DOCSLIB.ORG

Repertoire Report 2012-13 Season Group 5 & 6 Orchestras

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Repertoire Report 2012-13 Season Group 5 & 6 Orchestras REPERTOIRE REPORT 2012-13 SEASON GROUP 5 & 6 ORCHESTRAS Composer Work First Perf. Conductor Orchestra Soloist(s) Adams, John COMMON TONES IN SIMPLE TIME Feb. 9, 2013 Brett Mitchell Saginaw Bay Symphony Orchestra Auerbach, Lera 24 PRELUDES FOR VIOLONCELLO & Jan. 26, 2013 Delta David Gier South Dakota Symphony Alessio Bax, piano PIANO Ramiro Alvarez, cello Bach, J. S. BRANDENBURG CONCERTO NO. 1 IN F Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 2 IN F Nov. 17, 2012 unknown unknown South Dakota Symphony unknown unknown, trumpet MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 3 IN G Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 4 IN G Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 5 IN D Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 6 IN B- Nov. 17, 2012 unknown unknown South Dakota Symphony FLAT MAJOR Bach, J. S. PIANO CONCERTO NO. 1 IN D MINOR Mar. 22, 2013 Daniel Hege Boise Philharmonic Association, Roberto Plano, piano Inc. Bach, J. S. SUITE NO. 3 IN D MAJOR, BWV 1068 Nov. 3, 2012 Brian Groner Fox Valley Symphony Baker, Claude CANTI GUERRIERI ED AMOROSI (SONGS Mar. 23, 2013 Gerhardt Zimmermann Canton Symphony Orchestra OF WAR AND LOVE) Ballard, Louis INCIDENT AT WOUNDED KNEE Jan. 12, 2013 Delta David Gier South Dakota Symphony Barber, Samuel ADAGIO FOR STRINGS Jun. 28, 2013 Martin Majkut Rogue Valley Symphony Barber, Samuel CONCERTO, PIANO AND ORCHESTRA, Oct. 6, 2012 Delta David Gier South Dakota Symphony Emmanuelle Arciuli, piano OPUS 38 Page 1 of 18 REPERTOIRE REPORT 2012-13 SEASON GROUP 5 & 6 ORCHESTRAS Composer Work First Perf. Conductor Orchestra Soloist(s) Barber, Samuel CONCERTO, VIOLIN AND ORCHESTRA, Jan. 12, 2013 Michael Butterman Boulder Philharmonic Orchestra Sarah Chang, violin OPUS 14 Barber, Samuel KNOXVILLE: SUMMER OF 1915, OPUS 24 Apr. 12, 2013 Daniel Meyer Erie Philharmonic Orchestra Danielle Pastin, soprano Mar. 23, 2013 Brett Mitchell Saginaw Bay Symphony Rebekah Camm, soprano Orchestra Barber, Samuel OVERTURE TO THE SCHOOL FOR Oct. 6, 2012 Delta David Gier South Dakota Symphony SCANDAL Bartok, Béla ROMANIAN FOLK DANCES Apr. 20, 2013 Anne Harrigan Billings Symphony Orchestra and Chorale Beethoven, Ludwig V. CONCERTO, PIANO, NO. 4 IN G MAJOR, Sep. 22, 2012 Richard Lee East Texas Symphony Winston Choi, piano OPUS 58 Orchestra Jan. 25, 2013 Martin Majkut Rogue Valley Symphony Alexander Schimpf, piano