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OCTOBER 14, 2014 (1756-1791) Violin Concerto in G, K. 216 I
ANNUAL CHORUS BENEFIT CONCERT OCTOBER 14, 2014 SEAN GANOUS is a violin major at George Mason University. He is a student of Leonid Sushansky. Sean completed his first two years of study here at NOVA- MUSIC BY Alexandria. He is a member of the Washington Metropolitan Philharmonic WOLFGANG AMADEUS MOZART Orchestra. (1756-1791) Sister and brother CHRISTINE AND DAVID HAGAN rarely played piano duets while they were growing up in Frederick, Maryland. Chris moved to Virginia, and David to Massachusetts, where they pursued separate music careers. In Violin Concerto in G, K. 216 1980 they were asked to play a duo concert in their hometown as a benefit to I. Allegro start a scholarship fund in memory of their first teacher, Sperry Storm. In spite Sean Ganous, violin of living 400 miles apart, they found that they enjoyed being duo pianists so much that they have been commuting and performing ever since. In the Boston area, they have been heard on WGBH radio, at the Art Complex in Solemn Vespers of the Confessor, K. 339 Duxbury and at Jordan Hall. Locally they have appeared on recital series presented by the Performing Arts Association of Alexandria, the Music Dixit Ministry of the First Baptist Church of Alexandria, and Music at Messiah Nancy Denker, soprano Kaylee Shuey, alto Lutheran Church. They have also enjoyed appearing with the NOVA Francisco Robles, tenor Matthew Relton, bass Community Chorus; they performed at the opening of the Schlesinger Center Confitebor with the chorus and NOVA Alexandria Band in Carl Orff’s Carmina Burana. Michelle Lewis, soprano Jane Roningen, alto Alex Thomas, tenor Nicholas King, bass MARK WHITMIRE is Director of NOVA Community Chorus and Professor of Beatus vir Music at Northern Virginia Community College. -
Henryk Górecki's Spiritual Awakening and Its Socio
DARKNESS AND LIGHT: HENRYK GÓRECKI’S SPIRITUAL AWAKENING AND ITS SOCIO-POLITICAL CONTEXT By CHRISTOPHER W. CARY A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Christopher W. Cary ACKNOWLEDGMENTS I would like to express my gratitude to Dr. Christopher Caes, who provided me with a greater understanding of Polish people and their experiences. He made the topic of Poland’s social, political, and cultural history come alive. I would like to acknowledge Dr. Paul Richards and Dr. Arthur Jennings for their scholarly ideas, critical assessments, and kindness. I would like to thank my family for their enduring support. Most importantly, this paper would not have been possible without Dr. David Kushner, my mentor, friend, and committee chair. I thank him for his confidence, guidance, insights, and patience. He was an inspiration for me every step of the way. Finally, I would like to thank Dilek, my light in all moments of darkness. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iii ABSTRACT....................................................................................................................... vi CHAPTER 1 INTRODUCTION ........................................................................................................1 Purpose of the Study.....................................................................................................1 -
Henryk Górecki
regarded in his native Poland as a composer of uncommon individuality, Henryk Górecki Górecki is now beginning to be acknowledged in the West as a major figure of considerable stature whose music transcends cultural and political boundaries. © Adrian Thomas, 1990 Henryk Mikolaj Górecki photo © Gerry Hurkmans __An introduction to Górecki’s music by Adrian Thomas__ Henryk Mikolaj Górecki belongs to the generation of Polish composers (which includes his exact contemporary Penderecki) that found itself poised to take full advantage of the post-Stalin thaw of the mid-1950s. A plethora of youthful works from 1955-59 saw the composer ranging freely from the exuberant and dynamic vitality of the _Songs of Joy and Rhythm_ op.7 (1956, rev.1960) through to experimental scores owing more to Webern and