CHAN 9640 Front.Qxd 19/10/07 12:33 Pm Page 1 Chan 9640(2) SUK CHANDOS

Total Page:16

File Type:pdf, Size:1020Kb

CHAN 9640 Front.Qxd 19/10/07 12:33 Pm Page 1 Chan 9640(2) SUK CHANDOS CHAN 9640 front.qxd 19/10/07 12:33 pm Page 1 Chan 9640(2) SUK CHANDOS Jiˇrí Bˇelohlávek CHAN 9640 BOOK.qxd 19/10/07 12:34 pm Page 2 Josef Suk (1874–1935) COMPACT DISC ONE Asrael Symphony, Op. 27 Part One 1 I Andante sostenuto – Andante con moto e resoluto – AKG Più pesante e maestoso – 14:52 2 II Andante – 7:11 3 III Vivace – Andante sostenuto – Appassionato – Maestoso 12:01 Part Two 4 IV Adagio 10:21 5 V Adagio e maestoso – Allegro appassionato – Adagio e maestoso – Andante maestoso – Adagio e mesto 13:56 TT 58:38 COMPACT DISC TWO 30:00 Josef Suk Pohádka (Fairy Tale), Op. 16 1 IO veˇrném milování Radúze a Mahuleny a jejich strastech 10:36 (About the constant love of Radúz and Mahulena and their trials) 2 II Intermezzo: Hra na labuteˇ a pávy 3:41 (Intermezzo: Playing at swans and peacocks) 3 III Intermezzo: Smutecˇní hudba 6:55 (Intermezzo: Funeral music) 2 3 CHAN 9640 BOOK.qxd 19/10/07 12:34 pm Page 4 4 IV Runy kletba a jak byla láskou zrusˇena 8:34 (Runa’s curse and how it was broken by true love) Josef Suk: Asrael Symphony etc. Serenade for Strings, Op. 6 29:41 Josef Suk was born at Krˇecˇovice, in Bohemia, music in Czechoslovakia in the early in E flat major • Es-Dur • mi bémol majeur on 4 January 1874, son of the village twentieth century. Both were true to their 5 I Andante con moto 5:57 schoolmaster, organist and choirmaster. Like national background in the character of their 6 II Allegro, ma non troppo e grazioso 6:01 the majority of Bohemian and Moravian music, both writing in a late Romantic style 7 III Adagio – Più andante – Tempo I 9:32 musicians, he studied at the Prague tinged with their individual approach to 8 IV Allegro giocoso, ma non troppo presto – Vivace 7:59 Conservatoire, where his main instrument was Impressionism and native folk culture. TT 59:50 the violin. In 1888 he turned his hand to In 1891 Dvorˇák became a Professor of serious composition, eventually studying with Composition at the Prague Conservatoire Czech Philharmonic Orchestra Dvorˇák, who was later to become his father- and by the following year Suk had become Bohumil Kotmel leader in-law. In addition to an increasingly his teacher’s favourite pupil. From then on Jirˇí Beˇlohlávek significant career as a composer, he became Suk was a welcome guest in the Dvorˇáks’ the second violin of the famous Cˇeské home and at their summer house at Vysoká, (Bohemian) String Quartet and was an near Prˇíbram outside Prague, where Suk met accomplished pianist. With Fibich, Ostrcˇil the fourteen-year-old Otilka. His early and Novák, Suk became part of that attraction soon deepened into love, nurtured important group of Czech composers which by her absence in America with her father built upon the national foundations of from later in 1892. By her return to Prague Smetana and Dvorˇák. He taught at the Prague three years later, she had grown into a Conservatoire, where he numbered Martinu˚ beautiful young lady and Suk’s love was among his pupils for a while but composition, reciprocated. Indeed, it is said that all their mainly in the orchestral and instrumental acquaintances were well aware of this field, occupied him right up until his death at romance, except for Dvorˇák, who was Benesˇov, near Prague, on 29 May 1935. concerned only about Suk’s progress as a Of all the pupils of Antonín Dvorˇák, Suk composer. Josef and Otilka were married on and Novák were to play the most significant 17 November 1898, on the anniversary of and influential roles in the development of the Dvorˇáks’ silver wedding. 4 5 CHAN 9640 BOOK.qxd 19/10/07 12:34 pm Page 6 Suk’s emotional relationship with the a further musical tribute in a set of variations with the Quartet. Of the works that followed this anguish into a mood of pleasant Dvorˇák family became central to his of a celebratory finale. To the work he gave Asrael, the piano cycle O matince (About memories is a short-lived respite and the compositions at this time. The turning point the title Asrael, the name of the Angel of Mother) Op. 28 of 1907 and the symphonic movement returns to the demands of the in his life came with the double tragedies of Death who, according to Muslim folklore, poem Pohádka léta (A Summer’s Tale) Op. 29 sorrow-laden heart bursting with grief and 1904 and 1905, years in which he lost the carries away the souls of the departed. He of 1907–9 clearly shows this. It was not until exhausted by intense emotional suffering. two people most