March 2013 List Blu-Ray New Releases
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14 January 2011 Page 1 of 9
Radio 3 Listings for 8 – 14 January 2011 Page 1 of 9 SATURDAY 08 JANUARY 2011 05:37AM virtuosity, but it's quite possible he wrote this concerto to play Mozart, Wolfgang Amadeus (1756-1791) himself. One early soloist commented that the middle SAT 01:00 Through the Night (b00wx4v1) Alma Dei creatoris (K.277) movement was 'too clever by half', but it's the finale that's The Genius of Mozart, presented by John Shea Ursula Reinhardt-Kiss (soprano); Annelies Burmeister (mezzo); catches most attention today, as it suddenly lurches into the Eberhard Büchner (tenor); Leipzig Radio Chorus & Symphony 'Turkish' (or more accurately Hungarian-inspired) style - and 01:01AM Orchestra), Herbert Kegel (conductor) the nickname has stuck. Mozart, Wolfgang Amadeus (1756-1791) Thamos, König in Ägypten (K.345) 05:43AM Conductor Garry Walker is no stranger to Mozart, last season Monteverdi Choir; English Baroque Soloists; cond. by John Mozart, Wolfgang Amadeus (1756-1791) he visited the St David's Festival in West Wales with the Eliot Gardiner 16 Minuets (K.176) (excerpts) Nos.1-4 orchestra, taking the 'Haffner' symphony. Today he conducts Slovak Sinfonietta, cond. Tara Krysa the players in Symphony No. 25, written when Mozart was a 01:50AM teenager. It's his first symphony in a minor key, and maybe the Mozart, Wolfgang Amadeus (1756-1791) 05:51AM passion and turbulence we hear in the outer movements a young Piano Sonata in C minor (K. 457) (1784) Mozart, Wolfgang Amadeus (1756-1791) man struggling out of his adolescence. Denis Burstein (piano) Quartet for strings in B flat major (K.458) "Hunt" Quatuor Mosaïques MOZART 02:15AM Violin Concerto No. -
Programme 2016
71e CONCOURS DE GENÈVE INTERNATIONAL MUSIC COMPETITION PROGRAMME 2016 CONCOURSGENEVE.CH Partenaire principal Croquis du sinistre Quoi qu’il arrive – nous vous aidons rapidement et simplement. mobiliere.ch Agence générale Genève Denis Hostettler Route du Grand-Lancy 6a 1227 Les Acacias T 022 819 05 55 [email protected] SOMMAIRE SUMMARY I. INTRODUCTION INTRODUCTION 3 Messages de bienvenue Official messages 3 Comment fonctionne le Jury How the Jury works 10 II. CONCOURS DE CHANT VOICE COMPETITION 11 Programme Programme 12 Prix et récompenses Prizes & awards 15 Candidats Candidates 17 Membres du Jury Jury members 28 Accompagnateurs Accompanists 40 Orchestre et chef Orchestra & conductor 42 III. CONCOURS DE QUATUOR STRING QUARTET À CORDES COMPETITION 45 Programme Programme 46 Prix et récompenses Prizes & awards 48 Candidats Candidates 51 Membres du Jury Jury members 60 Compositeur Composer 71 IV. AUTOUR DU CONCOURS AROUND THE COMPETITION 73 Concert d’ouverture Opening concert 75 Concert vernissage Concert inauguration 76 Pédagogie et médiation Education & mediation 77 V. LAURÉATS PRIZE-WINNERS 85 Programme de soutien Career development programme 86 Coup de Cœur Breguet Coup de Cœur Breguet Prize 89 Tournée des lauréats Laureates tour 91 Festival des lauréats Laureates festival 93 Interview du Quatuor Voce Interview of Quatuor Voce 95 Nouvelles des lauréats News of the laureates 100 VI. SOUTIENS SUPPORTS 107 Amis du concours Friends association 108 Partenaires et soutiens Partners & Supports 111 VII. PRATIQUE PRACTICAL 113 Billetterie, tarifs Tickets, prices 115 Lieux Places 118 Organisation Organization 119 Contacts Contacts 120 — 1 — ALTERNATIVE.CH | CI/UN/CH/F/121215 CI/UN/CH/F/121215 La discipline crée la stabilité. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
APRIL 2009 LIST See Inside for Valid Dates
tel 0115 982 7500 fax 0115 982 7020 APRIL 2009 LIST See inside for valid dates Dear Customer As the weather here becomes positively agreeable and the evenings lengthen, we offer you a cornucopia of delights containing both new growth and old returning favourites in a seductively priced spring bouquet - we hope you cannot resist! The major new release this month is Angela Hewitt’s re-visit of the Bach 48, a fresh look at this masterpiece of the keyboard repertoire. The reports indicate a quite different approach from her original recordings a decade ago, resulting from her years of performing and living with this music - a ‘new-found freedom’ as