Beethoven, Ludwig V. CONCERTO, PIANO, NO. 5 IN E-FLAT Jan. 26, 2013 Daniel Meyer Erie Philharmonic Orchestra Inon Barnatan, piano MAJOR, OP. 73 Oct. 6, 2012 Peter Rubardt Pensacola Symphony Orchestra Fabio Bidini, piano Apr. 13, 2013 Mark Russell Smith Quad City Symphony Orchestra Tom Sauer, piano Beethoven, Ludwig V. CONSECRATION OF THE HOUSE: Sep. 22, 2012 Richard Lee East Texas Symphony OVERTURE, OPUS 124 Orchestra Beethoven, Ludwig V. CREATURES OF PROMETHEUS: Jan. 12, 2013 Peter Rubardt Pensacola Symphony Orchestra OVERTURE, OPUS 43 Beethoven, Ludwig V. EGMONT: OVERTURE, OPUS 84 Feb. 16, 2013 Gerhardt Zimmermann Canton Symphony Orchestra Beethoven, Ludwig V. FIDELIO: OVERTURE, OPUS 72 Oct. 13, 2012 Alastair Willis Billings Symphony Orchestra and Chorale Beethoven, Ludwig V. LEONORE OVERTURE NO. 3, OPUS 72B Mar. 23, 2013 Gerhardt Zimmermann Canton Symphony Orchestra Beethoven, Ludwig V. SYMPHONY NO. 1 IN C MAJOR, OPUS 21 Feb. 23, 2013 Robert Franz Boise Philharmonic Association, Inc. Beethoven, Ludwig V. SYMPHONY NO. 2 IN D MAJOR, OPUS 36 Sep. 27, 2012 Stephen Heyde Waco Symphony Orchestra Beethoven, Ludwig V. SYMPHONY NO. 3 IN E-FLAT MAJOR, Sep. 22, 2012 Richard Lee East Texas Symphony OPUS 55 Orchestra Page 2 of 18 REPERTOIRE REPORT 2012-13 SEASON GROUP 5 & 6 ORCHESTRAS Composer Work First Perf. Conductor Orchestra Soloist(s) Beethoven, Ludwig V. SYMPHONY NO. 6 IN F MAJOR, OPUS 68 Oct. 13, 2012 Alastair Willis Billings Symphony Orchestra and Chorale Nov. 3, 2012 Mark Russell Smith Quad City Symphony Orchestra Feb. 9, 2013 Brett Mitchell Saginaw Bay Symphony Orchestra Beethoven, Ludwig V. SYMPHONY NO. 8 IN F MAJOR, OPUS 93 Nov. 2, 2012 Martin Majkut Rogue Valley Symphony Beethoven, Ludwig V. SYMPHONY NO. 9 IN D MINOR, OPUS 125 Feb. 23, 2013 Robert Franz Boise Philharmonic Association, Chris Bengochea, tenor Inc. Michele Detwiler, unknown Emily Amber Newton, soprano Derrick Parker, baritone Nov. 9, 2012 Stephen Lancaster Symphony Orchestra Matthew Garrett, tenor Gunzenhauser Keith Harris, bass-baritone Rebekah Auyeung, soprano Ruth Kenote, mezzo-soprano Berlioz, Hector SYMPHONIE FANTASTIQUE, OPUS 14 Oct. 20, 2012 Daniel Meyer Erie Philharmonic Orchestra Bernstein, Leonard ON THE TOWN: THREE DANCE EPISODES Jan. 11, 2013 Stephen Lancaster Symphony Orchestra Gunzenhauser Bernstein, Leonard ON THE WATERFRONT: SYMPHONIC Oct. 6, 2012 Delta David Gier South Dakota Symphony SUITE Bernstein, Leonard WEST SIDE STORY: SYMPHONIC DANCES Jan. 12, 2013 Jean-Francois Rivest East Texas Symphony Orchestra Feb. 9, 2013 Mark Russell Smith Quad City