dear to him and who were began the work in the January of 1905, while the next piano cycle, Zˇivotem a snem (Things Suk indicates that the second movement central to his life and being. His father-in- in Hamburg on tour with the Cˇeské Quartet, Lived and Dreamed) Op. 30, written also in should follow without a break. Here he law died on 1 May 1904 at the age of sixty- had completed the first three movements and 1909, that he began to rediscover his love of quotes, possibly unconsciously, from two. Otilka, who suffered from a heart by the July was working on the fourth when nature and beauty around him, and here, as Dvorˇák’s Requiem, Op. 89 (B. 165) of 1890, condition, died on 5 July in the following his so dearly loved Otilka died at the age of in so much of his music, Suk made use of moving in minor seconds about a single year. To the thirty-one-year-old Suk, life twenty-seven. The intensity of his grief found significant quotations from other works as pedal note (D flat) and depicting the seemed black and bleak. From then on his some relief in his ability to return to clear signals of the emotional significance fluctuating moods of despair, as well as again music turned from outpourings of romantic composition as a source of communion and and content. from his own Radúz a Mahulena. The funeral feelings founded on his joys of love, to more solace. By the end of December he had This ‘autobiographical’ element plays an march dominates the second element of this inward-looking, reflective and often tragic started a new fourth movement and changed important role throughout Asrael. The motif movement, with a sense of terror portrayed expressions, in many of which the motif of his conception of the finale entirely. While of Fate, which builds from the opening bars, in the fugal pizzicato passages. death is never far away. In addition to his the first three movements remained his the rising and falling augmented fourths of Again Suk instructs that the next teaching and composing, Suk threw himself tribute to Dvorˇák, the last two became his the Death figure and the more lyrical mood movement also should follow attacca. Here into the international life of the Cˇeské equally deeply-felt memorial to Otilka. The of reminiscence, comes from his early music the fateful Death theme comes at the end. Quartet, never re-marrying but remaining score bore the dedication; ‘Vznesˇené památce for Julius Zeyer’s play, Radúz a Mahulena Before this a sort of fantastic scherzo is truly faithful to the memory of the two Dvorˇákoveˇ a Otilcˇineˇ’ (To the noble Op. 13 of 1897–8. The recall of a shared joy played out, like some attempt to battle people he loved so dearly. memory of Dvorˇák and Otilka). in their native city comes with an echo of the against the inevitable. In contrast, Suk writes Until these traumatic events, Suk’s musical symphonic poem Praga, Op. 26 of 1904. But a central section in which he recalls his Asrael Symphony output had been mostly on a small scale, as the movement progresses, Suk’s reaction to fondest memories of his teacher. Suk’s Asrael Symphony was his greatest imbued with the expression of simple but the death of his father-in-law develops After some thirty-four minutes of music musical memorial: he was shattered by the sincere emotions experienced through his joy intensely in music which is often played without any significant break, Suk asks loss of Dvorˇák, and chose to express this and in nature and his love for his family. Now his underpinned by the unsettling effect of for a long pause before embarking upon the all that his great master had meant to him music became the vehicle for the heavier triplet figures and semiquaver passages, said second part of this work, with the fourth through the composition of a large-scale five- emotions of his life, which found release only to represent the heartbeats of one in the movement specifically dedicated ‘To Otilka’. movement symphony, which was to end with through composition and his itinerant life torment of personal grief. The subsiding of It is a loving portrait, with descriptive 6 7 CHAN 9640 BOOK.qxd 19/10/07 12:34 pm Page 8 elements such as the two violin passages that Suk never embraced, which is regrettable with the Violin’ which, like so much of his in Krˇecˇovice on 2 September 1899 and had representing himself, one full of emotion, the given his great ability to express the deepest music with close personal associations, Suk completed the first two movements by the other deeply passionate. Pulsing triplets and human emotions in music and his gift for was to quote again in later works.
