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Wind, String, & Mixed Chamber Groups
WIND, STRING, & MIXED CHAMBER GROUPS - SPRING 2019 (v 2.1) - including piano, harp, and percussion - PLEASE read the “Rules of the Road” for chamber music on the “performance” section of INSIDE MUSIC on the School of Music website: https://www.cmu.edu/cfa/music/current-students/ensembles/chamber-music.html Each group should select/elect/draft a “contact person” and submit that person’s name to the chamber music Graduate Assistant, Yalyen Savignon: [email protected] Please note that this is the second draft of the roster. All registered students have been placed, and all requests have been fulfilled. We hope that few if any further changes will need to be made. Remember, other students’ education depends on your being a reliable member of your group! IF YOU SPOT MISTAKES ON THIS LIST, PLEASE CONTACT PROF. WHIPPLE. RJW and CW, February 6, 2019 57-228 OR 57-928 SEXTETS sec A - WIND & PIANO SEXTET Alisa Smith, flute Elizabeth Mountz, oboe Elizabeth Carney, clarinet Ji Won Song, horn Andrew Hahn, bassoon Winfred Wang, piano coaches: R. James Whipple QUINTETS sec B - GRADUATE WIND QUINTET Theresa Abalos, flute Evan Tegley, oboe Alex Athitakas, clarinet Diana McLaughlin, horn Nicholas Evans, bassoon coach: Thomas Thompson sec C - “VENTUS FERRO” TBA, flute Alicia Smith, oboe Zack Neville, clarinet Ziming Zhu, horn Dreya Cherry, bassoon coach: James Gorton sec D - PROKOFIEV: Quintet in g minor Christian Bernard, oboe Bryce Kyle, clarinet TBA, violin Angela-Maureen Zollman, viola Mark Stroud, bass coach: James Gorton STRING QUARTETS 57-226 OR 57-926 1. Jasper Rogal, violin Noah Steinbaum, violin Angela Rubin,viola Kyle Johnson, cello coach: Cyrus Forough 2. -
574040-41 Itunes Beethoven
BEETHOVEN Chamber Music Piano Quartet in E flat major • Six German Dances Various Artists Ludwig van ¡ Piano Quartet in E flat major, Op. 16 (1797) 26:16 ™ I. Grave – Allegro ma non troppo 13:01 £ II. Andante cantabile 7:20 BEE(1T77H0–1O827V) En III. Rondo: Allegro, ma non troppo 5:54 1 ¢ 6 Minuets, WoO 9, Hess 26 (c. 1799) 12:20 March in D major, WoO 24 ‘Marsch zur grossen Wachtparade ∞ No. 1 in E flat major 2:05 No. 2 in G major 1:58 2 (Grosser Marsch no. 4)’ (1816) 8:17 § No. 3 in C major 2:29 March in C major, WoO 20 ‘Zapfenstreich no. 2’ (c. 1809–22/23) 4:27 ¶ 3 • No. 4 in F major 2:01 4 Polonaise in D major, WoO 21 (1810) 2:06 ª No. 5 in D major 1:50 Écossaise in D major, WoO 22 (c. 1809–10) 0:58 No. 6 in G major 1:56 5 3 Equali, WoO 30 (1812) 5:03 º 6 Ländlerische Tänze, WoO 15 (version for 2 violins and double bass) (1801–02) 5:06 6 No. 1. Andante 2:14 ⁄ No. 1 in D major 0:43 No. 2 in D major 0:42 7 No. 2. Poco adagio 1:42 ¤ No. 3. Poco sostenuto 1:05 ‹ No. 3 in D major 0:38 8 › No. 4 in D minor 0:43 Adagio in A flat major, Hess 297 (1815) 0:52 9 fi No. 5 in D major 0:42 March in B flat major, WoO 29, Hess 107 ‘Grenadier March’ No. -
Harmonic Organization in Aaron Copland's Piano Quartet
37 At6( /NO, 116 HARMONIC ORGANIZATION IN AARON COPLAND'S PIANO QUARTET THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By James McGowan, M.Mus, B.Mus Denton, Texas August, 1995 37 At6( /NO, 116 HARMONIC ORGANIZATION IN AARON COPLAND'S PIANO QUARTET THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By James McGowan, M.Mus, B.Mus Denton, Texas August, 1995 K McGowan, James, Harmonic Organization in Aaron Copland's Piano Quartet. Master of Music (Theory), August, 1995, 86 pp., 22 examples, 5 figures, bibliography, 122 titles. This thesis presents an analysis of Copland's first major serial work, the Quartet for Piano and Strings (1950), using pitch-class set theory and tonal analytical techniques. The first chapter introduces Copland's Piano Quartet in its historical context and considers major influences on his compositional development. The second chapter takes up a pitch-class set approach to the work, emphasizing the role played by the eleven-tone row in determining salient pc sets. Chapter Three re-examines many of these same passages from the viewpoint of tonal referentiality, considering how Copland is able to evoke tonal gestures within a structural context governed by pc-set relationships. The fourth chapter will reflect on the dialectic that is played out in this work between pc-sets and tonal elements, and considers the strengths and weaknesses of various analytical approaches to the work. -
Brahms Reimagined by René Spencer Saller
