DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet 557568 bk Schubert EU 6/10/2005 09:53am Page 12 Franz Peter DEUTSCHE SCHUBERT SCHUBERT-LIED-EDITION • 20 (1797-1828) Poets of Sensibility, Volume 3 1 Der Tod und das Mädchen D531 (Claudius) 2:22 SCHUBERT 2 Der Leidende D432 (3rd version) (Anon.) 1:48 3 Totengräberlied D44 (Hölty) 2:03 Poets of Sensibility, Volume 3 4 Lied/Die Mutter Erde D788 („Des Lebens Tag...“) (Stolberg) 3:50 Wolfgang Holzmair, Baritone • Ulrich Eisenlohr, Fortepiano 5 Der Leidende D432 (2nd version) (Anon.) 1:44 6 Die Nonne D208 (Hölty) 8:25 7 Täglich zu singen D533 (Claudius) 1:38 8 Klage D371 („Trauer umfließt mein Leben“) (Anon.) 2:49 9 Stimme der Liebe D412 (Stolberg) 1:54 0 Seufzer D198 (Hölty) 1:09 ! An eine Quelle D530 (Claudius) 1:52 @ An die Apfelbäume, wo ich Julien erblickte D197 (Hölty) 2:38 # Die frühe Liebe D430 (Hölty) 2:04 $ An den Mond D193 („Geuss lieber Mond“) (Hölty) 3:06 % Abendlied D499 („Der Mond ist aufgegangen“) (Claudius) 2:53 ^ Klage D436 („Dein Silber schien durch Eichengrün“) (Hölty) 1:41 & Auf den Tod einer Nachtigall D201 (1st setting, Fragment) 1:08 * Auf den Tod einer Nachtigall D399 (2nd setting) (Hölty) 4:28 ( Auf dem Wasser zu singen D774 (Stolberg) 3:55 ) Lied in der Abwesenheit D416 (Fragment) (Stolberg) 1:43 ¡ Der Liebende D207 (Hölty) 1:41 ™ Minnelied D429 (Hölty) 1:54 £ Der Traum D213 (Hölty) 2:03 ¢ Seligkeit D433 (Hölty) 2:12 8.557568 12 557568 bk Schubert EU 6/10/2005 09:53am Page 2 THE DEUTSCHE SCHUBERT-LIED-EDITION Gesänge, das, in strengem dreistimmigen Satz geführt, musikalisches Gesicht fernab jeden Klischees. die Lebensfreude dessen ausdrückt, der sich in Auf dem Wasser zu singen (D774, Stolberg) In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs which zufriedner Selbstbescheidung einzurichten weiss. avancierte zu Schuberts berühmtester Vertonung nach he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Schubert’s) Diametral gegenüber steht die Klage („Trauer Texten des Grafen Leopod zu Stolberg. Die luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Goethe: umfließt mein Leben“, D371, Anonym) des Versinnbildlichung der „wechselnden Zeit“ in den A selection of German songs will constitute the beginning of this edition; it will consist of eight volumes. The lebensmüden Melancholikers, vertont in erhaben „plätschernden“, nach allen Richtungen biegsamen, nie first two (the first of which, as an example, you will find in our letter) contains poems written by your Excellency, choralartigem Satz, durchtränkt von schmerzhaften endenden und sich doch ständig verändernden the third, poetry by Schiller, the fourth and fifth, works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the Dissonanzen, während in Stimme der Liebe (D412, Figurationen des Klaviers, das Miteinander von seventh and eighth contain songs by Ossian, whose works are quite exceptional. Stolberg) ein hymnischer Gesang von unglaublich Singstimme und Begleitung in diesen Sechzehntel- The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 harmonischer und kantabler Weite uns einen bewegungen, bis sich schließlich, am Ende einer jeden songs, will be grouped according to the poets who inspired him, or according to the circle of writers, Vorausblick auf die unendliche Melodie der Strophe und des ganzen Liedes, der Gesang in einer contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. Hochromantik gewährt. Ganz Ähnliches geschieht in Phrase von wahrhaft unendlicher Schönheit von diesem Fragments and alternative settings, providing their length and quality make them worth recording, and works for An die Apfelbäume, wo ich Julien erblickte (D197, Gezeitenwechsel löst und entschwindet – dies ist nicht two or more voices with piano accompaniment will also make up a part of the edition. Hölty), während Seufzer (D 198, Hölty) wiederum, in mehr Ver-Tonung, sondern Schöpfung eines neuen Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages schlichterem Ton, an die einsame Trauer der Ganzen, in dem jede sprachliche und musikalische and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, his vorbeschriebenen Klage anknüpft. An eine Quelle Ebene zum Bestandteil einer sinnerfüllten künst- contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. (D530, Claudius), zeigt mit leisem musikalischem lerischen Gestalt wird. The entire edition is scheduled for completion by 2005. Thanks to the Neue Schubert Ausgabe (New Schubert Humor den schüchternen, verliebten Jüngling, Die Die abschließenden Gesänge, Lied in der Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the frühe Liebe (D430, Hölty) den frühreif Pubertierenden, Abwesenheit (D416, Stolberg), ein Fragment, sowie performers have been able to benefit from the most recent research of the editorial team. For the first time, the der so gar nicht zur Zurückhaltung zu neigen scheint. vier Lieder nach Hölty, Der Liebende (D207), listener and the interested reader can follow Schubert’s textual alterations and can appreciate the importance the Die nächsten fünf Lieder, An den Mond (D193, Minnelied (D429), Der Traum (D213) und Seligkeit written word had for the composer. Hölty), Abendlied (D 499, Claudius), eine weitere (D433) zeigen die Dichter der „Empfindsamkeit“ und The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers Klage (D436 „Dein Silber schien“, Hölty), Auf den Tod ihren Komponisten von einer ganz diessseitigen, who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he einer Nachtigall (D201, D399, Hölty), in zwei Genuss und Sinnlichkeit des Lebens bejahenden Seite, believes, will stand the test of time. Bearbeitungen, von denen die erste Fragment blieb, die weder jenen noch diesem fremd war. stehen ganz im Zentrum empfindsamer Lyrik. Für jedes der Gedichte findet Schubert ein neues, individuelles Ulrich Eisenlohr Der „Hammerflügel“- das Instrument (nicht nur) der Schubertzeit Die Serie der Lieder nach den Dichtern der Gesamtaufnahme der Schubertlieder einnmal hörbar zu Empfindsamkeit innerhalb der „Deutschen Schubert machen, ist Ziel und Absicht dieser Änderung in der Lied Edition“ präsentiert als Begleitinstrument der Auswahl des Begleitinstruments. Hierzu erscheint Sänger den Hammerflügel, das heisst das historisch- gerade das Repertoire der Lieder nach den aufführungspraktisch „richtige“ Instrument der empfindsamen Dichtern besonders geeignet, ist doch Schubertzeit. Schnell wird hier deutlich, wie der Hammerflügel seinem klanglichen Wesen nach verschieden das Klangspektrum, die Farben, die Inbegriff des „empfindsamen“ Musizierens – im dynamische Balance zwischen Sänger und Pianisten im Kontrast zum Virtuosentum des späteren 19. und 20. Vergleich zum gebräuchlichen modernen Konzertflügel Jahrhunderts. ausfallen. Dies innerhalb des Projekts der 8.557568 2 11 8.557568 557568 bk Schubert EU 6/10/2005 09:53am Page 10 (D432), das Schubert selbst dem Hölty zuschrieb, gibt zur Wahl dieses Textes war, so muss er Schubert, als er Franz Peter Schubert (1797-1828) Rätsel auf: In Höltys Gedichten ist es nicht ihn im April dieses Jahres vertonte, doch durch Mark Poets of Sensibility, Volume 3 nachzuweisen. Außerdem ist Schubert mit dem Text - und Bein gegangen sein. Vielleicht konnte er zu diesem man vergleiche die Veränderungen in den beiden hier Zeitpunkt nur ein Sujet