding and mastery thereof. Ten musical examples are included in order to illustrate the type of additional information that a player must gain so as to develop an in-depth knowledge of an excerpt. Three lists are presented within the text of this study: 1) a list of excerpts that are most commonly found at auditions, 2) a list of those excerpts that are often included and 3) other excerpts that have been requested but are not as commonly found. Also included is advice regarding the audition procedure itself, a discussion of the music required for auditions, and a guide to the orchestral excerpt books in which these passages can be found. -
Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett: -
THE CLEVELAN ORCHESTRA California Masterwor S
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Calder Quartet, Terry Riley to Play Blum & Poe Gallery
Calder Quartet, Terry Riley to play Blum & Poe gallery - latime... http://www.latimes.com/entertainment/news/music/la-et-calder-r... latimes.com/entertainment/news/music/la-et-calder-riley-20110914,0,4944057.story latimes.com Calder Quartet, Terry Riley to play Blum & Poe gallery The young players (and their mentor) perform to raise money so they can commission new works. By Margaret Wappler, Los Angeles Times September 14, 2011 Los Angeles is teeming with places to perform if advertisement you're a rock band stoking dreams of becoming the next Arcade Fire, but what about a classically trained string quartet, one that can play with party guru Andrew WK or the National's stormy rock? The art world, ready to foster the kind of cross-pollination that sparked between Merce Cunningham and John Cage, is ready to receive you with open arms. It's a good thing, too, in a city where genre-jumping musicians have few mid-level-sized homes. Either play in the splendor of Walt Disney Concert Hall or the tiny confines of the Smell or Pehrspace. Or, in the case of local heroes Calder Quartet, talk to Tim Blum, co-owner of Culver City's prestigious Blum & Poe gallery. On Wednesday, the Calder Quartet will perform, followed by a piano set from their mentor Terry Riley, at an event designed to raise money for the group to commission new pieces. Hosted in Blum & Poe's new space partially conceived for interdisciplinary works, it's the kind of show that feels auspicious for its connective tissue between the art world and classical music that expands tradition to incorporate forays into rock, jazz, Indian raga or whatever catches the roaming ear. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Antonio Maria Montanari (1676-1737) ~ Concerto Grosso in a Major Baroque Music Performed According to the Traditions of the Time
ANTONIO MARIA MONTANARI (1676-1737) ~ CONCERTO GROSSO IN A maJOR BAROQUE MUSIC PERFORMED accORDING TO THE TRADITIONS OF THE TIME uthentic Classical Concerts zu veröffentlichen, heisst für uns, herausragende Aufführungen und Konzerte für die Nachwelt festzuhalten und zu vermitteln. Denn Künstler, Publikum, Werk und ARaum treten in einen intimen Dialog, der in Form und Ausdruck - in seiner Atmosphäre - einmalig und unwiederbringlich ist. Diese Symbiose, die Spannung der Aufführung dem Hörer in all ih- ren Facetten möglichst intensiv erlebbar zu machen, indem wir die Konzerte direkt in Stereo-Digital aufzeichnen, sehen wir als Ziel, als Philosophie unseres Hauses. Das Ergebnis sind einzigartige Interpretationen von musikalischen und literarischen Werken, schlichtweg - audiophile Momentaufnahmen von bleibendem Wert. Blühende Kultur, dem Publikum vor Ort und nicht zuletzt auch Ihnen zur Freude, sind somit jene Werte, welche wir in unseren Editionen und Reihen dokumentieren. Publishing Authentic Classical Concerts entails for us capturing and recording for posterity outstanding performances and concerts. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbio- sis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital. The results are unparalleled interpretations of musical and literary works, simply - audiophile snap- shots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series. Andreas Otto Grimminger & Josef-Stefan Kindler „EUBO has greatly contributed to the vitality of European baroque ensembles.“ Mrs. -
Cast Amendment for Il Trovatore