CONCERT PROGRAM Friday, October 28, 2016 at 10:30AM Saturday, October 29, 2016 at 8:00PM Jun Märkl, conductor Jeremy Denk, piano LISZT Prometheus (1850) (1811–1886) MOZART Piano Concerto No. 23 in A major, K. 488 (1786) (1756–1791) Allegro Adagio Allegro assai Jeremy Denk, piano INTERMISSION BRAHMS/orch. Schoenberg Piano Quartet in G minor, op. 25 (1861/1937) (1833–1897)/(1874–1951) Allegro Intermezzo: Allegro, ma non troppo Andante con moto Rondo alla zingarese: Presto 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. Jun Märkl is the Ann and Lee Liberman Guest Artist. Jeremy Denk is the Ann and Paul Lux Guest Artist. The concert of Saturday, October 29, is underwritten in part by a generous gift from Lawrence and Cheryl Katzenstein. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of The Delmar Gardens Family, and are located at the Customer Service table in the foyer. 24 CONCERT CALENDAR For tickets call 314-534-1700, visit stlsymphony.org, or use the free STL Symphony mobile app available for iOS and Android. TCHAIKOVSKY 5: Fri, Nov 4, 8:00pm | Sat, Nov 5, 8:00pm Han-Na Chang, conductor; Jan Mráček, violin GLINKA Ruslan und Lyudmila Overture PROKOFIEV Violin Concerto No. 1 I M E TCHAIKOVSKY Symphony No. 5 AND OCK R HEILA S Han-Na Chang SLATKIN CONDUCTS PORGY & BESS: Fri, Nov 11, 10:30am | Sat, Nov 12, 8:00pm Sun, Nov 13, 3:00pm Leonard Slatkin, conductor; Olga Kern, piano SLATKIN Kinah BARBER Piano Concerto H S ODI C COPLAND Billy the Kid Suite YBELLE GERSHWIN/arr. -
Requiem, Op. 48 Gabriel Fauré (1845 - 1924)
ASO Program Notes Requiem, Op. 48 Gabriel Fauré (1845 - 1924) Gabriel Fauré grew up in the French Pyrenees and began his musical education at a very early age. He studied organ, piano and choral music at increasingly more prestigious schools, ending up at the Niedermeyer School in Paris. His teachers included Camille Saint-Saëns. When he later became a teacher at the Paris Conservatory, Maurice Ravel and Nadia Boulanger were among his pupils. He served as organist and choirmaster at a number of large churches in Paris, and enjoyed an excellent reputation as a successful composer until he grew deaf and had to give up much of his musical life. There have been many famous Requiems, and all have their own style. Verdi, Berlioz, and Brahms all composed glorious Requiems addressing the themes of death, resurrection and final judgment. The tone of their works is grand and even theatrical. Mozart’s Requiem is moving and poignant. Fauré chose to make his gentler, full of solace and comfort for the mourners. It is also moving, but in a kinder, more consoling way. The awesome vision of “The Last Judgement” would have meant little to Fauré. In spite of the fact that most of his life had been dedicated to service to the church, he was an unbeliever, and so he focused more on the blessed rest for those whose life journey had come to an end. In Fauré’s words, “Everything I managed to entertain in the way of religious illusion I put into my Requiem, which is…dominated from beginning to end by a very human feeling of faith in eternal rest.” and at another time, “I see death as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience.” Although firmly agnostic, he was a spiritual man, and sought to compose a newer kind of church music, different from the heavily romantic style of the German composers dominating European music at the time. -
Ives 2017 Winter Program Book
IVES COLLECTIVE Season 2 Spring Collective Roy Malan, violin; Roberta Freier, violin Susan Freier, viola; Stephen Harrison, cello Elizabeth Schumann, piano Susanne Mentzer, mezzo soprano Friday,Please May 5,save 2017, these7:30 PM dates! St. Mark’s Episcopal Church, Palo Alto Sunday, May 7, 2016, 4PM Old First Church, San Francisco Ottorino Respighi: Il Tramonto Johannes Brahms: Songs for Voice, Viola and Piano, Op. 91 Johannes Brahms: Piano Quartet in C minor, Op. 60 Salon Concert Our Salon series, moderated by musicologist, Dr. Derek Katz, takes place in the intimacy and comfort of a beautiful Palo Alto homes. We invite you to experience music in a setting that eliminates the boundaries between artist and listener. Together with our “house guests” we share ideas about musical interpretation and inspiration over champagne and appetizers. Spring Salon April 30, 2017, 4 PM Johannes Brahms: Piano Quartet in C Minor, Op. 60 These intimate spaces seat a maximum of 50 guests. Street parking is available. 2 Winter Collective IVES COLLECTIVE Kay Stern, violin; Susan Freier, viola Stephen Harrison, cello; Susan Vollmer, horn Julie Green Gregorian, bassoon; Carlos Ortega, clarinet Arnold Gregorian, string bass; Lori Lack, piano It’s all Beethoven! (1770-1827) Piano Quartet in E-flat Major, Op. 16 (1796) Grave – Allegro, ma non troppo Andante cantabile Rondo: Allegro, ma non troppo String Trio in C minor, Op. 9, No.3 (1798) Allegro con spirito Adagio con espressione Scherzo: Allegro molto e vivace Finale: Presto Intermission Septet in E-flat Major, Op. 20 (1799) Adagio - Allegro con brio Adagio cantabile Tempo di Menuetto Andante con Variazioni Scherzo: Allegro molto e vivace Andante con molto Marcia - Presto 3 The Young Beethoven in Vienna and Chamber Music Beethoven left his childhood home of Bonn for Vienna, where he would remain for the rest of his life, in 1792. -