Symphony Orchestra Bizet, Georges ARLÉSIENNE: "FARANDOLE" FROM SUITE Dec. 4, 2012 Brett Mitchell Saginaw Bay Symphony NO. 2 Orchestra Bizet, Georges CARMEN FANTASIA Apr. 6, 2013 Daniel Meyer The Las Vegas Philharmonic Barbara Butler, trumpet Charles Geyer, trumpet Bizet, Georges CARMEN: "LES TOREADORS" FROM SUITE Sep. 29, 2012 Brett Mitchell Saginaw Bay Symphony NO. 1 Orchestra Bizet, Georges CARMEN: ACT III PRELUDE / INTERMEZZO Sep. 29, 2012 Brett Mitchell Saginaw Bay Symphony Orchestra Bizet, Georges CARMEN: LA HABAÑERA Sep. 29, 2012 Brett Mitchell Saginaw Bay Symphony Orchestra Page 3 of 18 REPERTOIRE REPORT 2012-13 SEASON GROUP 5 & 6 ORCHESTRAS Composer Work First Perf. Conductor Orchestra Soloist(s) Bizet, Georges SYMPHONY NO. 1 IN C MAJOR Nov. 3, 2012 Peter Rubardt Pensacola Symphony Orchestra Borodin, Alexander IN THE STEPPES OF CENTRAL ASIA Jan. 12, 2013 Peter Rubardt Pensacola Symphony Orchestra Brahms, Johannes CONCERTO, VIOLIN, IN D MAJOR, OP.77 Oct. 6, 2012 Michael Nowak San Luis Obispo Symphony Brahms, Johannes DEUTSCHES REQUIEM, OP.45 (GERMAN Feb. 23, 2013 Michael Butterman Boulder Philharmonic Orchestra Angela Brown, soprano REQUIEM) Patrick Mason, baritone Brahms, Johannes HUNGARIAN DANCE NO. 5 IN G MINOR Oct. 6, 2012 Peter Rubardt Pensacola Symphony Orchestra (PARLOW, ALBERT; ORCHESTRATED) Brahms, Johannes SYMPHONY NO. 1 IN C MINOR, OP.68 Sep. 28, 2012 Robert Franz Boise Philharmonic Association, Inc. Nov. 3, 2012 Brian Groner Fox Valley Symphony Brahms, Johannes SYMPHONY NO. 3 IN F MAJOR, OP.90 Oct. 6, 2012 Peter Rubardt Pensacola Symphony Orchestra Jan. 17, 2013 Stephen Heyde Waco Symphony Orchestra Brahms, Johannes SYMPHONY NO. 4 IN E MINOR, OP.98 Feb. 22, 2013 Stephen Lancaster Symphony Orchestra Gunzenhauser Brahms, Johannes VARIATIONS ON A THEME BY HAYDN, Mar. 16, 2013 Michael Nowak San Luis Obispo Symphony OPUS 56A Britten, Benjamin IN MEMORIAM DENNIS BRAIN Jan. 26, 2013 Brian Groner Fox Valley Symphony Britten, Benjamin SERENADE FOR TENOR, HORN, AND Jan. 26, 2013 Brian Groner Fox Valley Symphony Steven Spears, tenor STRINGS, OPUS 31 Kelly Hofman, horn Bruch, Max CONCERTO, VIOLIN, NO. 1 IN G MINOR, Oct. 6, 2012 Mark Russell Smith Quad City Symphony Orchestra Naha Greenholtz, violin OP.26 Bruckner, Anton SYMPHONY NO. 4 IN E-FLAT MAJOR (1874 Jan. 12, 2013 Michael Butterman Boulder Philharmonic Orchestra ORIGINAL VERSION) Bruckner, Anton SYMPHONY NO. 4 IN E-FLAT MAJOR (1880 Oct. 6, 2012 Brian Groner Fox Valley Symphony DEF. VERSION) Page 4 of 18 REPERTOIRE REPORT 2012-13 SEASON GROUP 5 & 6 ORCHESTRAS Composer