Boulez. Henceforth, the evolution of Górecki’s musical language has been a consistent search for the most truthful expression of his musical roots. It quickly becomes apparent that Górecki holds Poland’s musical past, its church and its folk culture in unwavering awe; for him they are the unchallengeable rock on which both his and his country’s identity and true heritage are securely founded. From the combustive, flamboyant energy of the orchestral _Scontri_ (_Collisions_) op.17 (1960) to the reflective lamentations of his best-known work, the _Third Symphony_ op.36 (1976) and on to his most recent chamber works such as the string quartet _Already it is Dusk_ op.62 (1988) and his piece written in memoriam Michael Vyner, _Good Night_ (1990), it is this deeply-felt awareness of his roots that gives his music a directness and emotional impact all its own. -
Download the Concert Programme
FORTISMERE COMMUNITY CHOIR Fortismere Community Choir started in 2009 and is an unauditioned choir. We welcome those with and without musical experience, who have a desire to sing with like-minded people. The choir meets at Fortismere School every Saturday in the music block in north wing, from 10.30am to 1.00pm during school terms. Our repertoire in recent years has included Duruflé’s Requiem, Gabrieli’s Hodie Christus Natus Est, Tallis’ O Nata Lux, a selection of Bruckner Motets, John Rutter’s The Sprig of Thyme, Vaughan Williams’ Fantasia on Christmas Carols, Faure’s Requiem, and Mozart’s Coronation Mass. The choir has a steering committee and an active social network. Relaxed but supportive home-based sectionals, picnics and parties have all helped to create a friendly atmosphere at rehearsals and events. We are proud to be part of the community that is Fortismere Music Centre, which brings neighbours, teachers and pupils together to create high-calibre music. If you are interested in joining us (even if you are unsure which voice you are) you are welcome to attend one or two rehearsals without obligation. As a regular member, we would ask you to pay a small subscription per term (£56 per adult) in order to cover costs. Please email us at the address below for more information. Marvin L. Perrott – musical director Marvin studied Early Music at the Guildhall School of Music and Drama and has extensive experience both as a singer and conductor. He has performed in numerous roles both in the United Kingdom and abroad including First Witch and Spirit in Purcell’s Dido and Aeneas, 3rd Parche in Luigi Rossi’s Orfeo, Endimione in Cavalli’s La Calisto. -
The Clarinet and the Italian Opera Composers of The
THE CLARINET AND THE ITALIAN orchestra. As a young composer he wrote two of which were for flute, two clarinets, the canzonetta “Or che la notte,” for so- horn and orchestra and one for flute, clari- TH OPERA COMPOSERS OF THE 19 prano, clarinet and piano, dedicated to net, horn and orchestra. One of these was CENTURY* Lady Teresina Spadaro; the Piccola com- performed in an academy of the Collegio posizione (Concertino) for clarinet and di Musica di Napoli in December 1817: by Adriano Amore orchestra; the Larghetto in Fa maggiore […]signor Mercadante conducted as for two flutes, basset horn, two horns and Concertmaster and was the composer of (English translation by Antonio Pas- bassoon and two Studi (1821), of which six nice pieces, written with bright imagi- saro) the Primo for solo clarinet and the Sec- nation, correct style and a rare purity of ondo for clarinet and bass, both composed taste. The audience appreciated mostly a ontrary to common thought, al- for his friend, the clarinetist Francesco great Concerto for four wind instruments most every Italian opera composer Benigni, who played in the ’30s in differ- which gave to the young Mercadante the of the 19th century wrote instru- ent orchestras in Bergamo. In dedicating honor of the press. Cmental music and particularly music for these studies to him, Donizetti writes his The compositions written by Giovanni the clarinet. Some of them even learned its surname incorrectly (per l’amico Beg- Pacini (1796–1867) belong to his artistic technique—like Vincenzo Bellini, Save- nigni), while in the second it is correct (a maturity. -