Faure Requiem Program V2
FAURÉ REQUIEM Conceived and directed by Barbara Pickhardt, Artistic Director Produced by Barbara Scharf Schamest Premiered: June 13, 2021 Ars Choralis Barbara Pickhardt, artistic director REQUIEM, Op. 48 (1893) Gabriel Fauré (1845-1924) Introit Brussels Choral Society Eric Delson, conductor Kyrie Ars Choralis Chamber Orchestra Barbara Pickhardt, conductor Offertory Ars Choralis Chuck Snyder, baritone Eribeth Chamber Players Barbara Pickhardt, conductor Sanctus The Dessoff Choirs Malcolm J. Merriweather, conductor Pie Jesu (Remembrances) Magna Graecia Flute Choir Carlo Verio Sirignano, guest conductor Sebastiano Valentino, music director Agnus Dei Ars Choralis Magna Graecia Flute Choir Carlo Verio Sirignano, guest conductor Chamber Orchestra Barbara Pickhardt, conductor Libera Me Ars Choralis Harvey Boyer, tenor Douglas Kostner, organ Barbara Pickhardt, conductor Memorial Prayers Tatjana Myoko Evan Pritchard Rabbi Jonathan Kligler Elizabeth Lesser Pastor Sonja Tillberg Maclary In Paradisum Brussels Choral Society Eric Delson, conductor 1 Encore Performances Pie Jesu Ars Choralis Amy Martin, soprano Eribeth Chamber Playersr Barbara Pickhardt, conductor In Paradisum The Dessoff Choirs Malcolm J. Merriweather, conductor About This Virtual Concert By Barbara Pickhardt The Fauré Requiem Reimagined for a Pandemic This virtual performance of the Fauré Requiem grew out of the need to prepare a concert while maintaining social distancing. We would surely have preferred to blend our voices as we always have, in a live performance. But the pandemic opened the door to a new and different opportunity. As we saw the coronavirus wreak havoc around the world, it seemed natural to reach out to our friends in other locales and include them in this program. In our reimagined version of the Fauré Requiem, Ars Choralis is joined, from Belgium, by the Brussels Choral Society, the Magna Graecia Flute Choir of Calabria, Italy, the Dessoff Choirs from New York City, and, from New York, instrumentalists from the Albany area, New York City and the Hudson Valley. -
WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M
WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M. Jones, S.-J. Bradley, T. Lowe, A. Thwaite) Notes to performers by Matthew Jones Walton, Menuhin and ‘shifting’ performance practice The use of vibrato and audible shifts in Walton’s works, particularly the Violin Sonata, became (somewhat unexpectedly) a fascinating area of enquiry and experimentation in the process of preparing for the recording. It is useful at this stage to give some historical context to vibrato. As late as in Joseph Joachim’s treatise of 1905, the renowned violinist was clear that vibrato should be used sparingly,1 through it seems that it was in the same decade that the beginnings of ‘continuous vibrato use’ were appearing. In the 1910s Eugene Ysaÿe and Fritz Kreisler are widely credited with establishing it. Robin Stowell has suggested that this ‘new’ vibrato began to evolve partly because of the introduction of chin rests to violin set-up in the early nineteenth century.2 I suspect the evolution of the shoulder rest also played a significant role, much later, since the freedom in the left shoulder joint that is more accessible (depending on the player’s neck shape) when using a combination of chin and shoulder rest facilitates a fluid vibrato. Others point to the adoption of metal strings over gut strings as an influence. Others still suggest that violinists were beginning to copy vocal vibrato, though David Milsom has observed that the both sets of musicians developed the ‘new vibrato’ roughly simultaneously.3 Mark Katz persuasively posits the idea that much of this evolution was due to the beginning of the recording process. -
Ethereal Light Program Notes
