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CONCERT QUICK GUIDE™ SAT 4/14/18 at 8 PM & SUN 4/15/18 at 2 PM Performances #87 & #88: Season 3, Concerts 24 & 25 The Richard B. Fisher Center for the Performing Arts at Bard College Sosnoff Theater Leon Botstein, conductor The concert will last approximately 2 hours and 5 minutes Brief remarks by Caleb Wong, viola Igor Stravinsky Born: 6/17/1882 in Oranienbaum, Russia Died: 4/6/1971 at age 88 in New York City 12 min Funeral Song “This tender lament was written by a young Stravinsky in tribute to the passing of his teacher, Rimsky-Korsakov.” –Coline Berland, TŌN violinist Written 1908, at age 26 Premiered 1/17/1909 at the Great Hall in Saint Petersburg Count Sheremetev’s Orchestra Felix Blumenfeld, conductor Requiem Canticles “In typical Stravinsky fashion, this piece is totally out there. It’s made up of dark, short vignettes with a sharp, crisp quality.” –Omar Shelly, TŌN violist Katherine Pracht, mezzo-soprano Jonathan Beyer, baritone with the Bard College Chamber Singers & Bard Festival Chorale Written 1965–66, at ages 83–84 14 min Premiered 10/8/1966 at the McCarter Theatre in Princeton, NJ Robert Craft, conductor Movements Prelude Exaudi Dies irae Tuba mirum Interlude Rex tremendae Lacrimosa Libera me Postlude Turn over for more info Brief remarks by Jiyoung Moon, violin Symphony of Psalms “Stravinsky uses unusual instrumentation to create dark resonance and complexity. All of this leads to an incredible, thought-provoking musical experience” –Micah Candiotti-Pacheco, TŌN clarinetist with the Bard College Chamber Singers & Bard Festival Chorale Written 20 min 1930, at age 48 Revised in 1948 Premiered 12/13/1930 at the Palais des Beaux-Arts in Brussels Société Philharmonique de Bruxelles Ernest Ansermet, conductor Movements Psalm 38: 13–14 Psalm 39: 2–4 Psalm 150 (no pause between movements) Intermission 20 min Meet & greet Share a selfie Refreshments some of the musicians @TheOrchNow available in in the lobby #TheOrchNow the lobby WiFi: BardWireless Restrooms located on either side of the lobby. Brief remarks by Adam Romey, bassoon The Rite of Spring “Rhythmic and primal, yet very beautiful. There’s an electricity that you feel as a performer and as an audience member.” –Adam Romey, TŌN bassoonist with musicians from the Bard College Conservatory Orchestra 33 min Written 1911–13, in Stravinsky’s early 30s Revised in 1947 Premiered 5/29/1913 at the Théâtre des Champs-Elysées in Paris Pierre Monteaux, conductor Movements Part I: The Adoration of the Earth Part II: The Sacrifice All timings are approximate. FOLLOW US AT Text TON to 33233 @TheOrchNow for email updates Artwork by Khoa Doan | Concert Quick Guide design by Nelson Yan.

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Great-Rag-Sketches, Source Study for Stravinsky's Piano-Rag-Music Tom Gordon
Document généré le 23 sept. 2021 12:06 Intersections Canadian Journal of Music Revue canadienne de musique Great-Rag-Sketches, Source Study for Stravinsky's Piano-Rag-Music Tom Gordon Volume 26, numéro 1, 2005 Résumé de l'article Le processus compositionnel de Stravinsky durant sa période néo-classique est URI : https://id.erudit.org/iderudit/1013243ar ici mis en relief et étudié par le biais des esquisses, brouillons et autres copies DOI : https://doi.org/10.7202/1013243ar manuscrites de la Piano-Rag-Music. Ces autographes révèlent le matériel initial du compositeur, ses méthodes de travail, l’ampleur de ses préoccupations Aller au sommaire du numéro compositionnelles et les conditions étonnantes d’assemblage de l’œuvre. D’ailleurs, elles confirment que la fusion entre les trois éléments distincts opérée dans le titre de l’ouvrage par le trait d’union définit à la fois le contenu Éditeur(s) de l’œuvre et son objectif. La virtuosité pianistique et la vitalité rythmique de l’improvisation de type ragtime sont synthétisés en une forme musicale pure Canadian University Music Society / Société de musique des universités qui est ni conventionnelle ni hybride, mais plutôt une résultante du matériel canadiennes en soi. ISSN 1911-0146 (imprimé) 1918-512X (numérique) Découvrir la revue Citer cet article Gordon, T. (2005). Great-Rag-Sketches, Source Study for Stravinsky's Piano-Rag-Music. Intersections, 26(1), 62–85. https://doi.org/10.7202/1013243ar Copyright © Canadian University Music Society / Société de musique des Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des universités canadiennes, 2006 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne.