572032 Bk Penderecki
GÓRECKI Concerto-Cantata Little Requiem for a Certain Polka • Three Dances Harpsichord Concerto (piano version) Anna Górecka, Piano • Carol Wincenc, Flute Warsaw Philharmonic Orchestra • Antoni Wit Henryk Mikołaj Górecki (1933-2010): Little Requiem for a Certain Polka presence as the work heads to a rapt close with just the The first movement opens with a coursing motion for Concerto-Cantata • Harpsichord Concerto (piano version) • Three Dances quietest of discords on piano then bells to recall earlier unison strings with piano providing a no less intensive events. accompaniment. This continues on its purposeful course Henryk Mikołaj Górecki was born on 6th December 1933 followed by the monumental Miserere for unaccompanied Completed barely a year before, Concerto-Cantata with just the occasional pause until reaching a held in Czernica, Silesia. He studied music at the High School voices (1981), written in support of the Polish trade union (1992) for flute and orchestra was given a first hearing in cadential chord from which the second movement sets off (now Academy) of Music in Katowice, graduating with Solidarity, while chamber music was represented by such Amsterdam on 28th November 1992 by Carol Wincenc with a vaunting idea for the soloist against mock-Classical distinction in 1960 from the class of Bolesław Szabelski pieces as Lerchenmusik (1986) and three string quartets with the Netherlands Radio Philharmonic Orchestra and figuration on strings. This duly takes in passages of (who had been taught by Szymanowski). Górecki gave his composed for the Kronos Quartet between 1988 and Eri Klas. The hybrid title is explained by its movements contrasting harmonic profile without disrupting the début concert as a composer in 1958 in Katowice, which 1995. -
Spring Concert
Spring Concert Saturday 3rd March, 7.30pm St Mark’s Church RFMS QUIZ EVENING 8h March, 7pm for 7.30pm Upstairs at The Stag, 67 Fleet Rd, Hampstead, London NW3 2QU £10 per person All welcome! Programme Monteverdi: Beatus Vir Bach: Orchestral Suite no. 3 Interval Bach: Brandenburg Concerto no. 3 Bach: Magnificat in D The Hampstead Sinfonietta is conducted by Andrew Rochford The Royal Free Music Society is conducted by Benjamin Wolf Soloists: Maud Millar (soprano) Rose Martin (mezzo-soprano) Matt Pochin (tenor) Benjamin Seifert (baritone) Welcome Welcome to our first concert of 2018 in which we are delighted to be joined once again by the Hampstead Sinfonietta orchestra. Tonight, the choir will be singing Beatus Vir (‘Blessed is the man’) by Monteverdi and J.S. Bach’s Magnificat in D. The choir will be conducted by Benjamin Wolf and accompanied by the Hampstead Sinfonietta, with our wonderful soloists, Maud Miller, Rose Martin, Matthew Pochin and Benjamin Seifert. The orchestra will be conducted by Andrew Rochford for their performances of Bach’s Orchestral Suite No. 3 in D and the Brandenburg Concerto No 3 in G. On this occasion, we would like to express the choir’s heartfelt congratulations to our conductor, Benjamin Wolf, on his recent marriage to Rebekka Friedman, as well as thanking him for all his hard work and determination in teaching us these beautiful and challenging pieces. We would also like to thank our accompanist, Gill Cracknell, for her exceptional skills and patience during our weekly rehearsals. In addition, we are grateful to the Hampstead Sinfonietta for joining us again for tonight’s performance. -
Boston Baroque Returns to Vivaldi's Beloved Masterworks the Four