Ms Hewitt calls it. We have made it available at a special price for this list, along with reductions on the whole of her Hyperion back catalogue. The LSO Live Gergiev Mahler series continues with Symphony no.8 recorded in the mammoth acoustic of St Paul’s Cathedral. DG, in this Handel year, provide us with the first ever studio recording of his neglected Ezio, first performed in London in 1732 and a fine example of ‘opera seria’. For fans of the Gheorghiu/Alagna duo, there is a fascinating new world premiere recording on the Larghetto label (see page 8) of excerpts from a little known opera by Vladimir Cosma, Marius and Fanny, inspired by the writings of Marcel Pagnol. As always, we have negotiated reduced price offers - HM Gold, Praga, Delphian, Accord, Handel sets on Hyperion, EMI Gemini and British Composers, and the Medici Arts DVD catalogue. Make the most of them. -
Télécharger Au Format
EVUE USICALE Rde SuisseM Romande fondée en 1948 La Revue Musicale de Suisse Romande a le plaisir de mettre à votre disposition ces documents tirés de ses archives. Aidez-nous à poursuivre notre belle aventure : abonnez-vous ! > www.rmsr.ch/abo.htm Chaque trimestre, des articles de fond, des chroniques d’actualités, des recensions de disques et de livres vous feront découvrir de nouveaux horizons musicaux. Nos dernières années de publication sont diffusées exclusivement sous forme imprimée, par abonnement ou par commande au numéro ; elles ne sont pas disponibles en ligne. Visitez notre site : www.rmsr.ch © Revue Musciale de Suisse Romande Toute utilisation commerciale du contenu du présent document est interdite (sauf autorisation écrite préalable de la Revue Musicale de Suisse Romande). Toute citation doit être accompagnée de la référence complète (titre de la revue, auteur et titre de l’article, année, numéro, page). REVUE MUSICALE DE SUISSE ROMANDE 60ème année, n° 4 Décembre 2007 H ODL E R ET LA MUSIQUE Voie d’études Master de Direction (MA in Music) dès 2008/09 Direction artistique: Prof. Ralf Weikert Objectifs Examens d’admission Capacité d’assumer la direction 11 et 12 avril 2008 de concerts et d’opéras sur le plan national et international Informations complémentaires Spécialisations www.hslu.ch/musik - Direction d’orchestre et d’opéra: Ralf Weikert - Direction chorale: Stefan Albrecht, Ulrike Grosch, Pascal Mayer - Ensembles à vents: Ludwig Wicki Manifestations 2007/08 Invités - 21 au 24 janvier 2008: - Bernard Haitink: Cours de -
Welkom Achtergrondartikelen Programma's En Toelichtingen Musici Informatie
2 welkom welcome 7 achtergrondartikelen articles 41 programma's en toelichtingen programmes and program notes 99 musici musicians 135 informatie information 1 Beste Biënnale bezoeker, Na drie succesvolle edities van de worden gepresenteerd leeft bij ons voort. In Dear Biennial visitor, The Biennial also offers young professionals Biënnale kan met voorzichtige trots worden deze Biënnale worden liefst elf gloednieuwe After three successful editions of the Amsterdam and amateurs the opportunity to make their geconstateerd dat er een unieke traditie is composities ten doop gehouden, daarnaast Cello Biennial, we can conclude with guarded way into the spotlight. A great number of young ontstaan in het Muziekgebouw aan ’t IJ. Van zijn er dagelijks composities te horen die – pride that a unique tradition has been established professionals have entered the National Cello 26 oktober tot en met 3 november 2012 is het ten onrechte – zelden worden uitgevoerd. in the Muziekgebouw aan ‘t IJ. From October 26 Competition or signed up for the twelve public weer zo ver: het hele gebouw gonst dan van Ondertussen is de Biënnale ook de plek through November 3, the tradition continues: the masterclasses, workshops or Open Podium. In de celloklanken. waar jonge professionals en amateurs entire building will buzz with the sound of the addition there is the ever-popular Mega Kinder Dit festivalboek maakt u wegwijs in het zich in de kijker kunnen spelen. Veel jonge cello. Cello Orkest (MegaKCO), where approximately volledige programma van deze Vierde professionele cellisten schreven zich in voor This festival book will guide you through the 140 young amateurs will bundle their efforts and Amsterdamse Cello Biënnale. -
Robert Schumann 1810–1856