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High Fidelity Magazine June 1957
Report on STRAVINSKY at seventy-five Korsakov arias did not help. Then, too, phonographs pro- Stravinsky's own first recordings do not properly come liferated star performers. One notes that Rimsky -Korsakov's under my title at all. I refer to the pianola rolls that he ill- tolerance of the interpreting species is a disposition that made between 1917 and 1927, for Pleyel in Paris and later has stuck co his own scar pupil. Stravinsky did not accord for Duo Art in London. I do not know all of Stravinsky's the phonograph serious attention until years later. reasons for devoting so much labor over a period of so Recordings as communicating influences did not, in fact, many years to a limited and defunctive solution. The enter Stravinsky's life until 1914. In that year, in Paris, he pianola was the descendant of eighteenth -century musical became a collector of records of American popular music. toys, and must have been recognized as such at the time. He did nor possess his own machine, however, until the One can understand Stravinsky's interest in preserving his following year, by which time he had taken up residence in piano music in perforated roll form: for one thing, pianola Switzerland, at Morges. In that same 1915, during a stay rolls played longer than discs; for another, they guaranteed in Madrid while touring Spain with the Russian Baller, he perfect tonal fidelity. One also understands his interest in purchased a collection of corrida and gitana records; they composing especially for pianola ( the étude Madrid of were co afford him much pleasure and perhaps encouraged 1917).
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Ernest Ansermet À Travers Le Prisme Du Génie Musical
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Prokofiev (1891-1953)
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The Story of Ernest Ansermet and the OS
Beginner’s luck can start How does a young math teacher and further assisted by my natural inclination off a career. But in the long musical autodidact get to conduct the to reverie and contemplation, which are run, fortune favours the world premieres of Stravinsky’s Pulcinel- the sources of music.“ Christian Rintelen bold: The story of Ernest la and L’histoire du Soldat, Prokoﬁ ev’s Despite growing up in a musical fami- Ansermet and the OSR. Buffoon, Falla’s Three Cornered Hat and ly, he studies mathematics and physics many others of the period’s most im- at the university of Lausanne. Barely 20 portant ballets? How is it possible that years old, Ansermet ﬁ nishes his scholas- When your editor asked me to a provincial orchestra from Switzerland write about the OSR, I couldn’t tics with a diploma and starts to teach becomes one of the world’s most famo- math. In 1905 he moves to Paris with the help but ask back „you mean us despite being „second-rate in tone about Ansermet?“ I didn’t try to intent to do his doctorate at the Sorbon- and technique“ (James Reel)? And ne. In hindsight it must be considered be smart or funny. It’s just that right on topic for this magazine: great luck that he discovers and explo- the stories of the OSR and An- Why are some of the most highly res Paris’ thriving musical life instead of sermet are closely linked. Very praised and best sounding LPs closely even—which is hardly of all times performances of An- pushing his PhD.
