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Rncm Chamber Music Festival Songs Without Words Rncm Chamber Music Festival Songs Without Words
Friday 04 – Sunday 06 March 2016 RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS WELCOME The RNCM Chamber Music Festival plays an enormous role in the story of the College and is a major event in our calendar. Chamber music is at the core at what we do - the RNCM has a proud tradition of chamber ensemble training and our alumni appear with high profile ensembles such as the Elias, Heath and Navarra String Quartets plus the Gould Piano Trio to name but a few. Every year, the Chamber Music Festival goes from strength to strength, presenting the opportunity to see our wonderful students, internationally renowned staff and special guests perform beautiful music across a jam-packed weekend. This year is no exception, as we explore German Romanticism in Songs Without Words. We focus particularly on the music of Mendelssohn and Schumann and our students will be involved in a major composition project, as they are asked to create responses to Mendelssohn’s Songs Without Words. So the Festival will include works from across the 19th century but will also dip into the 20th century with composers such as Richard Strauss. This year’s line-up features some of the finest musicians performing today including the Talich Quartet, Elias Quartet, Michelangelo Quartet, plus RNCM Junior Fellows the Solem Quartet and our International Artist chamber ensemble the Diverso String Quartet. We also welcome chamber groups from Chetham’s, St Mary’s, Junior RNCM, the Royal Irish Academy of Music and Sheffield Music Academy. So please join us and immerse yourself in this weekend of lush musical landscapes. -
ONYX4206.Pdf
EDWARD ELGAR (1857–1934) Sea Pictures Op.37 The Music Makers Op.69 (words by Alfred O’Shaughnessy) 1 Sea Slumber Song 5.13 (words by Roden Noel) 6 Introduction 3.19 2 In Haven (Capri) 1.52 7 We are the music makers 3.56 (words by Alice Elgar) 8 We, in the ages lying 3.59 3 Sabbath Morning at Sea 5.24 (words by Elizabeth Barrett Browning) 9 A breath of our inspiration 4.18 4 Where Corals Lie 3.43 10 They had no vision amazing 7.41 (words by Richard Garnett) 11 But we, with our dreaming 5 The Swimmer 5.50 and singing 3.27 (words by Adam Lindsay Gordon) 12 For we are afar with the dawning 2.25 Kathryn Rudge mezzo-soprano 13 All hail! we cry to Royal Liverpool Philharmonic the corners 9.11 Orchestra & Choir Vasily Petrenko Pomp & Circumstance 14 March No.1 Op.39/1 5.40 Total timing: 66.07 Artist biographies can be found at onyxclassics.com EDWARD ELGAR Nowadays any listener can make their own analysis as the Second Symphony, Violin Sea Pictures Op.37 · The Music Makers Op.69 Concerto and a brief quotation from The Apostles are subtly used by Elgar to point a few words in the text. Otherwise, the most powerful quotations are from The Dream On 5 October 1899, the first performance of Elgar’s song cycle Sea Pictures took place in of Gerontius, the Enigma Variations and his First Symphony. The orchestral introduction Norwich. With the exception of Elizabeth Barrett Browning, all the poets whose texts Elgar begins in F minor before the ‘Enigma’ theme emphasises, as Elgar explained to Newman, set in the works on this album would be considered obscure -
The Elgar Sketch-Books
THE ELGAR SKETCH-BOOKS PAMELA WILLETTS A MAJOR gift from Mrs H. S. Wohlfeld of sketch-books and other manuscripts of Sir Edward Elgar was received by the British Library in 1984. The sketch-books consist of five early books dating from 1878 to 1882, a small book from the late 1880s, a series of eight volumes made to Elgar's instructions in 1901, and two later books commenced in Italy in 1909.