wählen, das den Tod a priori als The Göttinger Hainbund: Settings of poems some poets came together, giving their association the eingespielten Fassungen - sehr frei umgegangen, anders Erlöser darstellte. Seine Musik ist in der anfänglichen by Matthias Claudius, Ludwig Hölty and name Hainbund after an ode by Klopstock, Der Hügel als in allen anderen Höltyvertonungen; dort resultieren Darstellung der Schwüle des Lebens schwer und Leopold Graf zu Stolberg und der Hain (The Hill and the Grove). Among their Textabweichungen vom höltyschen Original aus lastend, bei der Wendung zu „des Todes Atem“ wird sie number were Ludwig Hölty, Johann Heinrich Voss, the Überarbeitungen von Johann Heinrich Voss. Walther hell, beweglich und wie schwerelos. Über fast das The unique quality of Schubert as a song composer was brothers Stolberg and others. Close to them stood, Duerr mutmaßt in der Neuen Schubert-Gesamtausgabe ganze Lied spinnt sich eine wiegende, weit largely associated with the appearance of the two great, together with Klopstock himself, Matthias Claudius and die Möglichkeit eines originalen Schuberttextes im ausgreifende melodische Figur, Sinnbild der im Tode inspired Goethe settings, Gretchen am Spinnrade the ballad writer Gottfried August Bürger. It was Stile Höltys. Vergleicht man ihn mit den wenigen allumfassenden Mutter Erde. Nur einmal wird der (1814) and Erlkönig (1815). The astounding originality particularly the simple, folk-style poems of the group anderen Gedichten aus Schuberts eigener Feder (eines tröstlich-besänftigende Duktus unterbrochen: Bei den of these two compositions became the revolutionary that Schubert chose for his settings. With their hat er selbst vertont, andere sind in seinen Worten „Es scheint der Mond, es fällt der Tau/aufs start of a whole epoch, initiating the setting of poems
Load more

Recommended publications
  • Oddur Jónsson
    ODDUR JÓNSSON Oddur Jónsson is a Britten-Pears Young Artist and one of the most significant vocal talents to have emerged from Iceland in a generation. He recently appeared as Michael in Daníel Bjarnason’s acclaimed new opera Brothers, an award-winning production staged by Kasper Holten, and was named Most Promising Artist at the 2015 Icelandic Music Awards. That same year Oddur made his Paris debut singing Mahler’s Das Lied von der Erde at the Palais Garnier in a new staging by John Neumeier. Roles at the Icelandic Opera have included Rodrigo in Don Carlo, Wolfram in Tannhäuser, Figaro in Il barbiere di Siviglia, the title role in Don Giovanni, Count Almaviva in Le nozze di Figaro, Guglielmo in Così fan tutte, Schaunard in La bohème, Belcore in L’elisir d’amore, Prince Yeletsky in Pique Dame, Ned Keene in Peter Grimes, Kaiser Overall in Ullmann’s Kaiser von Atlantis and Oreste in Gluck’s Iphigénie en Tauride. Oddur is a prizewinning oratorio and lieder singer. His oratorio repertoire includes Bach’s Passions, B minor Mass, Christmas Oratorio and cantatas including Ich habe genug and Ich will den Kreuzstab gerne tragen in addition to Handel’s Messiah and Solomon, Rossini’s Petite Messe Solennelle and Puccini’s Messa di Gloria. As a recitalist he has sung Schubert’s Winterreise and Schwanengesang, Mahler’s Lieder eines fahrenden Gesellen, Schumann’s Liederkreis and Brahms’s Liebeslieder Walzer. In 2014 Oddur was awarded the Lied, Oratorio Performer and Schubert Prizes at the Francesc Viñas Competition in Barcelona and in 2013 he won first prize in the International Brahms Competition in Pörtschach, Austria.
    [Show full text]
  • THROUGH LIFE and LOVE Richard Strauss
    THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose.