Recommended publications
  • National Symphony Orchestra of Ukraine Theodore Kuchar, Conductor Alexei Grynyuk, Piano
    Sunday, March 26, 2017, 3pm Zellerbach Hall National Symphony Orchestra of Ukraine Theodore Kuchar, conductor Alexei Grynyuk, piano PROGRAM Giuseppe VERDI (1813 –1901) Overture to La forza del destino Sergei PROKOFIEV (1891 –1953) Piano Concerto No. 3 in C Major, Op. 26 Andante – Allegro Tema con variazioni Allegro, ma non troppo INTERMISSION Dmitri SHOSTAKOVICH (1906 –1975) Symphony No. 5 in D minor, Op. 47 Moderato – Allegro non troppo Allegretto Largo Allegro non troppo THE ORcHESTRA National Symphony Orchestra of Ukraine Volodymyr Sirenko, artistic director & chief conductor Theodore Kuchar, conductor laureate First Violins cellos Bassoons Markiyan Hudziy, leader Olena Ikaieva, principal Taras Osadchyi, principal Gennadiy Pavlov, sub-leader Liliia Demberg Oleksiy Yemelyanov Olena Pushkarska Sergii Vakulenko Roman Chornogor Svyatoslava Semchuk Tetiana Miastkovska Mykhaylo Zanko Bogdan Krysa Tamara Semeshko Anastasiya Filippochkina Mykola Dorosh Horns Roman Poltavets Ihor Yarmus Valentyn Marukhno, principal Oksana Kot Ievgen Skrypka Andriy Shkil Olena Poltavets Tetyana Dondakova Kostiantyn Sokol Valery Kuzik Kostiantyn Povod Anton Tkachenko Tetyana Pavlova Boris Rudniev Viktoriia Trach Basses Iuliia Shevchenko Svetlana Markiv Volodymyr Grechukh, principal Iurii Stopin Oleksandr Neshchadym Trumpets Viktor Andriiichenko Oleksandra Chaikina Viktor Davydenko, principal Oleksii Sechen Yuri і Kornilov Harps Grygorii Кozdoba Second Violins Nataliia Izmailova, principal Dmytro Kovalchuk Galyna Gornostai, principal Diana Korchynska Valentyna
    [Show full text]
  • Josef Suk's Asrael Re-Envisioned Via Schoenberg
    A STUDY IN CLARITY: JOSEF SUK’S ASRAEL RE-ENVISIONED VIA SCHOENBERG Volume I of II IVAN ARION KARST School of Arts and Media College of Arts and Social Sciences University of Salford, Salford, UK Submitted in Fulfilment of the Requirements of the Degree of Doctor of Philosophy, October 2020 i Contents Table of Figures ........................................................................................................................... 4 Acknowledgements..................................................................................................................... 7 Abstract: ‘A Study in Clarity: Suk Re-envisioned via Schoenberg’ ................................................. 8 Chapter 1: Introduction ............................................................................................................... 1 Thesis Methodology ................................................................................................................. 1 A Study in Clarity: Literature Review ......................................................................................... 4 Chapter 2: Historical Context .................................................................................................... 10 Schoenberg: Transcription and the Verein .............................................................................. 10 Chapter 3: Analysis.................................................................................................................... 12 Transcription Techniques of the Verein .................................................................................