^ The collection is now numbered Add. MSS. 63146-63166 (see Appendix). The five early sketch-books are oblong books in brown paper covers. They were apparently home-made from double sheets of music-paper, probably obtained from the stock of the Elgar shop at 10 High Street, Worcester. The paper was sewn together by whatever means was at hand; volume III is held together by a gut violin string. The covers were made by the expedient of sticking brown paper of varying shades and textures to the first and last leaves of music-paper and over the spine. Book V is of slightly smaller oblong format and the sides of the music sheets in this volume have been inexpertly trimmed. The volumes bear Elgar's numbering T to 'V on the covers, his signature, and a date, perhaps that ofthe first entry in the volumes. The respective dates are: 21 May 1878(1), 13 August 1878 (II), I October 1878 (III), 7 April 1879 (IV), and i September 1881 (V). Elgar was not quite twenty-one when the first of these books was dated. Earlier music manuscripts from his hand have survived but the particular interest of these early sketch- books is in their intimate connection with the round of Elgar's musical activities, amateur and professional, at a formative stage in his career. -
Arthur William Edgar O'shaughnessy - Poems
Classic Poetry Series Arthur William Edgar O'Shaughnessy - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive www.PoemHunter.com - The World's Poetry Archive 1 Arthur William Edgar O'Shaughnessy(14 March 1844 – 30 January 1881) O'Shaughnessy was born on May 14, 1844 in London, England. At the age of seventeen he received the post of transcriber in the library of the British Museum. Two years later at the age of nineteen he was appointed to be an assistant in the natural history department, where he specialized in icthyology. However, his true passion was for literature. He published his Epic of Women in 1870, his first collection. He printed three collections of poetry between 1870 and 1874. When he was thirty he married and did not print any more volumes of poetry for the last seven years of his life. His last volume, Songs of a worker was published after his death the same year. By far the most noted of any his works are the initial lines of the Ode from his book Music and Moonlight (1874): <i>We are the music makers, And we are the dreamers of dreams, Wandering by lone sea-breakers, And sitting by desolate streams;— World-losers and world-forsakers, On whom the pale moon gleams: Yet we are the movers and shakers Of the world for ever, it seems.</i> Sir Edward Elgar set the ode to music in 1912 in his work entitled The Music Makers, Op 69. The work was dedicated to Elgar's old friend Nicholas Kilburn and the first performance took place at the Birmingham Triennial Music Festival in 1912. -
Musicweb International August 2020 RETROSPECTIVE SUMMER 2020
RETROSPECTIVE SUMMER 2020 By Brian Wilson The decision to axe the ‘Second Thoughts and Short Reviews’ feature left me with a vast array of part- written reviews, left unfinished after a colleague had got their thoughts online first, with not enough hours in the day to recast a full review in each case. This is an attempt to catch up. Even if in almost every case I find myself largely in agreement with the original review, a brief reminder of something you may have missed, with a slightly different slant, may be useful – and, occasionally, I may be raising a dissenting voice. Index [with page numbers] Malcolm ARNOLD Concerto for Organ and Orchestra – see Arthur BUTTERWORTH Johann Sebastian BACH Concertos for Harpsichord and Strings – Volume 1_BIS [2] Johann Sebastian BACH, Georg Philipp TELEMANN, Carl Philipp Emanuel BACH The Father, the Son and the Godfather_BIS [2] Sir Arnold BAX Morning Song ‘Maytime in Sussex’ – see RUBBRA Amy BEACH Piano Quintet (with ELGAR Piano Quintet)_Hyperion [9] Sir Arthur BLISS Piano Concerto in B-flat – see RUBBRA Benjamin BRITTEN Serenade for Tenor, Horn and Strings, etc._Alto_Regis [15, 16] Arthur BUTTERWORTH Symphony No.1 (with Ruth GIPPS Symphony No.2, Malcolm ARNOLD Concerto for Organ and Orchestra)_Musical Concepts [16] Paul CORFIELD GODFREY Beren and Lúthien: Epic Scenes from the Silmarillion - Part Two_Prima Facie [17] Sir Edward ELGAR Symphony No.2_Decca [7] - Sea Pictures; Falstaff_Decca [6] - Falstaff; Cockaigne_Sony [7] - Sea Pictures; Alassio_Sony [7] - Violin Sonata (with Ralph VAUGHAN WILLIAMS Violin Sonata; The Lark Ascending)_Chandos [9] - Piano Quintet – see Amy BEACH Gerald FINZI Concerto for Clarinet and Strings – see VAUGHAN WILLIAMS [10] Ruth GIPPS Symphony No.2 – see Arthur BUTTERWORTH Alan GRAY Magnificat and Nunc dimittis in f minor – see STANFORD Modest MUSSORGSKY Pictures from an Exhibition (orch. -