Ethereal Light – Program Notes Ethereal: adj. very light or airy, belonging to the heavens, otherworldly Light: n. energy that makes seeing possible, the representation of light or the effect it has in a work of art, God as a source of spiritual illumination This afternoon’s program features music of the great French composer Gabriel Fauré, as well as a singular work each from the celebrated Sergei Rachmaninoff and the contemporary genius of Morten Lauridsen. Composed during a span of over one hundred years, these divergent works are drawn together by the subject of Light. In Fauré’s Requiem, the familiar text from the Catholic Mass for the Dead speaks directly of “eternal light” and “perpetual light,” invoked to “shine forever” on those who have died. They are asked to be saved from “utter darkness” and the “darkness of hell,” perhaps implying that the unmistakable quality of heaven is Light itself. In the same composer’s Après un Rêve, the singer wishes to return to the “awakening light” of his dream, now sadly over. In Lauridsen’s masterwork, Lux Aeterna (Light Eternal), each of the five movements reference Light in their own way, the opening and closing movements not dissimilarly to the Requiem of Fauré. The texts of the inner three movements, all drawn from sacred Latin sources, contain their own unique references to Light, including one of the most celebrative moments in the work which uses the words, “O Lux beatissima” (O Light most blessed). It is in the hearing of today’s two works without text – Pavane and Vocalise – in which perhaps the ear of the listener is most responsible for providing the connection to the theme of Light. -
Robert Schumann (1810-1856) Piano Quartet in E Op 47 (1842
Robert Schumann (1810-1856) Piano Quartet in E♭ Op 47 (1842) Sostenuto assai — Allegro ma non troppo Scherzo. Molto vivace Andante cantabile Finale. Vivace Coming after his 'Liederjahre' of 1840 and the subsequent 'Symphonic Year' of 1841, 1842 was Schumann's 'Chamber Music Year': three string quartets, the particularly successful piano quintet and today's piano quartet. Such creativity may have been initiated by Schumann at last winning, in July 1840, the protracted legal case in which his ex-teacher Friedrich Wieck, attempted to forbid him from marrying Wieck's daughter, the piano virtuoso Clara. They were married on 12 September 1840, the day before Clara's 21st birthday. 1842, however, did not start well for the Schumanns. Robert accompanied Clara at the start of her concert tour of North Germany, but he tired of being in her shadow, returned home to Leipzig in a state of deep melancholy, and comforted himself with beer, champagne and, unable to compose, contrapuntal exercises. Clara's father spread an unfounded and malicious rumour that the Schumanns had separated. However, in April Clara returned and Robert started a two-month study of the string quartets of Haydn, Mozart and Beethoven. During June he wrote the first two of his own three quartets, the third following in July. He dedicated them to his Leipzig friend and colleague Felix Mendelssohn. The three quartets were first performed on September 13, for Clara's birthday. She thought them 'new and, at the same time, lucid, finely worked and always in quartet idiom' - a comment reflecting Schumann the critic's own view that the ‘proper’ quartet style should avoid ‘symphonic furore’ and aim rather for a conversational tone in which ‘everyone has something to say’. -
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours. -
Spohr and Schumann
SPOHR AND SCHUMANN by Keith Warsop OR MOST PEOPLE the link between Louis Spohr and Robert Schumann is limited to the latter's negative criticism of the Historrcai Symphony. In fact, the two musicians had a high regard for each other's compositions even though they each sometimes had reservations about particular aspects of certain individual works. Unfortunately, Spohr broke off his memoirs when he reached June 1838 shortly before he and Schumann met for the first time so we do not have his considered thoughts about Schumann's music in general. However, in the section of the memoirs added by his second wife, Marianne, after Spohr's death, she records that after the stay in Carlsbad detailed by Spohr in the last paragraphs he wrote down himself, they stopped in Leipzig on their way home. There, Marianne continues, "it was a source of great pleasure to him to make the long-desired acquaintance of Robert Schumann who, though in other respects exceedingly quiet and reserved, yet evinced his admiration of Spohr with great warmth and gratified him by the performanee of several of his interesting fantasias. " The two composers had, however, been in touch a few months before through the agency of a third composer, Felix Mendelssohn. On 24th November 1836, Mendelssohn wrote to Spohr requesting a song for inclusion in the wedding album of his new bride, Cdcilie Jeanrenaud, and on l3th December wrote again to thank Spohr for the song 'Was mir wohl tibrig bliebe', WoO96 (later included by Spohr as No.5 of his Op.139 Lieder collection).