Work First Perf. Conductor Orchestra Soloist(s) Castelnuovo- CONCERTO IN D MAJOR FOR GUITAR, Jun. 28, 2013 Martin Majkut Rogue Valley Symphony Ana Vidovic, guitar Tedesco, Mario OP.99 Chabrier, Emmanuel ESPAÑA Sep. 29, 2012 Brett Mitchell Saginaw Bay Symphony Orchestra Chesky, David VIOLIN CONCERTO NO. 2 Jan. 11, 2013 Stephen Lancaster Symphony Orchestra Michael Ludwig, violin Gunzenhauser Cockey, James SACRED LAND- A TRIBUTE TO THE Nov. 16, 2012 Robert Franz Boise Philharmonic Association, SHOSONE-BANNOCK TRIB Inc. Copland, Aaron APPALACHIAN SPRING Mar. 22, 2013 Daniel Hege Boise Philharmonic Association, Inc. Copland, Aaron BILLY THE KID: SUITE Jan. 11, 2013 Stephen Lancaster Symphony Orchestra Gunzenhauser Copland, Aaron LINCOLN PORTRAIT Nov. 17, 2012 unknown unknown The Las Vegas Philharmonic Tony Hsieh, narrator Oct. 6, 2012 Delta David Gier South Dakota Symphony George McGovern, narrator Copland, Aaron SALON MÉXICO Jan. 12, 2013 Peter Rubardt Pensacola Symphony Orchestra Corigliano, John GAZEBO DANCES Oct. 7, 2012 Gerhardt Zimmermann Canton Symphony Orchestra Danielpour, Richard WOMAN'S LIFE Feb. 23, 2013 Michael Butterman Boulder Philharmonic Orchestra Angela Brown, soprano Daugherty, Michael ROUTE 66 Oct. 20, 2012 Daniel Meyer Erie Philharmonic Orchestra Debussy, Claude APRES-MIDI D'UN FAUNE: PRÉLUDE Apr. 27, 2013 Michael Butterman Boulder Philharmonic Orchestra Sep. 27, 2012 Stephen Heyde Waco Symphony Orchestra Debussy, Claude LA MER: TROIS ESQUISSES Sep. 29, 2012 Brett Mitchell Saginaw Bay Symphony SYMPHONIQUES Orchestra Debussy, Claude NOCTURNES Apr. 27, 2013 Peter Rubardt Pensacola Symphony Orchestra Page 5 of 18 REPERTOIRE REPORT 2012-13 SEASON GROUP 5 & 6 ORCHESTRAS Composer Work First Perf. Conductor Orchestra Soloist(s) Debussy, Claude PRELUDE A L'APRES-MIDI D'UN FAUNE Sep. 29, 2012 Brett Mitchell Saginaw Bay Symphony Orchestra Debussy, Claude PRINTEMPS - SUITE SYMPHONIQUE (DE Jan. 26, 2013 Gerhardt Zimmermann Canton Symphony Orchestra COU, EMIL) Delius, Frederick ON HEARING THE FIRST CUCKOO IN Mar. 16, 2013 Anne Harrigan Billings Symphony Orchestra SPRING and Chorale Delius, Frederick SLEIGH RIDE Dec. 4, 2012 Brett Mitchell Saginaw Bay Symphony Orchestra Dukas, Paul LA PÉRI: FANFARE Mar. 16, 2013 Anne Harrigan Billings Symphony Orchestra and Chorale Dvorák, Antonín CONCERTO, VIOLIN, IN A MINOR, OP.53 Mar. 2, 2013 Peter Rubardt Pensacola Symphony Orchestra Philippe Quint, violin Dvorák, Antonín SYMPHONY NO. 8 IN G MAJOR, OP.88 Sep. 15, 2012 Anne Harrigan Billings Symphony Orchestra [OLD NO. 4] and Chorale Oct.