Musmeds&Notes-October 21, 2020
MUSICAL MEDITATIONS: CELEBRATING CLASSICAL MUSIC Wednesday, October 21, 2020 * * * Songs without Words………………………………………...….Felix Mendelssohn Op. 19, No. 1: Andante con moto Op. 19, No. 4: Moderato Op. 102, No. 3: Presto Sonata Op. posth. 164, D. 537…………………..…………………Franz Schubert Allegro, ma non troppo Allegretto, quasi Andantino Allegro vivace Karen Harvey, piano * * * Thank you for tuning in to today’s musical meditation. Please consider joining us next week, which will feature music of Bach, Copland, Satie and Griffes. Notes on today’s music Jakob Ludwig Felix Mendelssohn Bartholdy (February 3, 1809 – November 4, 1847), a.k.a. Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. Mendelssohn's compositions incluDe symphonies, concertos, piano music, organ music and chamber music. His best-known works incluDe the overture and incidental music for A Midsummer Night's Dream (containing the famous Wedding March), the Italian Symphony, the Scottish Symphony, the oratorio St. Paul, the oratorio Elijah, the overture The Hebrides, the mature Violin Concerto and the String Octet. The meloDy for the Christmas carol "Hark! The HeralD Angels Sing" is also his. Songs Without Words are his most famous solo piano compositions. A grandson of the philosopher Moses MenDelssohn, Felix MenDelssohn was born into a prominent Jewish family, anD though he was recogniseD early as a musical proDigy, his parents were cautious and did not seek to capitalise on his talent. MenDelssohn enjoyeD early success in Germany, anD singlehandedly reviveD interest in the music of Johann Sebastian Bach with his performance of the St. Matthew Passion in 1829. -
Words Without Music Free
FREE WORDS WITHOUT MUSIC PDF Philip Glass | 432 pages | 02 Apr 2015 | FABER & FABER | 9780571323722 | English | London, United Kingdom WORDS WITHOUT MUSIC | Kirkus Reviews An award-winning team of journalists, designers, and videographers who tell brand stories through Fast Company's distinctive lens. Leaders who are shaping the future of business in creative ways. New workplaces, new food sources, new medicine--even an entirely new economic system. Want to stream Heroes, read the interactive novel, then bid online for artwork from the show? Thank Comstock for all that, too. The economics of television used to be simple. Do you understand how to make money today, when I can watch 30 Rock pretty much Words Without Music We understand it a lot better than we used to. Digital media allow us to open up new windows without the cannibalization you might expect. So yes, we can offer 30 Rock in preview, then on-air, then streaming, then iTunesthen mobile, and then syndication. Some know what they want, some less so. They expect us to Words Without Music in on targeted consumers: What do we know about them, and how do we reach them? A lot of those are repeat viewers. Others are time-shifting. It has to. We have to find the right solution. Words Without Music personal expression [by viewers], the desire to be involved in the storytelling. With success, you get a bit more confident. But we still have to be more focused and more Words Without Music. This business is hypersensitive like that. You have to pick a path, keep to it, and feel good about it. -
Vol. 14, No. 4 March 2006