Media Contact: Emily Kirk Weddle, Boston Baroque [email protected] 617-987-8600 For Immediate Release: Boston Baroque returns to Vivaldi’s beloved masterworks The Four Seasons and Gloria in D Featuring GRAMMY®-nominated concertmaster Christina Day Martinson BOSTON, MA—Boston Baroque returns to Vivaldi’s masterworks, The Four Seasons and Gloria in D, along with Monteverdi’s Beatus Vir this March, featuring Concertmaster Christina Day Martinson and conducted by Music Director Martin Pearlman. Two performances of this program will take place at NEC’s Jordan Hall—the first, on Friday, March 27 at 8pm, and the second on Sunday, March 29 at 3pm. Pre-concert speaker Laury Gutiérrez, founding director of La Donna Musicale, will give a talk before both performances at 7pm and 2pm. Inspired by the evocative landscape paintings of Italian artist Marco Ricci, Antonio Vivaldi (1678-1741) composed The Four Seasons as four separate concerti (Spring, Summer, Autumn and Winter). Among the most beloved pieces of classical music today, the works were first published in Amsterdam in 1725, being circulated and performed widely in Vivaldi’s time. Many of his contemporaries, including Johann Sebastian Bach (1685-1750), were fascinated with Vivaldi’s development of the solo concerto, often transcribing works like The Four Seasons to their preferred instrument. Boston Baroque’s interpretation looks closely at the historical performance practice of the day, and as such can be differentiated from other performances. The most notable distinction can be found in the slow movements, which feature ornamentation in the solo lines where the score has none written. From Bach’s transcriptions of Vivaldi’s work, it was common practice during the Baroque period for soloists to ornament this music depending on the player’s personal style and taste, and Boston Baroque’s performance reflects that tradition. -
DAT Tape Archive
Type Sound Circs 0 Call Numb DAT0001 Author UCI Jazz Band Title 5-15-96 Concert [DAT] Type Sound Circs 0 Call Numb DAT0002 Author UCI Symphony Title June 6, 1996 Concert [DAT] Type Sound Circs 0 Call Numb DAT0003 Author UCI Symphony Title June 7, 1996 Concert [DAT] Type Sound Circs 0 Call Numb DAT0004 Author UCI Symphony Title October 31, 1996 Concert [DAT] Type Sound Circs 0 Call Numb DAT0005 Author UCI Symphony Title Orchestra 2 November 22, 1996 Concert [DAT] Type Sound Circs 0 Call Numb DAT0006 Author UCI Symphony Title Orchestra 2 November 23, 1996 Concert [DAT] Type Sound Circs 0 Call Numb DAT0007 Author UCI Music Department Title UCI Wind Ensemble [DAT] SubTitle December 6, 1996 Type Sound Circs 0 Call Numb DAT0008 Author UCI Jazz Ensemble Title December 7, 1996 Concert [DAT] Type Sound Circs 0 Call Numb DAT0009 Author UCI Symphony Title Orchestra 3 January 24, 1997 Concert [DAT] Type Sound Circs 0 Call Numb DAT0010 Author UCI Symphony Title Orchestra 3 January 25, 1997 Concert [DAT] Type Sound Circs 0 Call Numb DAT0011 Author Intercampus Arts Title L'Histoire 02-02-97 [DAT] Type Sound Circs 0 Call Numb DAT0012 Author UCI Music Department Title UCI Wind Ensemble [DAT] SubTitle February 21, 1997 Type Sound Circs 0 Call Numb DAT0013 Author UCI Jazz Ensemble Title February 22, 1997 Concert [DAT] Type Sound Circs 0 Call Numb DAT0014 Author UCI Symphony Title February 27, 1997 Concert [DAT] Type Sound Circs 0 Call Numb DAT0015 Author UCI Symphony Title February 28, 1997 Concert [DAT] Type Sound Circs 0 Call Numb DAT0016 Author Katz, -
Fear Not December 9Th & 10Th 2017
Fear Not December 9th & 10th 2017 The Garden Fear Not Daniel Schreiner (b. 1990) Ted Roper, Caitlyn Roper, Nicholas Herrick, Rachel Clark Maringa Krismes Sierra Leone, arr. Kitty Fadlu-Deen Jesus Christ the Apple Tree Elizabeth Poston (1905-1987) Mickey McGrath Adam Lay Ybounden Carson Cooman (b. 1982) The Garden Bobby McFerrin (b. 1950) Laura Quinn and Roger Treece ***** Prayers from the Heart Beatus Vir Claudio Monteverdi (1567-1643) Anna Macleod, Katie Hendrix, Jake Sachs, Matthew Onigman, Ken Short, Matthew Lee ***** Completing the Circle Dale Trumbore (b. 1987) Aleih Neiri Chaim Parchi (b. 1947) Mercedes Pescevich arr. Joshua Jacobson ***** Fear Not, For Behold Angelus ad Pastores Hans Hassler (1564-1612) Friede auf Erden Arnold Schönberg (1874-1951) ***** Gloria from Missa Kenya Paul Basler (b. 1963) Matthew Shurts; Eric Roper, percussion ***** INTERMISSION Ne timeas Maria Tomás Luis de Victoria (1548-1611) Salut, Dame Sainte (men) Francis Poulenc (1899-1963) The Mirthful Heart (women) Abbie Betinis (b. 1980) John Lamb, bodhran Fear No More from Shakespeare Songs (Bk. VI) Matthew Harris (b. 1956) Today