Load more

Recommended publications
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • Song Settings of Heinrich Heine: a Comparative Analysis of Song Settings from the Poetry Perspective
    SONG SETTINGS OF HEINRICH HEINE: A COMPARATIVE ANALYSIS OF SONG SETTINGS FROM THE POETRY PERSPECTIVE BY ELISABETH MARSHALL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Johannes Türk, Research Director __________________________________ Carol Vaness, Chairperson __________________________________ Timothy Noble __________________________________ Patricia Stiles ii ACKNOWLEDGMENTS The author wishes to express her sincere gratitude to Johannes Türk, research director, for his long-suffering, generous, and careful guidance; to chairperson Carol Vaness for her consistent encouragement and unfailing support; to committee members Timothy Noble and Patricia Stiles for their faithful contributions of time and support, without which completion of this project would have been impossible. I also wish to thank Oscar Strasnoy, for his time and interviews via e-mail, and especially my friend and colleague, James Kallembach, for his invaluable assistance in the editing process. iii PREFACE Today there is an almost obsessive concern with the question of what is the “most accurate” historical performance of a given piece of music. In many performances and ensembles this leads to an investigation into the types of instruments or techniques of singing used in a given period, the number of performers employed, and other ensemble and technical concerns. Related to this concern for historical performance, but perhaps not as often considered, is the issue of the relationship between the original poem and a musical setting.
    [Show full text]
  • Junior Recital: Timothy Marshall, Bass-Baritone
    Kennesaw State University College of the Arts School of Music presents Junior Recital Timothy Marshall, bass baritone Brenda Brent, piano Saturday, October 25, 2014 5:00 p.m. Music Building Recital Hall Twenty-fifth Concert of the 2014-15 Concert Season program I. GEORGE FRIDERIC HANDEL (1685-1759) Leave Me, Loathsome Light from Semele HENRY PURCELL (1659-1695) Arise, Ye Subterranean Winds from The Tempest II. ROBERT FRANZ (1815-1892) Widmung FRANZ SCHUBERT (1797-1828) Schäfers Klagelied Die Forelle III. GABRIEL FAURE (1845-1924) Le Secret REYNALDO HAHN (1874-1947) Quand je fus pris au Pavillon IV. F. PAOLO TOSTI (1846-1916) La Serenata V. CELIUS DOUGHERTY (1902-1982) Shenandoah BRUNO HUHN (1871-1950) Invictus This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Mr. Marshall studies voice with Oral Moses. program notes I. Leave Me, Loathsome Light from Semele GEORGE FREDRIC HANDEL (1685-1759) A German born English composer, Handel, is said to be one of the greatest composers of the Baroque period. He was born in Halle, Germany, on February 23rd, 1685, and died in London, England, on April 14th, 1759. He was buried in Westminster Abbey. He is best known for his orchestral works and English Oratorios, a musical form he was the first to use. The Messiah is one of his most famous. Semele was composed in 1743 and tells of a beautiful mortal, Semele, whose short but spectacular love affair with Jupiter, King of the Gods, comes to a terrifying end in consequence of both her own vanity and the scheming of Jupiter’s insanely jealous wife, Juno.
    [Show full text]
  • Antonín Dvořák Und Das Liedschaffen Seiner Zeit
    Vom Zauber der menschlichen Stimme: Antonín Dvořák und das Liedschaffen seiner Zeit Ein Essay von Jens Malte Fischer aus dem Programmbuch Antonín Dvorák und Seine Zeit Salzburger Festivalspiele 2004 Programmbuch: http://hampsongfoundation.org/antonin‐dvorak‐and‐his‐time/ Das Kunstlied, speziell das Klavierlied der zweiten Hälfte des 19. Jahrhunderts steht unter dem Einfluss, man könnte zugespitzt sagen, im Schatten der unüberbietbaren Leistung von Franz Schubert und Robert Schumann. Es ist eigentlich erst dem Orchesterlied um die Jahrhundertwende gelungen (Chausson in Frankreich und Mahler in Österreich als Beispiele), die Ausdrucksspektren auszuweiten, die von Schubert und Schumann mit ihrer Beschränkung auf den Klang des Klaviers umrissen worden waren, eine Ausweitung, keine Überbietung wohlgemerkt. Der Respekt vor den großen Vorbildern, ja die Einschüchterung durch sie ist gerade jenen Komponisten anzumerken, die Schuberts Liedschaffen besonders gut kannten, das zu jener Zeit beim interessierten Musikpublikum keineswegs die Geltung hatte, die es im 20. Jahrhundert erlangt hat. Brahms etwa, mit seiner umfassenden literarischen und musikalischen Bildung, war als Liedkomponist nicht eingeschüchtert, wusste aber sehr genau, wer Schubert war. Manche seiner Äußerungen lassen erkennen, dass er die damals gängige Einschätzung Schuberts als purem Melodiker überhaupt nicht teilte, sondern ganz im Sinne seines eigenen kompositorischen Verfahrens enthusiastisch darauf hinwies, wie entscheidend es sei, was dieser Komponist aus seinen melodischen Einfällen gemacht habe. Antonín Dvořák hat sich in seinen amerikanischen Jahren einmal in einem größeren Aufsatz über Schubert geäußert. Seine Sicht auf Schubert, dessen Musik er, wie seine Freunde und Schüler bezeugt haben, liebte und dessen Lieder oft auf seinem Flügel lagen, ist bemerkenswert, weil sie erheblich über das am Ende des 19.