    [Show full text]
  • Culminating in a Concert at the Holywell Music Room on Saturday 27 October As Part of the 2018 Festival
    Residential Mastercourse for Singers & Pianists Sunday 21 October – Saturday 27 October 2018 culminating in a concert at the Holywell Music Room on Saturday 27 October as part of the 2018 Festival led by Wolfgang Holzmair with guest tutors Roger Vignoles, Eugene Asti, Helen Abbott, Véronique Gens, and Susan Manoff Course fee £550 per person Includes All tuition: 11 coaching sessions per duo Admission to Oxford Lieder Festival concerts 8 nights’ accommodation and all meals www.oxfordlieder.co.uk “ A wonderful opportunity for talented young musicians to immerse themselves in the world of song ” Sarah Walker CBE The Oxford Lieder Festival The Oxford Lieder Festival is now in its 17th year, and is firmly established as one of the most prestigious song festivals in Europe. Since 2002, Oxford has heard thousands of songs at hundreds of recitals, given by many of the world’s most sought-after artists as well as the finest of a new generation of exciting young talent. 2014’s Festival, The Schubert Project, featured the UK’s first ever complete performance of Schubert’s songs alongside a host of other works and cultural events, and won the Royal Philharmonic Society’s prestigious ‘Chamber Music & Song’ award. This year’s Grand Tour of song will celebrate the rich tapestry of music, words, and performance across the European continent, showcasing the pinnacles of the repertoire while exploring wider cultural and geographical influences. The deliberately wide focus embraces both the variety and the binding threads of music from Scandinavia to Spain and from Ireland to Russia. Schubert, Schumann, and the other great masters of German Lied brush shoulders with composers from Carl Nielsen to Ester Mägi to Lili Boulanger.
    [Show full text]
  • Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
    th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the first time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection.
    [Show full text]
  • Thinking Across Disciplines: Audience Responses to Clara Schumann's
    . Volume 16, Issue 2 November 2019 Thinking across disciplines: Audience responses to Clara Schumann’s Dichterliebe at the Wigmore Hall Natasha Loges & Terry Clark, Royal College of Music, United Kingdom Abstract: Focusing on a single concert at the Wigmore Hall in February 2016, this paper explores audience responses to historically-informed concert programming from a dual perspective of historical musicology and social science. The concert programme involved the interspersing of a single cyclical work – Robert Schumann’s 1840 song-cycle Dichterliebe Op. 48 with individual numbers from other works, thus breaking up the anticipated sequence in a way typical of 19th-century concert programmes. The small-scale study established the general audience demographic for the concert, and then explored the role of several key factors on their appreciation of the concert, including their age, whether they played a musical instrument/sang, the importance of the venue, artists, repertoire, and finally the effect of the programme order and the historical authority which underpinned it. The writing-up process caused both authors to reflect on the challenges of exploring such phenomena from different epistemological perspectives. Keywords: audience response, concert programming, Wigmore Hall, German Lied, Schumann, Dichterliebe, cycle, 19th-century 1. Introduction and Aims This paper arose from a small-scale research project in 2016 on audience responses to historically-informed concert programming. However, as the study was undertaken jointly by a social scientist (Terry Clark, TC) and a historical musicologist (Natasha Loges, NL), it developed into an attempt to reflect on how scholarly collaboration, not just across disciplines but across epistemologies, can be mutually beneficial.
    [Show full text]
  • Cours De Maître Masterclass Avec / with Wolfgang Holzmair
    DU 25 MAI AU 5 JUIN CONCOURSMONTREAL.CA COURS DE MAÎTRE MASTERCLASS AVEC / WITH WOLFGANG HOLZMAIR SALLE DE CONCERT BOURGIE DU MUSÉE DES BEAUX-ARTS DE MONTRÉAL 28 MAI 2015 MAY 28, 2015 14 H 2 P.M. PROGRAMME 14 H 2 P.M. MATHIEU ABEL Ténor / Tenor Conservatoire de musique de Montréal Classe de / Class of Aline Kutan Pianiste / Pianist: Esther Gonthier ROBERT SCHUMANN (1810-1856) « Mit Myrten und Rosen », « Schöne Wiege meiner Leiden » - Liederkreis, opus 24 14 H 30 2:30 P.M. ANNA-SOPHIE NEHER Soprano Conservatoire de musique de Montréal Classe de / Class of Donna Brown & Sanford Sylvan Pianiste / Pianist: Esther Gonthier HUGO WOLF (1860-1903) « Das verlassene Mägdlein », « Die Spröde » & « Die Bekehrte » ———— PA USE / BREAK ———— 15 H 20 3:20 P.M. JOSH WHELAN Baryton / Baritone Atelier Lyrique - Opéra de Montréal Pianiste / Pianist: Maxime Dubé Malenfant RICHARD STRAUSS (1864-1949) « Du meines Herzens Krönelein » - Schlichte Weisen, opus 76, n˚ 1 FRANZ SCHUBERT (1797-1828) « Die Sterne » - Schwanengesang, n˚ 12 HENRI DUPARC (1848-1933) La vie antérieure HUGO WOLF (1860-1903) « Und willst du deinen Liebsten sterben sehen » - Italienisches Liederbuch, n˚ 17 DU 25 MAI AU 5 JUIN CONCOURSMONTREAL.CA WOLFGANG HOLZMAIR NÉ À VÖCKLABRUCK, EN AUTRICHE, le baryton Wolfgang Holzmair a complété ses études à l‘Universität für Musik und darstellende Kunst Wien auprès de Hilde Rössel-Majdan pour le chant et d’Erik Werba pour le lied. Il a donné des récitals tout autour du monde, dans plusieurs villes dont Londres, Lisbonne, Moscou, New York, Séoul et Washington, et lors d’événements majeurs tels que le Belfast Festival at Queen’s, le Festival international d‘Édimbourg, le Gstaad Menuhin Festival (Suisse), les festivals d’été Bregenz et Carinthian (Autriche), en collaboration avec les musiciens les plus accomplis de notre époque.