8 DECEMBER 2015 CAST AMENDMENT IL TROVATORE (Giuseppe Verdi) 2, 4, 5, 7, 8, 9, 11, 12, 14 and 15 July at 7.15pm ; 17 July at 6.30pm Italian soprano Carmen Giannattasio has withdrawn from singing the role of Leonora in Il trovatore on 4, 7, 9, 12 and 15 July. The role will now be sung by Italian soprano Anna Pirozzi , who will make her Royal Opera debut in this new production by German director David Bösch . She will share the role with Armenian soprano Lianna Haroutounian (2, 5, 8, 11, 14 and 17 July) as previously announced. Anna Pirozzi was born in Naples and studied at the Istituto Musicale in Valle d’Aosta and at the Turin Conservatory with Silvana Moyso. She has won widespread acclaim for her performances as Abigaille ( Nabucco ), the role in which she made her Salzburg Festival debut in 2013 conducted by Riccardo Muti and which she has sung in Florence, Bologna, Parma, Leipzig, Stuttgart, Tel Aviv, Beijing, Valencia, and for Arena di Verona. Her other engagements include Amelia ( Un ballo in maschera ) for Teatro Regio, Turi, and in Parma, Lady Macbeth ( Macbeth ) in São Paulo and Bologna, Leonora (Il trovatore ) in Bologna, Santuzza ( Cavalleria rusticana ) for Rome Opera and Teatro di San Carlo, Naples, Elvira ( Ernani ) in Rome, Tosca for Deutsche Oper Berlin and in Leipzig and Turin, Luisa Miller in Genoa, Leonora and Maddalena ( Andrea Chénier ) for Teatro di San Carlo, Santuzza and Nedda ( Pagliacci ) in Macerata, Aida in Turin, and Elisabetta ( Roberto Devereux ) at the ABAO Bilbao. The rest of the cast remains unchanged, -
2017–2018 Season Artist Index
2017–2018 Season Artist Index Following is an alphabetical list of artists and ensembles performing in Stern Auditorium / Perelman Stage (SA/PS), Zankel Hall (ZH), and Weill Recital Hall (WRH) during Carnegie Hall’s 2017–2018 season. Corresponding concert date(s) and concert titles are also included. For full program information, please refer to the 2017–2018 chronological listing of events. Adès, Thomas 10/15/2017 Thomas Adès and Friends (ZH) Aimard, Pierre-Laurent 3/8/2018 Pierre-Laurent Aimard (SA/PS) Alarm Will Sound 3/16/2018 Alarm Will Sound (ZH) Altstaedt, Nicolas 2/28/2018 Nicolas Altstaedt / Fazil Say (WRH) American Composers Orchestra 12/8/2017 American Composers Orchestra (ZH) 4/6/2018 American Composers Orchestra (ZH) Anderson, Laurie 2/8/2018 Nico Muhly and Friends Investigate the Glass Archive (ZH) Angeli, Paolo 1/26/2018 Paolo Angeli (ZH) Ansell, Steven 4/13/2018 Boston Symphony Orchestra (SA/PS) Apollon Musagète Quartet 2/16/2018 Apollon Musagète Quartet (WRH) Apollo’s Fire 3/22/2018 Apollo’s Fire (ZH) Arcángel 3/17/2018 Andalusian Voices: Carmen Linares, Marina Heredia, and Arcángel (SA/PS) Archibald, Jane 3/25/2018 The English Concert (SA/PS) Argerich, Martha 10/20/2017 Orchestra dell’Accademia Nazionale di Santa Cecilia (SA/PS) 3/22/2018 Itzhak Perlman / Martha Argerich (SA/PS) Artemis Quartet 4/10/2018 Artemis Quartet (ZH) Atwood, Jim 2/27/2018 Louisiana Philharmonic Orchestra (SA/PS) Ax, Emanuel 2/22/2018 Emanuel Ax / Leonidas Kavakos / Yo-Yo Ma (SA/PS) 5/10/2018 Emanuel Ax (SA/PS) Babayan, Sergei 3/1/2018 Daniil -
Purcell Celebration
Performers Ellen McAteer, soprano* Bronwyn Thies-Thompson, soprano* Janelle Lucyk, soprano* Tilford Bach Festival Daniel Taylor, countertenor* (CIO) Robin Blaze, countertenor Ryan McDonald, countertenor* Welcome to all the Pleasures Charles Daniels, tenor Ben Smith, tenor Celebrating William Purcell Alex Dobson, bass* Joel Allison, bass* London Handel Orchestra Adrian Butterfield, violin/director Oliver Webber, violin Darren Moore, trumpet 1 Rachel Byrt, viola Stephen Keavy, trumpet 2 Katherine Sharman, bass violin Sarah Humphreys, oboe 1/recorder 2 Dai Miller, theorbo Catherine Latham, oboe 2/recorder 1 Silas Wollston, organ Theatre of Early Music The singers marked with a * are from the Theatre of Early Music Founded by Artistic Director and Conductor Daniel Taylor, the Theatre of Early Music (TEM) are sought-after interpreters of magnificent yet neglected choral repertoire from four centuries. The core of the TEM consists of an ensemble based in Canada that is primarily made up of young musicians. Their appearances include stunning a cappella programs, with practices and aesthetics of former ages informing thought- provoking, passionate and committed reconstructions of music for historical events and major works from the oratorio tradition. Through their concert performances and recordings, the 10 - 18 solo singers offer a purity and clarity in their sound which has resulted in invitations from an ever-widening circle of the world’s leading stages. Directed by Adrian Butterfield The Theatre of Early Music (TEM) records exclusively for Sony Classical Masterworks London Handel Players and they have been working on new recordings during this visit to England. 