    [Show full text]
  • Full Conference Schedule Wednesday, February 8, 2017
    Full Conference Schedule Wednesday, February 8, 2017 Wednesday, February 8, 2017 3:00 PM KMEA Conference Registration 3:00 PM - 7:30 PM 11:30 AM GHST 2 Meeting Reg. Kentucky Junior High Chorus 11:30 AM - 1:00 PM Counter (B, C, COLL, K–5, 6–12, J, O) Registration GHST 2 Ballroom B (C, 6–12) 3:30 PM Coordinator: Lynn Pryzgoda, Leestown MS, Lexington Band Council Meeting 3:30 PM - 4:30 PM All-State Symphony Orchestra 11:30 AM - 2:00 PM GHST 1 Laffoon Strings Registration GHRT 3 Coat Check (B) (O) Band Chair: Brian Froedge, North Hardin HS, Cecelia Orchestra Chair: Patrick O’Rourke, Bowling Green HS, Bowling Green 5:00 PM 1:00 PM Performance Assessment 5:00 PM - 6:30 PM Managers Meeting GHST 1 Wilkinson Jazz Committee Meeting 1:00 PM - 2:00 PM (B, C, J, O) GHST 1 Sampson Commission for Performance Assessment Chair: David (J) Graham, Warren Central HS, Bowling Green Jazz Coordinator: Matt Yarborough, St. Xavier, Louisville 6:30 PM Kentucky Children’s Chorus 1:00 PM - 2:45 PM Concert: Louisville 6:30 PM - 7:30 PM Registration GHST 3 Stopher Orchestra/Louisville Youth KC Whitney Hall (C, K–5) Orchestra Side-by-Side Coordinator: John Hall, retired, Scottsville (B, O) Conductor: Jason Seber All-State Chorus Registration 1:00 PM - 3:00 PM Program HR 2 Regency Foyer (C) La Forza del Destino........................................Guiseppe Verdi Choral Chair: Megan Puckett, Allen Co.-Scottsville HS, Overture Scottsville Scottish Fantasy in E-flat major, Op. 46..................Max Bruch 2:00 PM Melissa White, violin, Harlem String Quartet, Gheens Artist
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 12, 1892-1893, Trip
    MUSIC HALL, BUFFALO CONCERT BY THE BOSTON SYMPHONY ORCHESTRA. FRANZ KNEISEL, Conductor. Twelfth Season, 1892-93. With Historical and Descriptive Notes prepared by William F. Apthorp, PUBLISHED BY C. A. ELLIS, Manager. TH E ASON & HAMLIN PIANOS represent that same Highest Standard of excellence which has achieved a repu- tation for their Organs as the Standard of the World. F. KNOLL, Local Representative. (2) Boston Music Hall, Symphony ^ Buffalo. Orchestra Season of 1892-93. Mr. FRANZ KNEISEL, Conductor. Thursday Evening, May 4, 1893, at 8 o'clock. PROGRAMME. Robert Schumann - Symphony No. 2, in C major, Op. 61 I. Sostenuto assai (C major) - - - - - 6-4 Allegro ma non troppo (C major) - 3-4 u - II. Scherzo : Allegro vivace (C major) 2-4 Trio 1°: The same tempo (G major) - 2-4 Trio 11°: The same tempo (C major) - 2-4 III. Adagio