Jodi Levitz Carla Moore The Benvenue Fortepiano Trio 2 Robert Schumann 1810–1856 Märchenbilder Op.113* 1 I. Nicht schnell 3.29 2 II. Lebhaft 3.58 3 III. Rasch 2.32 4 IV. Langsam 5.26 Fünf Stücke im Volkston Op.102 † 5 I. Mit Humor 3.05 6 II. Langsam 3.21 7 III. Nicht schnell 4.13 8 IV. Nicht zu rasch 1.53 9 V. Stark und markiert 3.00 Piano Quintet in E flat Op.44° 10 I. Allegro brillante 9.04 11 II. In modo d’un marcia 7.50 12 III. Scherzo 4.51 13 IV. Allegro ma non troppo 7.06 59.48 The Benvenue Fortepiano Trio on period instruments * † ° Eric Zivian fortepiano (Franz Rausch, Vienna, 1841) ° Monica Huggett violin (Dutch [Cuypers School], circa 1770) † ° Tanya Tomkins cello (Joseph Panormo, London, 1811) *°Jodi Levitz viola (Andrea Ghisalberti, Parma, 1729) ° Carla Moore violin (Johann Georg Thir, Vienna, 1754) 3 When Robert Schumann finally married Clara Wieck on 12 September 1840, it marked the end of a long battle with Clara’s father, Friedrich Wieck, who considered the 30-year-old composer unfit for her. As Wieck’s arguments fell away and it became clear that the young lovers would soon be able to marry, Schumann entered an extraordinary phase of compositional productivity. During 1840 and into 1841 – known as the composer’s Liederjahr or ‘year of song’ – he composed no fewer than 125 Lieder, casting them off at white heat, sometimes at the rate of two a day. This prodigious activity continued into the next year, when he turned his mind to the orchestra, composing the First Symphony and the original version of the Fourth, along with the Overture, Scherzo and Finale and the piano Phantasie, which was to become the first movement of the Piano Concerto a few years later. -
20Th-Century Repertory
Mikrokosmos List 575. - 2 - June 2013 ....20TH-CENTURY REPERTORY 1 Ahrens, Joseph: Das heilige Jahr - comp.organ S 3 x MUSICA VIV MV 601114 A 20 2 Anrooy, Peter van: Piet Hein/ H.Andriessen: Kuhnau Variations/ J.Wagenaar: FONTANA 6530044 A 10 Cyrano & De getemde feeks Overtures - Residentie Orkest, cond.Dorati, Otterloo (Dutch pressing) S 3 Arndt, Rudi: Burleske for Trompet & Orch/Hattwig: Carpe diem/Rosenfeld: Scherzo NOVA 885008 A 10 for Vln & Orch/Arenz: Sommer/Bruchmann: Toccata S 4 Auric: Trio/ M.Constant: Trio/ Canteloube: Rustiques/ Lesur: Suite - Monte Carlo REM 11029 A 12 Wind Trio (gatefold) 1987 S 5 Balanchivadze: Piano Concerto 3, Ritsa Lake Intermezzo, On the Tbilisi Sea Waltz - MELODIYA D 3916 A 60 CP1 L.Oborin, cond.Khaikin, Dimitriadi 10" OLD 6 Bantock: Pierrot Ov/ Bridge: Summer, Hamlet, Suite for String Orch/ Butterworth: RCA RL 25184 A 10 Idyll for Small Orch - cond.Del Mar (UK) S 7 Bartok: Cantata Profana, 5 Hungarian Folk Songs, Village scenes, 7 Choruses - HUNGAROT SLPX 11510 A 10 cond.Dorati, Ferencsik, Korodi (Complete Edition) S 8 Bartok: Kossuth Sym Poem; Scherzo for Pno; Scherzo from Sym in E flat - E.Tusa, HUNGAROT SLPX 11517 A 10 cond.Lehel S 9 Bartok: Miraculous Mandarin ballet, Dance Suite, Hungarian Peasant Songs - HUNGAROT SLPX 11319 A 10 Budapest PO, cond.J.Sandor (Complete Edition) S 10 Bartok: Sonata for 2 Pnos & Perc; Solo Sonata for Vln - Kocsis, Ranki, Petz, Marton, HUNGAROT SLPX 11479 A 10 D.Kovacs (Complete Edition) S 11 Bartok: Suite 2, Rumanian Folk Dances, Transylvanian Dances, Hungarian Sketches -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
Spoleto Festival Usa Program History 2017 – 1977
SPOLETO FESTIVAL USA PROGRAM HISTORY 2017 – 1977 Spoleto Festival USA Program History Page 2 Table of Contents, Organized by Year 2017 .................................... 3 2016 .................................... 6 1996 .................................... 76 2015 .................................... 10 1995 .................................... 79 2014 .................................... 13 1994 .................................... 82 2013 .................................... 16 1993 .................................... 85 2012 .................................... 20 1992 .................................... 88 2011 .................................... 24 1991 .................................... 90 2010 .................................... 27 1990 .................................... 93 2009 .................................... 31 1989 .................................... 