    [Show full text]
  • A Survey of Czech Piano Cycles: from Nationalism to Modernism (1877-1930)
    ABSTRACT Title of Dissertation: A SURVEY OF CZECH PIANO CYCLES: FROM NATIONALISM TO MODERNISM (1877-1930) Florence Ahn, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Larissa Dedova Piano Department The piano music of the Bohemian lands from the Romantic era to post World War I has been largely neglected by pianists and is not frequently heard in public performances. However, given an opportunity, one gains insight into the unique sound of the Czech piano repertoire and its contributions to the Western tradition of piano music. Nationalist Czech composers were inspired by the Bohemian landscape, folklore and historical events, and brought their sentiments to life in their symphonies, operas and chamber works, but little is known about the history of Czech piano literature. The purpose of this project is to demonstrate the unique sentimentality, sensuality and expression in the piano literature of Czech composers whose style can be traced from the solo piano cycles of Bedřich Smetana (1824-1884), Antonín Dvořák (1841-1904), Leoš Janáček (1854-1928), Josef Suk (1874-1935), Bohuslav Martinů (1890-1935) to Erwin Schulhoff (1894-1942). A SURVEY OF CZECH PIANO CYCLES: FROM ROMANTICISM TO MODERNISM (1877-1930) by Florence Ahn Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2018 Advisory Committee: Professor Larissa Dedova, Chair Professor Bradford Gowen Professor Donald Manildi Professor
    [Show full text]
  • Czech Philharmonic Czech Philharmonic
    CZECH PHILHARMONIC 2021 | 2020 | SEASON Czech Philharmonic 125th 125th SEASON 2020 | 2021 SEASON GUIDE Czech Philharmonic 01 CZECH PHILHARMONIC CZECH PHILHARMONIC SEASON GUIDE 125th SEASON 2020 | 2021 Semyon Bychkov Chief Conductor and Music Director We are delighted to bring you joy in another, this time anniversary season. Czech Philharmonic Ministry of Culture of the Czech Republic – Establisher Česká spořitelna, a.s. – General Partner 02 CZECH PHILHARMONIC CZECH PHILHARMONIC TABLE OF CONTENTS 5 Introduction 133 Czech Chamber Music Society 7 Czech Philharmonic 134 Introduction 12 Semyon Bychkov Concerts 17 Jakub Hrůša 137 I Cycle 20 Tomáš Netopil 147 II Cycle 23 Orchestra 157 HP Early Evening Concerts 25 Orchestral Academy of the Czech Philharmonic 167 DK Morning Concert Concerts 181 R Recitals 27 A Subscription Series 188 Tickets Information 45 B Subscription Series 193 Student Programme 61 C Subscription Series 194 How to get to the Rudolfinum 73 M Special Non-Subscription Concerts 198 Dynamic Club of the Czech Philharmonic 86 Other Concerts in Prague 200 Partners of the Czech Philharmonic 90 Tours 203 Contacts 102 Broadcasts and Recordings 204 Calendar 107 Programmes for children with parents, youth, and adult listeners 109 Romano Drom 2020 2 3 CZECH PHILHARMONIC INTRODUCTION Dear Friends of the Czech Philharmonic, Following the four years that it has taken us to realise ‘The Tchaikovsky Project’, we will be On behalf of both the Orchestra and myself, performing and recording the symphonies of I would like to take this opportunity to wish Gustav Mahler, whose music will form one of you a very warm welcome to our 125th Anni- the main pillars of future seasons.