17 June 2017 www.tilbach.org.uk Henry Purcell Programme Henry Purcell was one of the greatest English composers, flourishing in the period that followed the Restoration of the monarchy after the Puritan Commonwealth period. -
Handel MUSIC for QUEEN CAROLINE George Frideric Handel (1685 - 1759)
Les Arts Florissants William Christie Handel MUSIC FOR QUEEN CAROLINE George Frideric Handel (1685 - 1759) MUSIC FOR QUEEN CAROLINE !e King shall rejoice - Coronation Anthem, HWV 260 (1727) Te Deum in D major,“Queen Caroline”, HWV 280 (1714) !e ways of Zion do mourn - Funeral Anthem for Queen Caroline, HWV 264 (1737) LES ARTS FLORISSANTS William Christie,direction Caroline of Ansbach !by Enoch Seeman, c. 1720" Soloists for the Te Deum | solistes du Te Deum: Tim Mead,countertenor | contre-ténor Sean Clayton,tenor | ténor Lisandro Abadie,bass-baritone | baryton-basse !e wife of George II of England, a woman of great beauty and a defender of both science and the arts, Caroline of Ansbach was also a patron and close friend of Handel. !is recording brings together three of the composer’s works written for the major royal ceremonies which marked the life of Caroline from her arrival in England to her funeral. Épouse du roi George II d’Angleterre,femme d’une grande beauté,défenseur des arts et des sciences, Caroline d’Ansbach fut aussi la protectrice et l’amie intime de Handel. Cet enregistrement réunit trois œuvres du compositeur destinées aux grandes cérémonies royales qui, de l’arrivée de Caroline en Angleterre jusqu’à ses funérailles,ponctuèrent son règne. 1 7 | Tracklist | Liste des plages 10 | #e performers | Les interprètes 12 | Fit for a Queen | Des joyaux dignes d’une reine JOHN H. ROBERTS 21 | Sung texts | Textes chantés 26 | Portfolio 32 | Biographies 46 | Discography, DVDs and scores | Discographie, DVD et partitions 3 GEORGE FRIDERIC -
XI Schubertíada a Barcelona 2008 Konrad Jarnot (Baríton) I Wolfram
XI Schubertíada Konrad Jarnot (baríton) a Barcelona i Wolfram Rieger (piano) 2008 Recital de lieder Auditori Winterthur 1 – Dimarts 15 abril 2008, 20’30h. Programa Richard Wagner Wesendonck-Lieder Franz Liszt Tres sonets de Petrarca: Sonet 104: Pace non trobo Sonet 47: benedetto sia’l giorno Sonet 123: I’ vidi in terra angelici contumi Franz Liszt Vergiftet sind meine Lieder Blume und Duft Ich möchte hingehen! Ihr Glocken von Marling Die Loreley Henry Duparc L’invitation au voyage Sérénade florentine La Vague et la cloche Extase Phidylé XI Schubertíada a Barcelona Eduard Kunz 2008 Recital de piano Auditori Winterthur 2 – Dimarts 6 maig 2008, 20’30h. Programa Domenico Scarlatti 3 Sonates per a teclat: Sonata K213 en Re menor Sonata K27 en Si menor Sonata K212 en La Major Johann Sebastian Bach* Ciaccona de la Partita núm. 2 en Re menor, BWC1004. Sergei Rachmaninov 6 Moments musicals op. 16. Franz Liszt Rapsòdia Hongaresa núm. 12 en Do # Major, S244/12. *El pianista Eduard Kunz va demanar de modificar el programa substituïnt la Sonata en La Major, D664, op. 120 de Schubert (prevista inicialment) per l’obra de J. S. Bach. XI Schubertíada Mojca Erdmann (soprano) a Barcelona i Gerold huber (piano) 2008 Recital de lieder Auditori Winterthur 3 – Dimarts 27 maig 2008, 20’30h. Programa Claude Debussy Pantomime Clair de lune Musique Paysage sentimental Regret Pierrot Wolfgang Amadeus Mozart Als Luise die Briefe eines ungetreuten Liebhabers verbrannte Das Veilchen Abendempfindung an Laura Ridente la calma Dans un bois solitaire Der Zauberer Richard Strauss Drei Lieder der Ophelia Wie erkenn’ ich mein Treulieb Giten Morgen, ‘s ist Sankt Valentinstag Sie trugen ihn auf der Bahre blo Robert Schumann Lieder de Mignon Nur wer die Sehnsucht kennt Heiss’ mich nicht reden So la mich scheinen Kennst du das Land Richard Strauss De Sechs Lieder, op.