Cockaigne (In London Town) • Concert Allegro • Grania and D • May Song • Dream Children • Coronation Ode • Weary Wind West • Skizze • Offertoire • The Apostles • In The South (Ala Introduction and Allegro • EveningElgar Scene Society • In Smyrna • The Kin • Wand of Youth • How Calmly the Evening • Pleading • Go, S Mine • Elegy • Violin Concerto in B minor • Romance • Sym No.2 • O Hearken Thouournal • Coronation March • Crown of India • G the Lord • Cantique • The Music Makers • Falstaff • Carissima • S • The Birthright • The Windlass • Death on the Hills • Give Un Lord • Carillon • Polonia • Une Voix dans le Desert • The Sta Express • Le Drapeau Belge • The Spirit of England • The Frin the Fleet • The Sanguine Fan • Violin Sonata in E minor • Quartet in E minor • Piano Quintet in A minor • Cello Concer minor • King Arthur • The Wanderer • Empire March • The H Beau Brummel • Severn Suite • Soliloquy • Nursery Suite • A Organ Sonata • Mina • The Spanish Lady • Chantant • Reminisc • Harmony Music • Promenades • Evesham Andante • Ros (That's for Remembrance) • Pastourelle • Virelai • Sevillana Idylle • Griffinesque • Gavotte • Salut d'Amour • Mot d'Am Bizarrerie • O Happy Eyes • My Love Dwelt in a Northern Froissart • Spanish Serenade • La Capricieuse • Serenade • The Knight • Sursum Corda • The Snow • Fly, Singing Bird • Fro Bavarian Highlands • The Light of Life • King Olaf • Imperial M The Banner of St George • MARCHTe Deum and 2006 Benedictus Vol.14, No.4 • Caract Variations on an Original Theme (Enigma) • Sea Pictures • Ch d N it Ch d -
Elgar, Enigma Variations
Edward ELGAR Variations on an Original Theme (Enigma Variations) Sir Edward William Elgar (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was knighted in 1904, and appointed Master of the King's Musick in 1924. Variations on an Original Theme, Op. 36, popularly known as the Enigma Variations, was composed between October 1898 and February 1899. It is an orchestral work comprising fourteen variations on an original theme. A melody he played caught the attention of his wife, and he began to improvise variations on it in styles which reflected the character of some of his friends. These improvisations, eXpanded and orchestrated, became the Enigma Variations. Elgar dedicated the work "to my friends pictured within", each variation being a musical sketch of one of his circles of close acquaintances. Those portrayed include Elgar's wife Alice, his friend and publisher Augustus J. Jaeger and Elgar himself. Elgar considered including variations portraying Arthur Sullivan and Hubert Parry, but was unable to assimilate their musical styles without pastiche, and dropped the idea. In a programme note for a performance in 1911 Elgar wrote: “This work, commenced in a spirit of humour & continued in deep seriousness, contains sketches of the composer's friends. It may be understood that these personages comment or reflect on the original theme & each one attempts a solution of the Enigma, for so the theme is called. -
The Apostles Edward
C X A X H A C H P R P R I I S S T T I I C E C E H L H L O R A O R A • A X C H P R I S T I • C H E O R A L X X C A C H A H P R P R I I S S T T I I C E C E H L H L O R A O R A • A X C H P R I S Stephanie Martin April 29, 2017, 7:30 p.m. T I Artistic Director April 30, 2017, 3:00 p.m. • C H E O R A L Edward The Apostles Elgar Pax Christi Chorale and Orchestra with Meredith Hall, Krisztina Szabó, Brett Polegato, Lawrence Wiliford, Daniel Lichti, Michael Uloth, and the Etobicoke School of the Arts Chamber Choir Edward The Apostles Elgar Pax Christi Chorale and Orchestra Stephanie Martin, Artistic Director PART 1 1. The Calling of the Apostles 2. By the Wayside 3. By the Sea of Galilee INTERMISSION PART 2 4. The Betrayal 5. Golgotha 6. At the Sepulchre Please join us in the Parish Hall after today’s 7. The Ascension concert for a reception. Elgar’s oratorio tells a profoundly human story, recounting Christ’s teaching, crucifixion and resurrection through the eyes of his disciples — ordinary men who would lay the foundation of the Christian church. The Apostles was first performed in Birmingham in October 1903. BY STEPHEN JOHNSON MUSIC WRITER, BROADCASTER, AND COMPOSER Synopsis Edward Elgar PART ONE recitative sets up the opposition of Part One of the oratorio begins at the authorities to Jesus’ preaching. -