    [Show full text]
  • Supraphon Classical Music Catalogue 2019
    s cla ssical music cat alogue 2020 Pavel Haas Quarte t 2 # Gramophone Award, 2007 # BBC Music Magazine Award, 2007 # BBC Radio 3 Disc of the Week, 2006 # Supersonic Award of Pizzicato, 2006 SU 3877-2 # BBC Music Magazine Chamber Choice, 2008 # BBC Radio 3 Disc of the Week, 2007 # Gramophone Editor’s Choice, 2008 # Cannes Classical Award, MIDEM 2009 SU 3922-2 # Gramophone Disc of the Month, 2010 # BBC Radio 3 Disc of the Week, 2010 # Caecilia, 2010 # Diapason d’Or de l’Année, 2010 # Choc de Classica, 2011 SU 3957-2 # Gramophone Award, Recording of the Year, 2011 # BBC Music Magazine Disc of the Month, 2010 # Sunday Times Album of the Week, 2010 # ClassicsToday Disc of the Month, 2011 SU 4038-2/1 # Gramophone Award, 2014 SU 4110-2 # Gramophone Award, 2015 # BBC Music Magazine Award, 2016 # Presto Classical Recordings of the Year, 2016 # Sinfini Best Chamber Album of the Year, 2015 # BBC Radio 3 Disc of the Week, 2015 # MusicWeb International Recording of the Month, 2015 SU 4172-2/1 SU 3877-2 SU 3922-2 SU 3957-2 SU 4038-2/1 # Gramophone Award, 2018 # Presto Classical Recordings of the Year, 2017 # Gramophone Editor’s Choice, 2017 # BBC Music Magazine Disc of the Month, 2017 # Sunday Times Album of the Week, 2017 # Diapason d’Or, 2018 SU 4195-2/1 # Presto Classical Recording of the Week, 2019 # Europadisc Disc of the Week, 2019 # The Times 100 Best Records of the Year, 2019 SU 4110-2 SU 4172-2/1 SU 4195-2/1 SU 4271-2 SU 4271-2 tomáš NetoPil co ndu ctor 3 You hear everything and yet not a single note obtrudes.
    [Show full text]
  • Josef Suk Asrael Symphony Malaysian Philharmonic Orchestra Claus Peter Flor
    JOSEF SUK ASRAEL SYMPHONY MALAYSIAN PHILHARMONIC ORCHESTRA CLAUS PETER FLOR Malaysian Philharmonic Orchestra BIS-SACD-1776 BIS-SACD-1776_f-b.indd 1 09-05-13 12.49.42 BIS-SACD-1776 Suk:booklet 11/5/09 12:22 Page 2 SUK, Josef (1874–1935) Symphony No. 2 in C minor, ‘Asrael’, Op. 27 (1905–06) Part One 34'37 1 I. Andante sostenuto – attacca – 15'10 2 II. Andante – attacca – 7'54 3 III. Vivace 11'28 Part Two 24'49 4 IV. Adagio 10'54 5 V. Adagio e maestoso 13'56 TT: 60'18 Malaysian Philharmonic Orchestra Markus Gundermann leader Claus Peter Flor conductor 2 BIS-SACD-1776 Suk:booklet 11/5/09 12:22 Page 3 uk not only revered Dvořák; he also loved him, praised his works and studied them with a view to emulating them.’ In 1919 Emil Chvála, a ‘S musical contemporary in Prague, used these words to describe the rela - tionship between the famous violinist and composer and his musical mentor. Josef Suk, born near Prague in 1874, was accepted into the Prague Conservatory at the age of eleven, where he studied the violin under Antonín Bennewitz and, from 1891, com position under Dvořák. In 1892 Suk and his fellow students founded the legendary Bohe mian String Quartet, in which he played second violin until his death in 1935. Although the ‘young man’s impetuous drive to be innovative’ (to quote Chvála) gave Dvořák slight cause for concern, Suk soon became his fav our - ite pupil. In 1898 he married Dvořák’s daughter Otylka.