espressivo (C minor) - 2-4 IV. Allegro molto vivace (C major) - 2-2 Weber - Agathe's Scene and Aria, from "Freischuetz " t Camille Saint-Saens - Concerto for Violin, No. 1, in A major, Op. 20 I. Allegro (A major) _____ e-4 II. Andante espressivo (D major) - - - - 2-4 III. Tempo primo (A major) - - _ _ _ q_4 / Bach - - Praeludium, Adagio, and Gavotte, for String Orchestra j/ Arranged by Bachrich. Moritz Moszkowski Two Movements from Suite No. 1, in F major, Op. 39 - III. Tema con variazioni : Andante (A major) 2-4 V. Perpetuum mobile : Vivace (P major) - - 4-4 , Wagner - Introduction to Act III., Dance of Apprentices and Proces- " sion of the Mastersingers, from " Die Meistersinger SOLOISTS: Miss FELICIA KASCHOSKA.
    [Show full text]
  • The Three Organists: All Souls' Remembrance
    “AMERICA’S PARISH CHURCH” THE THREE ORGANISTS: ALL SOULS’ REMEMBRANCE THURSDAY, NOVEMBER 5, 2020 7:00 P.M. St. Patrick’s Cathedral “AMERICA’S PARISH CHURCH” New York City Presents the Virtual Concert THE THREE ORGANISTS: ALL SOULS’ REMEMBRANCE In remembrance of all of those who have died due to COVID-19 and Social Injustice and Unrest Please consider supporting the Friends of Music for the season. Contributions can be made online at: 2020-2021 SEASON 2020-2021 engage.saintpatrickscathedral.org/fom PROGRAM Jennifer Pascual, D.M.A. Director of Music Allerseelen (All Souls’ Day) Richard Strauss (1864-1949) In Paradisum Henri Mulet (1878-1967) In Paradisum Jean-Yves Daniel-Lesur (1908-2002) Pavane pour une infante défunte Maurice Ravel (1875-1937) Daniel Brondel, M.M. Associate Director of Music from Symphony No. 3 (“Organ Symphony”) Camille Saint-Saëns (1835-1921) in C Minor, Op. 78 (1886) arr. Virgil Fox (1912-1980) I. Poco adagio Pièce d’Orgue (“Fantasia in G Major”), BWV 572 (ca. 1720) Johann Sebastian Bach (1685-1750) Michael Hey, M.M. Associate Director of Music Solitude (2020) Nahre Sol (b. 1991) Prelude and Fugue in E-flat major (“St. Anne”), BWV 552 Johann Sebastian Bach (1685-1750) 1 BIOGRAPHIES Dr. Jennifer Pascual was appointed Director of Music at St. Patrick’s Cathedral in New York City in 2003, the first woman to hold this prestigious liturgical music position. Jennifer earned a Doctor of Musical Arts Degree in Organ Performance from the Eastman School of Music in Rochester, NY where she studied with David Higgs. She holds a Master of Music Degree in Piano Performance from the Mannes College of Music and received the Bachelor of Music Degrees in Piano and Organ Performance and Music Education from Jacksonville University in Florida.