    [Show full text]
  • Young Artist Platform Audition Recitals
    5 – 7 April YOUNG ARTIST PLATFORM AUDITION RECITALS Sessions I, II, III 11am – 5.30pm Adjudication 5.45pm – 6pm Saturday 6 April 2019 Jacqueline du Pré Music Building Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly Welcome to the Oxford Lieder Spring Weekend of Song We are delighted to welcome you to this special weekend of song. The focus of the weekend is the Oxford Lieder Young Artist Platform, where some truly exceptional emerging musicians vie to become our ‘ambassadors for song’. Around their audition recitals, there is an exciting trio of evening concerts, a fascinating study day and illuminating masterclass, and the conviviality of evening meals with other audience members. SATURDAY 6 APRIL Jacqueline du Pré Music Building 11am – 5.45pm: Young Artist Platform 2019 Auditions; six 40-minute recitals given by exceptional young duos, adjudicated by Katarina Karnéus, Julius Drake and John Mark Ainsley. YOUNG ARTIST PLATFORM AUDITION SCHEDULE 11am – 12.30pm: Session I Olivia Warburton & Keval Shah ; Fabian Langguth & Camille Lemonnier 1.45pm – 3.15pm: Session II Claire Ward & Guy Murgatroyd ; Lotte Betts-Dean & Joseph Havlat 4pm – 5.30pm: Session III Ted Black & Rachel Fright ; Ema Nikolovska & Gary Beecher 5.45pm – 6pm: Adjudication From 5.45pm: Dinner at Cuttlefish, 36 St Clement’s Street 8pm: Franz Schubert’s Die schöne Müllerin SUNDAY 7 APRIL Holywell Music Room 1.30pm: Young Artist Platform Masterclass given by John Mark Ainsley From 6pm: Dinner at the Vaults and Garden Café 7.30pm: ‘Goethe: A Life in Songs’, Christopher Maltman baritone & Graham Johnson piano Out of consideration to performers and other audience members, please turn the pages of this programme as quietly as possible, and only after the song is completely finished.
    [Show full text]
  • 1/2 SPRING IS in the AIR at the 14Th MONTREAL INTERNATIONAL
    PRESS RELEASE For immediate release SPRING IS IN THE AIR AT THE 14th MONTREAL INTERNATIONAL MUSICAL COMPETITION The Ville de Montréal sponsors the $30,000 First Prize ________________________________________________________________________________ Montreal, April 23, 2015 – Next month, the Montreal International Musical Competition (MIMC) will welcome 24 singers from 9 countries who will share over $80,000 in prizes in a major competition that will take place from May 25 to June 5. The Quarter-Final (May 25, 26, and 27) and Semi-Final (May 29 and 30) recitals will have piano accompaniment and take place in Bourgie Hall. The Finals (June 2 and 3) and the winners’ concert (June 5) will take place at the Maison symphonique, with the Orchestre symphonique de Montréal (OSM). THE VILLE DE MONTRÉAL PRIZE The Competition’s First Prize, worth $30,000, is offered by the Ville de Montréal, which is now a MIMC partner for the next three years. The Mayor of Montreal, Mr. Denis Coderre, has said he is “especially proud that Montreal is home to this event that bears witness to the city’s cultural vitality and international profile.” OTHER NEW PARTNERS This year, the $15,000 Second Prize and the $10,000 Third Prize are sponsored by Canimex and Cogeco respectively. Two new prizes have been added for this Voice edition of the Competition: a $5,000 Lied and French Art Song Prize, courtesy of Clarence and Arija Stiver; and a $2,500 Prize for the Best Semi-Final Recital, which will be awarded by Tourisme Montréal. SPOKESPERSON, ORCHESTRA, AND GUEST CONDUCTOR The Competition is pleased that journalist and host Marie-Claude Lavallée is spokesperson for the 2015 edition.