1 Rockport Chamber Music Festival 2018 Opening Night
1 ROCKPORT CHAMBER MUSIC FESTIVAL 2018 (r)Evolution June 15-July 15, 2018 BARRY SHIFFMAN, artistic director OSVALDO GOLIJOV, composer-in-residence Location: Shalin Liu Performance Center Friday, June 15, 2018 8 PM OPENING NIGHT Miriam Khalil, soprano | Barry Shiffman, violin/viola | Danny Koo, violin | Roberto Diaz, viola | Milena Pajaro-van de Stadt, viola | Andres Díaz, cello | Clive Greensmith, cello | Roberto Occhipinti, bass | Tara Helen O’Connor, flute | Todd Palmer, clarinet | James Sommerville, horn | Claudio Ragazzi, guitar | Ina Zdorovetchi, harp | Michael Ward- Bergemann, hyper accordion | Dave Burns, percussion | Jeremy Flower, laptop Joel Ivany, director | Jason Hand, lighting designer String Sextet in D minor, Op. 70 (Souvenir de Florence) (1887-92) Pyotr Il’Yich Tchaikovsky (1840-1893) Ayre, for soprano and ensemble (2004) Osvaldo Golijov (b. 1960) Saturday, June 16, 2018 4 PM KAFKA AND SON Alon Nashman, actor and creator ENSEMBLE Danny Koo, violin | Barry Shiffman, viola | Andres Diaz, cello Roberto Occhipinti, bass | Tara Helen O'Connor, flute | Todd Palmer, clarinet LULLABY AND DOINA, FOR FLUTE, CLARINET, VIOLIN, VIOLA, CELLO AND DOUBLE-BASS (2001) Osvaldo Golijov (b. 1960) KAFKA AND SON (one-act play) Musical Accompaniment: YIDDISHBBUK (1992) Osvaldo Golijov (b. 1960) Saturday, June 16, 2018 8 PM MONTROSE TRIO Jon Kimura Parker, piano | Martin Beaver, violin | Clive Greensmith, cello With Barry Shiffman, viola Pre-concert talk, 7 PM Piano Trio No. 2, in B minor, Op. 76 (1933) Joaquín Turina (1882-1949) Piano Trio No. 2, in C minor, Op. 66 (1845) Felix Mendelssohn (1809-1847) Piano Quartet No. 1, in G minor, Op. 25 (1861) Johannes Brahms (1833-1897) 2 Sunday, June 17, 2018 5 PM Frederic Chiu, piano | Andres Diaz, cello | Todd Palmer, clarinet Percussion: Dave Burns, Matt Sharrock, Aaron Trant, Michael Williams Pre-concert talk, 4 PM Snow in June Erbarme dich, mein Gott from St. -
Come and Sing the Music Makers
Come and Sing Edward Elgar The Music Makers Venue: Nottingham Emmanuel School Gresham Park Road, Nottingham NG2 7YF Conducted by Richard Laing Saturday 22 February 2020 Julia Riley Mezzo Soprano Jonathan Allsopp Piano 9.45 Registration 10.15-12.30 Welcome and Rehearsal 12.30.1.30 Lunch (please bring your own) 1.30-3.45 Rehearsal 4.00-5.00 Performance Drinks will be provided during lunch and morning and afternoon sessions www.NottinghamHarmonic.org Cost: £20 Students: £5 Registered Charity No. 231548 Music in advance add £3 Audience tickets: £3 If you would like to Come and Sing with us please complete and Come and Sing return the form below. If any friends or relations wish to come along to our performance at Edward Elgar 4pm please indicate how many tickets you would like for them too. The Music Makers Come and Sing – Sat. 22 February 2020 - BOOKING FORM Voice Part: (please tick) Soprano Alto Tenor Bass Standard ticket £20 ‘We are the music makers, and we are the dreamers of dreams…’ Arthur O’Shaughnessy’s Ode expresses the Student ticket £5 thrill of excitement but also the isolation experienced Music in advance: add £3 by all creative artists. Elgar’s rapturous setting Audience tickets @ £3 each perfectly reflects the poem, with music of tremendous Student tickets are only available to those aged passion and beauty, often quoting many of his best- 16 years or over in full-time education loved works, including Gerontius, the Enigma Variations, Sea Pictures, the Violin Concerto and the Symphonies. Name: The Music Makers is not performed as often as it Address: deserves, partly because O’Shaughnessy’s poetry has fallen out of fashion, so this is a wonderful opportunity to experience an unjustly neglected work.