Known Also As Conrado Del Campo)
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Program Notes | South American Sounds
27 Season 2018-2019 Thursday, October 4, at 7:30 The Philadelphia Orchestra Friday, October 5, at 2:00 Saturday, October 6, at 8:00 Miguel Harth-Bedoya Conductor Elizabeth Hainen Harp Gershwin Cuban Overture Ginastera Harp Concerto, Op. 25 I. Allegro giusto II. Molto moderato III. Liberamente capriccioso (solo cadenza)— Vivace Intermission Piazzolla Tangazo First Philadelphia Orchestra performances López Perú negro First Philadelphia Orchestra performances This program runs approximately 1 hour, 45 minutes. These concerts are sponsored by Ken Hutchins. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 28 Please join us following the October 5 concert for a free Chamber Postlude featuring members of The Philadelphia Orchestra. Villa-Lobos Quintet in the Form of a Chôros (in one movement) Patrick Williams Flute Peter Smith Oboe Socrates Villegas Clarinet Angela Anderson Smith Bassoon Ernesto Tovar Torres Horn Ginastera from String Quartet No. 1, Op. 20: I. Allegro violento ed agitato II. Vivacissimo Dara Morales Violin Yu-Ting Chen Violin Meng Wang Viola John Koen Cello Piazzolla “Oblivion” and “Libertango” Dara Morales Violin Yu-Ting Chen Violin Meng Wang Viola John Koen Cello 29 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in -
L'œuvre À L'affiche
37 affiche xp 2/06/05 10:13 Page 120 L'œuvre à l'affiche Recherches: Elisabetta Soldini avec la contribution de César Arturo Dillon, Georges Farret Calendrier des premières représentations du Barbier de Séville d’après A. Loewenberg, Annals of Opera 1597-1940, Londres 1978 et Pipers Enzyklopädie des Musiktheaters, éd. C. Dahlhaus et S. Döhring, 1991 Le signe [▼] renvoie aux tableaux des pages suivantes. Sauf indication contraire signalée entre parenthèses, l’œuvre a été chantée en italien: [Ang] anglais, [All] allemand, [Bulg] bulgare, [Cro] croate, [Dan] danois, [Esp] espagnol, [Est] estonien, [Finn] finnois, [Flam] flamand, [Fr] français, [Héb] hébreu, [Hong] hongrois, [Lett] letton, [Lit] Lituanien, [Née] néerlandais, [Nor] norvégien, [Pol] polonais, [Rou] roumain, [Ru] russe, [Serb] serbe, [Slov] slovène, [Sué] suédois, [Tch] tchèque CRÉATION: 20 février 1816, Rome, Teatro Argentina. [▼] 1869: décembre, Le Caire. 1871: 3 novembre, Paris, Athénée. 1818: 10 mars, Londres, Her Majesty’s Theatre. - 16 juillet, Barcelone. - 1874: 29 septembre, Helsinki. [Finn] - 2 décembre, Zagreb. [Cro] 13 octobre, Londres, Covent Garden. [Ang] 1875: Le Cap. 1819: 1er janvier, Munich. - Carnaval, Lisbonne. - 3 mai, New York [Ang] - 1876: Tiflis. - Kiev. [Ru] 27 mai, Graz. [All] - 28 septembre, Vienne, Theater auf der Wieden. [All] - 1883: 23 novembre, New York, Metropolitan. 26 octobre, Paris, Théâtre-Italien. 1884: 8 novembre, Paris, Opéra-Comique. 1820: 6 septembre, Milan, Teatro alla Scala. - 29 septembre, Prague. [All] - 1905 : Ljubljana. [Slov] 3 octobre, Braunschweig. [All] - 16 décembre, Vienne, Kärntnertor- 1913 : 3 mai, Christiania (Oslo). [Norv] Theater. [All] - 18 décembre, Brünn. [All] 1918 : Shanghai. [Ru] 1821: 25 août, Madrid. - 31 août, Odessa. - 19 septembre, Lyon. -
Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans
Document généré le 27 sept. 2021 01:22 Canadian University Music Review Revue de musique des universités canadiennes Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans Volume 21, numéro 2, 2001 Résumé de l'article Cette étude documente les efforts de Hans Rosbaud (1895–1962) pour URI : https://id.erudit.org/iderudit/1014484ar promouvoir la musique d’Arnold Schoenberg. L’essai est en grande partie basé DOI : https://doi.org/10.7202/1014484ar sur vingt années de correspondance entre le chef d’orchestre et le compositeur, échange demeuré inédit. Les tentatives de Rosbaud portaient déjà fruit Aller au sommaire du numéro pendant qu’il était en fonction à la radio de Francfort au début des années 1930. À la suite de l’interruption forcée due aux années nazies (au cours desquelles il a travaillé en Allemagne et dans la France occupée), Rosbaud a Éditeur(s) acquis une réputation internationale en tant que chef d’orchestre par excellence dédié aux œuvres de Schoenberg. Ses activités en faveur de Canadian University Music Society / Société de musique des universités Schoenberg dissimulaient le projet, que la littérature sur celui-ci n’avait pas canadiennes encore relevé, de ramener le compositeur vieillissant en Allemagne. ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Evans, J. (2001). Hans Rosbaud and the Music of Arnold Schoenberg. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 41–59. https://doi.org/10.7202/1014484ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. -
Ferienkurse Für Internationale Neue Musik, 25.8.-29.9. 1946
Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946 Seminare der Fachgruppen: Dirigieren Carl Mathieu Lange Komposition Wolfgang Fortner (Hauptkurs) Hermann Heiß (Zusatzkurs) Kammermusik Fritz Straub (Hauptkurs) Kurt Redel (Zusatzkurs) Klavier Georg Kuhlmann (auch Zusatzkurs Kammermusik) Gesang Elisabeth Delseit Henny Wolff (Zusatzkurs) Violine Günter Kehr Opernregie Bruno Heyn Walter Jockisch Musikkritik Fred Hamel Gemeinsame Veranstaltungen und Vorträge: Den zweiten Teil dieser Übersicht bilden die Veranstaltungen der „Internationalen zeitgenössischen Musiktage“ (22.9.-29.9.), die zum Abschluß der Ferienkurse von der Stadt Darmstadt in Verbindung mit dem Landestheater Darmstadt, der „Neuen Darmstädter Sezession“ und dem Süddeutschen Rundfunk, Radio Frankfurt, durchgeführt wurden. Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit So., 25.8. Erste Schloßhof-Serenade Kst., 11.00 Ansprache: Bürgermeister Julius Reiber Conrad Beck Serenade für Flöte, Klarinette und Streichorchester des Landes- Streichorchester (1935) theaters Darmstadt, Ltg.: Carl Wolfgang Fortner Konzert für Streichorchester Mathieu Lange (1933) Solisten: Kurt Redel (Fl.), Michael Mayer (Klar.) Kst., 16.00 Erstes Schloß-Konzert mit neuer Kammermusik Ansprachen: Kultusminister F. Schramm, Oberbürger- meister Ludwig Metzger Lehrkräfte der Ferienkurse: Paul Hindemith Sonate für Klavier vierhändig Heinz Schröter, Georg Kuhl- (1938) mann (Kl.) Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit Hermann Heiß Sonate für Flöte und Klavier Kurt Redel (Fl.), Hermann Heiß (1944-45) (Kl.) Heinz Schröter Altdeutsches Liederspiel , II. Teil, Elisabeth Delseit (Sopr.), Heinz op. 4 Nr. 4-6 (1936-37) Schröter (Kl.) Wolfgang Fortner Sonatina für Klavier (1934) Georg Kuhlmann (Kl.) Igor Strawinsky Duo concertant für Violine und Günter Kehr (Vl.), Heinz Schrö- Klavier (1931-32) ter (Kl.) Mo., 26.8. Komponisten-Selbstporträts I: Helmut Degen Kst., 16.00 Kst., 19.00 Einführung zum Klavierabend Georg Kuhlmann Di., 27.8. -
Fondo A46 Funtsa Nicanor Zabaleta INVENTARIO
Fondo A46 Funtsa Nicanor Zabaleta INVENTARIO - INBENTARIOA Errenteria 25/11/2016 FONDO A46 FUNTSA INDICE DEL INVENTARIO / INBENTARIOAREN AURKIBIDEA A46/1: Actividad como concertista / Jarduera bakarlari gisa A46/11: Programas / Programak A46/12: Recortes de prensa / Prentsako zatiak A46/13: Discografía / Diskografia A46/2: Actividad conferenciante, gestión y propaganda / Hizlari, kudeatzaile eta publizitate jarduera A46/3: Documentación personal / Dokumentazio pertsonala A46/31: Documentación administrativa / Dokumentazio administratiboa A46/32: Epistolario / Gutun bilduma A46/33: Dedicatorias / Eskaintzak A46/34: Fotografías / Argazkiak A46/35: Diplomas - títulos / Diplomak - tituluak A46/4: Biblioteca / Liburutegia A46/41: Libros / Liburuak A46/42: Revistas / Aldizkariak A46/43 Artículos / Artikuluak A46/44: Catálogos / Katalogoak A46/5: Inventario del fondo de partituras conservado en el Royal College de Londres / Londreseko Royal College-n gordetako partitura funtsaren inbentarioa Autor / Egilea Título / Titulua Tipologia A46/11 - Programas / Programak A46/11-0001 Recital De Arpa Salón La Argentina Programa A46/11-0002 Asociación Wagneriana Sala de la Wagneriana Programa A46/11-0003 Asociación Cultural De Bahía Salón de Actos de la Biblioteca Rivadavia Programa Blanca A46/11-0004 Asociación Wagneriana Teatro Cervantes Programa A46/11-0005 The Overture Concert Association Nicanor Zabaleta harpist Programa A46/11-0006 Asociación Filarmónica De Teatro Independencia Programa Mendoza A46/11-0007 Sociedad Filarmónica De Quito Teatro Nacional -