    [Show full text]
  • I Wonder As I Wander Beethoven, Schubert, Mahler & Britten
    Joseph Middleton I wonder as I wander beethoven, schubert, mahler & britten James Newby baritone Joseph Middleton piano BIS-2475 arr. BRITTEN, Benjamin (1913—76) 1 I wonder as I wander (Boosey and Hawkes) 4'24 Words and melody collected by John Jacob Niles 2 There’s none to soothe (Boosey and Hawkes) 1'47 from Folk Song Arrangements, Vol. 3 Text: trad, ‘From Hullah's song-book’ SCHUBERT, Franz (1797—1828) 3 Der Wanderer, D 489 Text: Georg Philipp Schmidt 5'35 4 Der Wanderer, D 649 Text: Friedrich von Schlegel 2'58 5 Auf der Donau, D 553 Text: Johann Mayrhofer 3'04 6 Im Freien, D 880 Text: Johann Gabriel Seidl 5'30 7 Abendstern, D 806 Text: Johann Mayrhofer 2'45 van BEETHOVEN, Ludwig (1770—1827) 8 Adelaide, Op. 46 Text: Friedrich von Matthisson 5'18 9 Maigesang, Op. 52 No. 4 Text: Johann Wolfgang von Goethe 2'03 An die ferne Geliebte, Op. 98 Texts: Alois Jeitteles 13'21 10 1. Auf dem Hügel sitz ich spähend 2'34 11 2. Wo die Berge so blau 1'33 12 3. Leichte Segler in den Höhen 1'32 13 4. Diese Wolken in den Höhen 0'57 14 5. Es kehret der Maien, es blühet die Au 2'33 15 6. Nimm sie hin denn, diese Lieder 4'12 2 MAHLER, Gustav (1860—1911) 16 Zu Straßburg auf der Schanz’ Text: Anon., from Des Knaben Wunderhorn 4'22 17 Revelge Text: Anon., from Des Knaben Wunderhorn 6'41 18 Urlicht Text: Anon., from Des Knaben Wunderhorn 5'15 arr.
    [Show full text]
  • 8980: Book of Travelers Gabriel Kahane Schubert's Winterreise Ian Bostridge and Julius Drake
    8980: Book of Travelers Gabriel Kahane Schubert’s Winterreise Ian Bostridge and Julius Drake February 2–4, 2018 Lydia Mendelssohn Theatre Ann Arbor UMS Song Remix: A Biennial Songfest CONTENT 8980: Book of Travelers 3 Gabriel Kahane Schubert’s Winterreise 21 Ian Bostridge and Julius Drake 2 8980: Book of Travelers Composed and Performed by Gabriel Kahane Friday Evening, February 2, 2018 at 8:00 Lydia Mendelssohn Theatre Ann Arbor 54th Performance of the 139th Annual Season Song Remix: A Biennial Songfest This evening’s performance is supported by Joel Howell and Linda Samuelson. Special thanks to Stanford Olsen, Scott Piper, Matthew Thompson, and the entire U-M Vocal Performance Department; and Matt Albert, Joel Howell, Jonathan Kuuskoski, Morgan Lamonica, Caitlin Taylor, and the Medical Arts Program for their participation in events surrounding this evening’s performance. 8980: Book of Travelers appears by arrangement with First Chair Promotions. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. 4 CREATIVE TEAM Composer and Performer / Gabriel Kahane Director / Daniel Fish Set & Video Design / Jim Findlay Lighting Design / Mark Barton Videography / Tamara Ober, Jim Findlay, Daniel Fish, Julia Frey Sound Engineer / Dave Sinko Producer / Nunally Kersh Stage Manager / Mary-Susan Gregson Associate Director / Jordan Fein Lighting Supervisor & Production Manager / Robert Henderson Assistant Video Designer / Julia Frey 8980: Book of Travelers is approximately 65 minutes in duration and is performed without intermission. 5 HOW THE AMTRAK DINING CAR COULD HEAL THE NATION by Gabriel Kahane On November 9, 2016, I boarded October, I bought a series of train the Lake Shore Limited, Amtrak’s tickets and decided that regardless overnight service from New York of the outcome, I would set off the to Chicago.