96 2008 .................................... 34 1988 .................................... 99 2007 .................................... 38 1987 .................................... 101 2006 .................................... 42 1986 .................................... 104 2005 .................................... 45 1985 .................................... 107 2004 .................................... 49 1984 .................................... 109 2003 .................................... 52 1983 .................................... 112 2002 .................................... 55 1982 .................................... 114 2001 ................................... -
Brahms String Sextets WDR Chamber Players
Brahms String Sextets WDR Chamber Players 1 Johannes Brahms (1833-1897) A testing ground for chamber music Thoughts on the Brahms string sextets String Sextet No. 1 in B-flat Major, Op. 18 (1862) 1 I. Allegro ma non troppo 13. 33 “One hears six intelligent people at the same time are granted absolute 2 II. Andante, ma moderato 8. 56 conversing among themselves, derives individuality. 3 III. Scherzo. Allegro molto 3. 04 pleasure from their discourse, and gets to 4 IV. Rondo. Poco allegretto e grazioso 9. 15 know the peculiarities of the instruments.” On this basis, the string quartet — If Goethe’s well-known aperçu concerning probably the most significant chamber- String Sextet No. 2 in G Major, Op. 36 (1865) the string quartet could be so easily music genre in the history of European 1 I. Allegro non troppo 13. 48 adapted to the string sextet by merely music, thanks to its aesthetic appeal — has 2 II. Scherzo. Allegro non troppo - Presto giocoso - Tempo primo 7. 04 replacing the number four by six, then one developed a tradition that extends from 3 III. Adagio 8. 37 would truly be oversimplifying matters its beginnings with Haydn through Mozart 4 IV. Poco allegro 8. 12 with regard to the string sextet. For and Beethoven until well into the 20th the essence of Goethe’s thinking — the century. The string sextet cannot present Total playing time: 72. 45 conversation in which each participant a comparable development as a genre, has an equally important say — cannot irrespective of the varying combination WDR Symphony Orchestra Cologne be transferred without further ado to of instruments: for there was no standard Chamber Players: the extended ensemble. -
Guide-To-String Trios
GUIDE TO THE STRING TRIO LITERATURE Guide to the Strin g Trio Li teratu Ray re by mon d Si lvert rust BY RAYMOND SILVERTRUST EDITOR OF THE CHAMBER MUSIC JOURNAL -1- Table of Contents Introduction and Preface ··································································································· 3 Trios for Violin, Viola and Violoncello ············································································ 6 Trios for 2 Violins and Cello or 2 Violins and Viola ······················································· 24 Index······························································································································· 29 -2- A Guide to the String Trio Literature By Raymond Silvertrust Introduction and Preface professional ensemble. Along the way, I developed a love of the broader chamber music literature to which I was first exposed First, I would like to apologize to my readers. I have hastily through the medium of phonograph records. To my chagrin, typed this entirely myself. And as I have no editor and because I years of concert-going made clear that I was unlikely to ever hear am not a good proof reader, you will find many mistakes, largely such music performed live, either because the professionals did because I have felt, now in my seventh decade, that I am racing not know of the music or because the music was unavailable. against the clock so to speak. I have wanted to make sure that I When I realized this state of affairs, I undertook to obtain some would be able to complete this guide. When it is done, and if I of the music I had heard on disk so that at least I could play it. To have time, I will improve it, add to it and, of course, try to this end, I began to search music stores, antiquarian dealers and eliminate all of the errors I have left behind.