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Stravinsky: the Soldier's Tale
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Stravinsky As Art and Entertainment: Performances of His Music in the United States, 1910 - 1916 Penny R
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Translating the Musical Language of Stravinsky's Three
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The University Musical Society of the University of Michigan
The University Musical Society of The University of Michigan Presents The Hague Philharmonic JEAN MARTINON, Conductor The Festival Chorus of the University Choral Union DONALD BRYANT, Director SUNDAY, OCTOBER 5, 1975, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Symphony in A major SAINT-SAEN S Poco adagio, allegro vivace Andantino Scherzo: vivace Finale: allegro molto e presto Symphonie des Psaumes for Chorus and Orchestra . STRAVINSKY Prelude: Psalm XXXVIII, Verses 13 and 14 Double Fugue: Psalm XXXIX, Verses 2, 3 and 4 Allegro symphonique: Psalm CL THE FESTIVAL CHORUS INTERMISSION Symphony No.4. Op. 29 ("The Inextinguishable" ) NIELSEN Allegro , attacca Poco allegretto, attacca Poco adagio, attacca Allegro Deutsche Gra1lL1no phon, Mercury, Epic, Philips and Fontana R ecords First Concert Ninety-seventh Annual Choral Union Series Complete Programs 3953 PROGRAM NOTES Symphony in A major (1850) CAMILLE SAINT-SAENS Saint-Saens allowed only the last three of his six symphonies to be published. To those in E-flat (1853), A minor (1859), and C minor ( 1886 ), issued as Nos. 1, 2 and 3, respectively, three may now be added: the present work, the very first Saint-Saens symphony, composed when he was fifteen, a "Second" Symphony, in F (1856) sub-titled Urbs R oma, and a "Third" Symphony, in D (1859) . Now that the concert-going public has become accustomed to the "new" numbering of the Schubert and Dvorak symphonies, it may, before long, have to accept the re-numbering of those of Saint-Saens. The Symphony in A major is interes ting, not only as an example of a precocious musical genius, but because it even anticipates (by seven years) the Symphony in C of Bizet, and so initiates a line of French symphonies owing nothing in these early stages to the wilder originality of Berlioz.
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Igor Stravinsky Symphony of Psalms Franz Joseph
Igor Stravinsky Symphony of Psalms Igor Stravinsky was born in Oranienbaum, Russia in 1882 and died in New York City in 1971. He composed this work in 1930 on a commission from Serge Koussevitzky to commemorate the 50th anniversary of the Boston Symphony Orchestra, and it was first performed by the Brussels Philharmonic Chorus and Orchestra under the direction of Ernest Ansermet the same year. The score calls for mixed chorus, 5 flutes, piccolo, 5 oboes, English horn, 4 bassoons, contrabassoon, 4 horns, 5 trumpets, 3 trombones, tuba, timpani, percussion, harp, 2 pianos, and a string section of cellos and basses only. ***** Stravinsky was never one to display conspicuous religiosity, for he was an urbane and worldly man. He was nonetheless a man of strong belief. He had contemplated composing a large work based on the Psalms for some time; when Serge Koussevitzky and the Boston Symphony Orchestra commissioned him to write a piece to celebrate the orchestra’s 50th anniversary in 1930, they left the details up to him. He seized the opportunity to compose a work using the Psalms. The symphony is in three movements played without pause. “It is not a symphony in which I have included Psalms to be sung,” wrote Stravinsky. “On the contrary, it is the singing of the Psalms that I am symphonizing.” Each movement is based on a single Psalm. The first is based on Psalm 38:13-14 (in the Vulgate; 39:12-13 in the King James), the second on Psalm 39:2-4 (40:1-3 in the King James) and the third on Psalm 150.
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Download Program Notes
Suite from The Firebird Igor Stravinsky erge Diaghilev’s Ballets Russes made a of time, turned instead to the aspiring young Sspecialty of dancing pieces that were in- Stravinsky. Eager to capitalize on this break, spired by Russian folklore, and The Firebird Stravinsky immediately dropped what he was was perfectly suited to the company’s designs. working on, installed himself in a dacha be- The tale involves the dashing Prince Ivan (oth- longing to the family of his late teacher Nikolai erwise put, Ivan Tsarevich), who finds himself Rimsky-Korsakov, and turned out his spark- one night wandering through the garden of ling score in short order, between November King Kashchei, an evil monarch whose pow- 1909 and March 1910, with final orchestrations er resides in a magic egg that he guards in an and retouching continuing until May. elegant box. In Kashchei’s garden, the Prince A French critic reported his experience of captures a Firebird, which pleads for its life; hearing Stravinsky play through his work- the Prince agrees to spare it if it gives him one in-progress that winter in St. Petersburg: of its magic tail feathers, which it consents to do. Thus armed, the Prince continues through The composer, young, slim, and uncommu- his evening and happens upon 13 enchanted nicative, with vague meditative eyes, and princesses. The most beautiful of them catch- lips set firm in an energetic looking face, es his eye, and (acting under Kashchei’s spell) was at the piano. But the moment he began lures him to a spot where Kashchei’s demon- ic guards can ensnare him.
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