555843 Bk Rodrigo EU 8/10/06 2:25 PM Page 12
555843 bk Rodrigo EU 8/10/06 2:25 PM Page 12 SPANISH CLASSICS Also available: RODRIGO Complete Orchestral Music • 9 8.557801 Concierto serenata Sones en la Giralda Concierto de Aranjuez 8.557223 Gwyneth Wentink, Harp Asturias Symphony Orchestra (OSPA) Maximiano Valdés 8.555843 12 555843 bk Rodrigo EU 8/10/06 2:25 PM Page 2 Joaquín Rodrigo (1901-1999) Orquesta Sinfónica del Principado de Asturias Concierto serenata • Sones en la Giralda (Fantasía sevillana) • Concierto de Aranjuez La historia de la Orquesta del Principado se remonta a 1937. Hizo su presentación oficial como Orquesta Sinfónica en Joaquín Rodrigo was born on St Cecilia’s Day, 22nd seek refuge for eighteen months at the Institute for the enero de 1940 bajo la batuta de Amalio López. En 1943 se hace cargo de su dirección Ángel Muñiz Toca, quien a lo November, 1901, in Sagunto in the Spanish province of Blind in Freiburg. In 1938 they were able to make a largo de veinte años realiza una importantísima labor musical a través de toda la provincia y también fuera de Asturias. Valencia. In 1905 an outbreak of diphtheria impaired brief visit to Spain for a summer school in Santander Con ella colaboraron los más importantes solistas del momento. Temporalmente, y por falta de recursos económicos, se the young boy’s vision and within a few years he lost but, failing to secure appropriate employment, were redujo a Orquesta de Cámara, pero a la muerte de Muñiz Toca había recobrado su primitiva forma y en homenaje a éste every vestige of sight. -
Chicago Symphony Orchestra Riccardo Muti Zell Music Director Riccardo Muti Conductor Xavier De Maistre Harp Chabrier España
PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Tuesday, September 29, 2015, at 7:30 Riccardo Muti Conductor Xavier de Maistre Harp Chabrier España Ginastera Harp Concerto, Op. 25 Allegro giusto Molto moderato Liberamente capriccioso—Vivace XAVIER DE MAISTRE INTERMISSION Charpentier Impressions of Italy Serenade At the Fountain On Muleback On the Summits Napoli Ravel Boléro CSO Tuesday series concerts are sponsored by United Airlines. This work is part of the CSO Premiere Retrospective, which is generously sponsored by the Sargent Family Foundation. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Emmanuel Chabrier Born January 18, 1841, Ambert, France. Died September 13, 1894, Paris, France. España España is the sole survivor several of his canvases, including his last major of a once-prestigious work, the celebrated Bar aux Folies-Bergère, career. The only work by which he hung over his piano. (At the time of his Emmanuel Chabrier that death in 1894, Chabrier owned a small museum’s is still performed with any worth of significant art, including seven oils by regularity, it began as a Manet, six by Monet, three by Renoir, and one simple souvenir of six by Cézanne.) months in Spain. Although Chabrier dabbled in composition Chabrier and his wife from childhood and became a pianist of impres- spent the latter half of sive virtuosity, at first he followed the family tra- 1882 traveling the country, stopping in Toledo, dition and pursued law as his profession. -
Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans
Document generated on 09/28/2021 5:44 p.m. Canadian University Music Review Revue de musique des universités canadiennes Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans Volume 21, Number 2, 2001 Article abstract This study documents the efforts of Hans Rosbaud (1895–1962) on behalf of the URI: https://id.erudit.org/iderudit/1014484ar music of Arnold Schoenberg. It is largely based on the twenty-year DOI: https://doi.org/10.7202/1014484ar correspondence between conductor and composer, most of which remains unpublished. Rosbaud's efforts already bore fruit during his tenure at See table of contents Frankfurt Radio in the early 1930s. After the forced hiatus of the Nazi years (during which he worked in Germany and occupied France), Rosbaud achieved an international reputation as the Schoenberg conductor par excellence. His Publisher(s) activities on Schoenberg's behalf involved a plan, previously unremarked in the Schoenberg literature, to bring the aging composer back to Germany. Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Evans, J. (2001). Hans Rosbaud and the Music of Arnold Schoenberg. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 41–59. https://doi.org/10.7202/1014484ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2002 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. -
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. -
Dietrich Fischer-Dieskau, Polar Music Prize Laureate 2005 Fischer
Dietrich Fischer-Dieskau, Polar Music Prize Laureate 2005 Fischer-Dieskau´s talent for music was manifest at an early age. He took piano lessons and started to study singing in 1941 with Prof. Georg A. Walter. The following year he became a student of Prof. Hermann Weissenborn at the College of Music in Berlin. His first public appearance took place in 1942 at the church hall in Berlin- Zehlendorf, where he sang Schubert´s Winterreise with interruptions for air-raid warnings. After graduating from high school in 1943 he was called up for military service and spent the time until 1947 as a prisoner of war in Italy. There he continued with his singing studies on his own. He resumed his studies with Prof. Weissenborn during the years 1947-48. His real career as a singer began in 1947 when, without prior rehearsal, he substituted for a soloist who had taken ill, in Brahms´ “Ein Deutsches Requiem” in Badenweiler. His official debut as a singer took place in the autumn of 1947 with a song recital in Leipzig, and shortly after that he made a successful appearance at the Titania Palace in Berlin. In the same year he made his first phonograph recording of “Winterreise”. In the autumn of 1948 he was engaged as a lyric baritone at the Städtische Oper in Berlin, where his first appearance, as Posa in Verdi´s opera “Don Carlos” under the baton of Ferenc Fricsay, aroused a great deal of public attention. Then there were guest performances at the opera houses in Vienna and Munich, and from 1951 on also in England, Holland, Switzerland, France and Italy. -
UNIVERSITY of CALIFORNIA RIVERSIDE the 1964 Festival Of
UNIVERSITY OF CALIFORNIA RIVERSIDE The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Alyson Marie Payne September 2012 Dissertation Committee: Dr. Leonora Saavedra, Chairperson Dr. Walter Clark Dr. Rogerio Budasz Copyright by Alyson Marie Payne 2012 The Dissertation of Alyson Marie Payne is approved: ______________________________________________________________ ______________________________________________________________ _______________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgments I would like to acknowledge the tremendous help of my dissertation committee, Dr. Leonora Saavedra, Dr. Walter Clark, and Dr. Rogerio Budasz. I am also grateful for those that took time to share their first-hand knowledge with me, such as Aurelio de la Vega, Juan Orrego Salas, Pozzi Escot, and Manuel Halffter. I could not have completed this project with the support of my friends and colleagues, especially Dr. Jacky Avila. I am thankful to my husband, Daniel McDonough, who always lent a ready ear. Lastly, I am thankful to my parents, Richard and Phyllis Payne for their unwavering belief in me. iv ABSTRACT OF THE DISSERTATION The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics by Alyson Marie Payne Doctor of Philosophy, Graduate Program in Music University of California, Riverside, September 2012 Dr. Leonora Saavedra, Chairperson In 1964, the Organization of American States (OAS) and the Institute for Hispanic Culture (ICH) sponsored a lavish music festival in Madrid that showcased the latest avant-garde compositions from the United States, Latin America, and Spain. -
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