the Virgin* John Tavener (1944-2013) CHAMBER SINGERS *choralography by Linda Clark & PJ Livesey ***** The Journey Lully, Lulla, Lullay Philip WJ Stopford (b. 1977) Leslie Adler My Name is Lamiya: Don’t Call Me “Refugee” Michael Bussewitz-Quarm (b. 1971) San José Lavaba arr. Thomas Dunn (1925-2008) Beth Shirley, Dan Malloy, Jake Sachs ***** The Wild Wood Carol John Rutter (b. 1945) Eric Roper ***** Welcome Choral Fantasy on a Christmas Hymn Robert Buckley Farlee (b. 1950) Semi-Chorus: Jessica Bach, Kimberly Love, Regina McElroy, Peri Munter, Laura Nolan, Alyssa Casazza, Mariam Bora ***** Funga Alafia (Welcome Song) audience Liberian, arr. -
Miguel Mateo Dallo Y Lana, Mexican Baroque Composer
MIGUEL MATEO DALLO Y LANA, MEXICAN BAROQUE COMPOSER: A FORGOTTEN TREASURE OF PUEBLA A DISSERTATION IN Music Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by JEREMY WAYNE MIMS B.M., Hardin-Simmons University, 2000 M.M., Hardin-Simmons University, 2007 Kansas City, Missouri 2011 © 2011 JEREMY WAYNE MIMS ALL RIGHTS RESERVED ii MIGUEL MATEO DALLO Y LANA, MEXICAN BAROQUE COMPOSER: A FORGOTTEN TREASURE OF PUEBLA: Jeremy Wayne Mims, Candidate for Doctor of Musical Arts Degree University of Missouri-Kansas City, 2011 ABSTRACT As research into the Mexican Baroque continues to expand, forgotten composers and their works are garnering deserved attention. Miguel Mateo Dallo y Lana (c. 1650- 1705), who served as maestro de capilla [chapel master] at the Puebla Cathedral from 1686 to 1705, belongs to the tradition of polychoral composition inherited from musicians of the Spanish Renaissance. His liturgical settings, specifically Domine ad adjubandum me festina/Dixit Dominus and Beatus Vir, contain traits indicative of the Baroque period as well. These works reveal the Dallo y Lana’s compositional techniques, which include homophonic declamation of text intermingled with polyphonic episodic material, layered above basso continuo. He worked in a time just before Mexican composers fully embraced Italian models, placing him at the end of the mostly autonomous Mexican tradition. iii The faculty listed below, appointed by the Dean of the Conservatory of Music and Dance, have examined a dissertation titled “Miguel Mateo Dallo y Lana, Mexican Baroque Composer: A Forgotten Treasure of Puebla” presented by Jeremy Wayne Mims, candidate for the Doctor of Musical Arts degree, and certify in their opinion it is worthy of acceptance. -
Programme Vivaldi 2A
Venetian Gloria WINCHESTER MUSIC CLUB AND ORCHESTRA WINCHESTER COLLEGE, NEW HALL Saturday 31 March 2012 at 7:30 pm WINCHESTER MUSIC CLUB has great pleasure in welcoming you all to this fascinating concert in New Hall, Winchester College. It is wonderful that we are performing in New Hall again following the partial restoration work of the fabric. This concert celebrates the musical glories of Venice and will, I am sure, be a memorable occasion. Please note the 15th November 2012 in your diaries – on that date the club together with the College's Glee Club and Quiristers will be performing Benjamin Britten's Great War Requiem in Winchester Cathedral. Christopher Green (Chairman) NOTICES Please ensure that your mobile phone is switched off for the duration of the concert Photography and video recording are not permitted Please take note of the nearest emergency exits to your seats ACKNOWLEDGEMENTS Winchester Music Club wishes to acknowledge the support given to this concert by: Jamal Sutton for accompanying at rehearsals Peter Carey and Janette Lloyd for permission to use the notes reproduced in this programme 2 WINCHESTER MUSIC CLUB Winchester College, New Hall Saturday 31 March 2012 at 7:30pm Vivaldi Beatus Vir in B flat RV598 Albinoni Oboe Concerto in D minor op. 9 no. 2 Neruda Trumpet Concerto in E flat INTERVAL Vivaldi Gloria RV589 Nicola Corbishley - soprano Sarah Shorter - alto Andrew Knights - oboe Julian Poore - trumpet Winchester Music Club and Orchestra Brian Howells - leader Nicholas Wilks - conductor The concert will end at approximately 9.30pm 3 Vivaldi - Beatus Vir RV 598 Vivaldi wrote two settings of the Beatus Vir, Psalm 112.