    [Show full text]
  • Spring 2018/3 by Brian Wilson and Dan Morgan
    Second Thoughts and Short Reviews Spring 2018/3 By Brian Wilson and Dan Morgan Reviews are by Brian Wilson except where signed [DM] Spring 2018_1 is here and Spring 2018_2 here. Errata: Apologies for an incomplete link in Spring 2018_2: the link for the Bach keyboard music on Nimbus NI5948/49 takes you only to the main Wyastone page. The correct link is here. Remember to use the code MusicWeb10 for a 10% discount. Index BEETHOVEN String Quartet No.15_Sony BORGSTRÖM Violin Concerto (+ SHOSTAKOVICH)_BIS BRUCKNER Symphony No.7 (+ WAGNER Siegfried’s Funeral March) _DG DELIUS Piano Concerto (+ GRIEG)_Somm DYSON At the Tabard Inn – Overture; Symphony in G, etc._Chandos - St Paul’s Voyage to Melita, etc._Somm_Naxos FINZI Cello Concerto, LEIGHTON Suite Veris Gratia_Chandos GLUCK Heroes in Love_Glossa GRIEG Piano Concertos (+ DELIUS)_Somm HANDEL/HARTY Water Music Suite; Fireworks Suite_Past Classics LEIGHTON Suite Veris Gratia (+ FINZI)_Chandos MAHLER Symphony No.4_Pentatone MARTINŮ Double Concertos for Violin and Piano_Pentatone MONTEVERDI Vespro della Beata Vergine_PHI_Linn - Monteverdi in San Marco_Arcana PÄRT The Symphonies_ECM SAINT-SAËNS Piano Trios 1 and 2_Champs Hill SCHUBERT Piano Sonata No.21, Impromptus_Hyperion SHOSTAKOVICH Violin Concerto No.1 (+ BORGSTRÖM)_BIS STRAUSS (R) Also Sprach Zarathustra_Past Classics STROZZI Arias and Cantatas_Glossa SUK Asrael Symphony_SWR VASKS Laudate Dominum, etc._Ondine VAUGHAN WILLIAMS Piano Concerto, Oboe Concerto, Serenade to Music, Flos Campi_Chandos WAGNER Siegfried’s Funeral March – see Bruckner British Orchestral Premieres_Lyrita Gypsy Baroque_Alpha La Virtuosissima Cantatrice: Virtuoso and Bel Canto Masterpieces for Female Voice_Amon Ra *** Claudio MONTEVERDI (1567–1643) Vespro della Beata Vergine (Vespers, 1610) Dorothee Mields, Barbora Kabátková (soprano) Benedict Hymas, William Knight, Reinoud Van Mechelen, Samuel Boden (tenor) Peter Kooij, Wolf Matthias Friedrich (bass) Collegium Vocale Gent/Philippe Herreweghe rec.
    [Show full text]
  • Reception of Josef Suk's Orchestral Works
    Jan Charypar: Reception of Josef Suk’s Orchestral Works (from Young Musicology Prague Conference, September 2016) I am going to speak about the reception of the orchestral works by Josef Suk, the pupil and son-in- law of Antonín Dvořák. At first, I will shortly describe the progression of Suk’s work, and then I will speak about the critical reflections of Suk’s orchestral works during his lifetime. Then I will focus on the problems of reception of Suk’s later works, and I will conclude with the issues of the reception of Suk’s orchestral works after his death, the reception abroad, and the contemporary situation. Suk’s works are divided into two periods which are stylistically very different, and consequently, their reception is different, too. It is generaly known that in the first period, Suk follows Antonín Dvořák. Of course, it’s a simplification, because although there was an obvious Dvořák’s influence in Suk’s early style, Suk´s way of composition was in many respects different. Suk is usually, and I think rightly, characterized as essentially lyrical composer with extraordinary sense of orchestral colours. After his well-known Serenade for Strings, it was particularly the incidental music to Julius Zeyer’s plays Radúz and Mahulena and Under the Apple Tree, which determined the specific nature and lyricism of Suk´s music. The second period of his work began at the time of death of Antonín Dvořák and Suk’s wife Otilie one year later. These tragic events in Suk’s family influenced deeply the nature and content of his music.