    [Show full text]
  • 20920073784.Pdf
    ABCKM ABC CLASSIC FM 461 728-2 Saft the westlan ^tee^jpifetw, Wlang the birks o' Stanley shaw Siller saughs. \vi' clownv buds. The mavis sings ftf cheery, O; Adorn the banks sae briery, O; Sweet the crawflovver's early bell Round the sylvan fairy nooks. Decks Gleniffer's dewy dell, Feathery breckans fringe the rocks. Blooming like thy bonnie sel\ 'Neath the brae the burnie jouks, My young. my artless deary, O; And itka thing is cheery, O; Come, my lassie, let us stray Trees may bud. and birds may sing O'er GlenkillocIVs sunny brae. Flowers may bloom, and verdure spring, Blithely spend the gowden day ftp to me they canna' bring. 'Midst joys that never weary, O. Unless wl' thee, my dearie, O. - ROBERT TANNAHIU reakfast on ABC Classic FM has always been a mix of the well-known and the unusual in Bclassical music. Producer Felix Hayman, who chooses all the music that I play on-air, delights in finding new and wonderful recordings that will compel our audience to stop what they're doing for a moment - and listen. "They'll love that!" he says, and invariably he's right! From Winter's Stillness is a brand new collection of some of those Breakfast listener favourites - pieces that were inspired by the coldest of the four seasons. Some of the tracks on this album capture the beautiful icy quality of winter, others evoke the warmth of winter sunlight and the approach of spring. Many are simple and eerily moving, such as the beautiful Corpus Christi Carol - sung here by Australian tenor David Hobson.
    [Show full text]
  • Wolfgang Holzmair, Baritone Russell Ryan, Piano
    CAL PERFORMANCES PRESENTS Sunday, March 4, 2012, 3pm Hertz Hall Wolfgang Holzmair, baritone Russell Ryan, piano PROGRAM Franz Schubert (1797–1828) Winterreise, Op. 89, D. 911 (1828) 1. Gute Nacht 2. Die Wetterfahne 3. Gefrorene Tränen 4. Erstarrung 5. Der Lindenbaum 6. Wasserflut 7. Auf dem Flusse 8. Rückblick 9. Irrlicht 10. Rast 11. Frühlingstraum 12. Einsamkeit 13. Die Post 14. Der greise Kopf 15. Die Krähe 16. Letzte Hoffnung 17. Im Dorfe 18. Der stümische Morgen 19. Täuschung 20. Der Wegweiser 21. Das Wirtshaus 22. Mut 23. Die Nebensonnen 24. Der Leiermann Please note that Mr. Holzmair and Mr. Ryan will perform Winterreise without intermission. Funded by the Koret Foundation, this performance is part of Cal Performances’ 2011–2012 Koret Recital Series, which brings world-class artists to our community. Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. CAL PERFORMANCES 23 PROGRAM NOTES PROGRAM NOTES Franz Schubert (1797–1828) sunlight—is one of Schubert’s most remarkable growing confidence in his own creative abilities for death through evocations of frozen nature, Winterreise (“Winter Journey”), D. 911 and characteristic achievements, and touches in- and a reputation quickly spreading beyond his of loneliness, of lost love, of pointless wander- delibly upon the incomparable series of works— native Vienna, Schubert had already begun con- ing, of vain hope, of painful memory. At the end Composed in 1827. Winterreise, the “Great” C major Symphony, the sidering closely the subject of death. His own of this motionless journey, after the poet-singer last three Piano Sonatas, the String Quintet, the health had by then been seriously undermined has inquired about a place in a cemetery (Das On January 31, 1827, Franz Schubert turned 30.
    [Show full text]