    [Show full text]
  • Season Guide
    SEASON GUIDE 124th season 2019 / 2020 CZECH PHILHARMONIC Semyon Bychkov Chief Conductor and Music Director SEASON GUIDE 124th season 2019 / 2020 ESTABLISHED BY THE MINISTRY OF CULTURE OF THE CZECH REPUBLIC CZECHPHILHARMONIC.CZ FACEBOOK.COM/CESKAFILHARMONIE CZECH PHILHARMONIC TABLE OF CONTENTS 5 Introduction by the Chief Conductor 8 Czech Philharmonic 13 Semyon Bychkov 16 Jakub Hrůša 18 Tomáš Netopil 20 Orchestra 22 Orchestral Academy of the Czech Philharmonic Concerts 25 A Subscription Series 43 B Subscription Series 61 C Subscription Series 73 K Subscription Series M Special Non-Subscription Concerts 83 CONTENT 96 Concerts for Other Presenters in Prague 100 Tours 110 Broadcasts and Recordings 113 Education Programmes 116 Subscription Series for Children with Parents 125 Programmes for Adolescent and Adult Listeners 134 Romano Drom 2019 136 Information about Tickets 141 Transportation and Access to the Rudolfinum 144 Dynamic Club of the Czech Philharmonic 146 Partners of the Czech Philharmonic 149 Contacts 168 Calendar 3 CZECH PHILHARMONIC we have endeavoured to create a concert INTRODUCTION season which balances music that you both know and love with repertoire that may now be unfamiliar, but that we hope you Dear Friends, will grow to love equally over the coming years. You will instantly recognise the works What a remarkable year the first chapter by Smetana, Dvorak, Janacek, Martinu, in our life together has been. Very shortly Brahms, Mahler, as well as Beethoven’s the 2018/2019 season will come to a close, cycle of symphonies and concertos; at a season in which we have worked together the same time we are looking forward to to protect and reaffirm the unique identity introducing you to Dutilleux, Glanert, of the Czech Philharmonic – a tradition of Berio, Srnka, Teml, Eötvös, Reich.
    [Show full text]
  • Concert Programme 6
    "Didcot's new symphony orchestra" Principal sponsor: Conductor: Geoff Bushell Leader: Kate Bailey Honorary President: Ed Vaizey Concert 6 – Sunday 8 March 2020 PROGRAMME Butterworth Rhapsody – A Shropshire Lad Suk Fairy Tale – Suite for Large Orchestra Franck Symphony in D minor www.didcotconcertorchestra.org.uk www.facebook.com/didcotconcertorchestra ~ 2 ~ A message from our Honorary President "I am delighted that the Didcot Concert Orchestra has been established. Didcot is a vibrant and growing town, and the arts have always been a central part of its life. The concert orchestra fills a gap, and it is very much needed. Music brings great joy to people, and it also plays an important role in our schools and our communities. I wish the Didcot Concert Orchestra every success." Ed Vaizey, formerly MP for Wantage and Didcot PROGRAMME A Shropshire Lad George Butterworth (1885-1916) George Butterworth was one of a number of promising composers who gave their lives at a young age in World War 1. Butterworth's life was cut short on the Somme in 1916, and there is a memorial to him where he taught at nearby Radley College. In 1896, the English poet AE Housman published a collection of 63 poems, which became very popular for composers to set. Butterworth set several of these, and then in 1913 completed an orchestral rhapsody, which he first called The Land of Lost Content , then The Cherry Tree , before settling on the name A Shropshire Lad . The mood of Butterworth's piece is very nostalgic, and it is as much about the men of Shropshire about to go to war, as it is an evocation of Shropshire countryside.
    [Show full text]
  • 09-08 Music from Japan
    Friday Evening, February 10, 2017, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Prague Central: Great 20th Century Czech Composers LEON BOTSTEIN, Conductor VÍTEˇ ZSLAV NOVÁK In the Tatras, Op. 26 BOHUSLAV MARTINU˚ Symphony No. 3 Allegro poco moderato Largo Allegro—Andante Intermission JOSEF SUK Scherzo fantastique, Op. 25 ERWIN SCHULHOFF Symphony No. 5 Andante, ma molto risoluto Adagio Allegro con brio Allegro con brio—Allegro moderato This evening’s concert will run approximately 2 hours and 20 minutes including one 20-minute intermission. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. ASO THIS SEASON AT CARNEGIE HALL Fri, May 12, 2017 The Apostles with the Bard Festival Chorale England’s greatest composer after Purcell wrote a magnificent but rarely-heard setting of the New Testament. Elgar’s The Apostles follows the story of the Twelve through the Resurrection, and is at once sublime and heartbreakingly human. Edward Elgar – The Apostles FROM THE Music Director AFTER DVORˇ ÁK AND SMETANA: CZECH MUSIC IN THE 20TH CENTURY By Leon Botstein The four composers on this ASO program Indeed, from the Baroque era on, music were major twentieth-century figures in was a distinctive component of Bohemian the musical tradition of a region in and Moravian life.
    [Show full text]
  • Jirˇí Beˇlohlávek
    SUPER AUDIO CD JOSEF SUK PRAGUE A SUMMER’S TALE BBC Symphony Orchestra JIRˇ Í BEˇ LOHLÁVEK © Lebrecht Music & Arts Photo Library Josef Suk, second from right, with fellow members of the České String Quartet, 1901: Karel Hoffmann, Hanuš Wihan, and Jiří Herold Josef Suk (1874 – 1935) A Summer’s Tale, Op. 29 (JSkat 57) (1907 – 09) 54:25 Pohádka léta Symphonic Poem for Large Orchestra To Karel Kovařovic (Karlu Kovařovicovi) Alison Teale • Helen Vigurs cor anglais 1 1 Voices of Life and Consolation (Hlasy života a útěchy). Andante sostenuto – Allegro appassionato – Andante – Allegretto moderato – Allegro energico – Allegro con brio – Andante sostenuto 15:04 2 2 Midday (Poledne). Moderato 6:50 3 3 Intermezzo. Blind Musicians (Slepí hudci). Adagio 5:34 4 4 In the Power of Phantoms (V moci přeludů). Adagio – Vivacissimo – Andante – Vivacissimo – Animato – Andante con moto – Tempo I 10:54 5 5 Night (Noc). Adagio – Poco più mosso (quasi Andante sostenuto) – Adagio – Più mosso – Tempo I – Andante sostenuto e maestoso – Poco meno mosso 15:40 3 Prague, Op. 26 (JSkat 54) (1904) 24:52 Praga Symphonic Poem for Large Orchestra Royal Prague (Královské Praze) 6 Andante maestoso – Grandioso – Più animato (quasi Allegro) – Tempo I, ma poco più largamente – Molto sostenuto – Un pochettino più animato, ma sempre molto espressivo – Poco sostenuto, tranquillo – L’istesso tempo (tranquillo) – Grandioso e largamente – Più animato (quasi Allegro) – Tempo I, ma poco più largamente – 9:31 7 Allegro – Più mosso (Allegro con fuoco) – Poco più animato – L’istesso tempo – L’istesso tempo – Pesante – 6:22 8 Adagio – Un poco più mosso – Più mosso, sempre accelerando – 4:35 9 Animato, con fuoco (Allegro con brio) – Tempo I, grandioso, largamente – Più animato (quasi Allegro) – Tempo I (ma molto largamente, maestoso e molto marcato) – Animato (quasi Allegro) – Tempo I (largamente) – Animato (quasi Allegro) – Largamente 4:21 TT 79:32 BBC Symphony Orchestra Stephen Bryant leader Jiří Bělohlávek 4 Suk: Prague / A Summer’s Tale Introduction Prague, Op.
    [Show full text]