    [Show full text]
  • Robert Schumann and the Gesangverein: the Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2011 Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Pellegrino, Gina, "Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850)" (2011). All Theses and Dissertations (ETDs). 276. https://openscholarship.wustl.edu/etd/276 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Hugh Macdonald, Chair Garland Allen Todd Decker Martin Kennedy Michael Lützeler Craig Monson John Stewart ROBERT SCHUMANN AND THE GESANGVEREIN: THE DRESDEN YEARS (1844–1850) by Gina Marie Pellegrino A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2011 Saint Louis, Missouri ABSTRACT Nineteenth-century Germany saw an expansion of choral music in a secular context, bringing about changes not only in the nature of the organizations but also in the character of the music. Often depicted in history books as the age of the Lied, the early nineteenth century was also the age of the Chorgesang, creating a demand for music for social gatherings. Amateur choruses and partsinging reached their peak of popularity in nineteenth-century Germany.
    [Show full text]
  • Modern Song Writers. I. Robert Franz Author(S): Fr
    Modern Song Writers. I. Robert Franz Author(s): Fr. Niecks Source: The Musical Times and Singing Class Circular, Vol. 25, No. 491 (Jan. 1, 1884), pp. 5-10 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3356895 . Accessed: 22/12/2014 07:53 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 128.235.251.160 on Mon, 22 Dec 2014 07:53:27 AM All use subject to JSTOR Terms and Conditions THE MUSICAL 5 TIMES.-JANUARY I, 1884. the feelings of others. More than nine-tenthsof our THE MUSICAL TIMES modern music (dramatic and symphonic music in- is All that in dramatic music is AND SINGING-CLASS CIRCULAR. cluded) lyrical. not lyrical is a poor make-shift necessitated by the JANUARY i, 1884. requirements of the verbal language and the limita- tions of the musical language; and all that in sym- phonic music is not lyrical is merely accessory, or MODERN SONG WRITERS.
    [Show full text]
  • A Study of the Personality of Franz Liszt with Special
    · ~ I (; A STUDY OF THE PERSONALITY OF FRANZ LISZT WITH SPECIAL REFERENCE TO THE CONTRADICTIONS IN HIS NATURE Submitted for the Degree of MASTER OF MUSIC Rhodes University by BERYL EILEEN ENSOR-SMITH January 1984 (ii} CONTENTS Chapter I Background Page 1 CAREER CONFLICTS Chapter II Pianist/Composer Page 17 Chapter III Showman/Serious Musician Page 33 PERSONALITY CONFLICTS Chapter IV Ambiguity in Liszt's Relationships - Personal and Spiritual Page 77 Chapter V Finally- Resignation ... Dogged Perseverance . .. Hopeful Optimism Page 116 ----oooOooo---- (iii) ILLUSTRATIONS Liszt, the Child At the end of Chapter I Liszt, the Young Man At the end of Chapter II Liszt, the performer At the end of Chapter III Liszt, Strength or Arrogance? At the end of Chapter IV L'Abbe Liszt Liszt, Growing Older Liszt, the Old Man At the end of Chapter V Liszt, from the last photographs Liszt . .. The End ----oooOooo---- A STUDY OF THE PERSONALITY OF FRANZ LISZT WITH SPECIAL r~FERENCE TO THE CONTRADICTIONS IN HIS NATURE Chapter I BACKGROUND "The man who appears unable to find peace there can be no doubt that we have here to deal with the extraordinary, multiply-moved mind as well as with a mind influencing others. His own life is to be found in his music." (Robert Schumann 19.4) Even the birth of Franz Liszt was one of duality - he was a child of the borderline between Austria and Hungary. His birthplace, even though near Vienna, was on the confines of the civilized world and not far removed from the dominions of the Turk.
    [Show full text]
  • 7 Pri ) PROGRAM
    (Sonic Sounds sais of S FESTIVAL STUDENT RECITAL Urness Recital Hall St. Olaf College Northfield, Minnesota Wednesday, July 15, 1992 6:30 p.m. 8 9 . 7 Pri ) PROGRAM Sonatina Béla Bartok (1881-1945) |. Bagpipes: Allegretto ll. Bear Dance: Moderato lll. Finale: Allegro vivace Miriam Schmidt, piano Liebestraume II! in A-flat Major Franz Liszt (1811-1886) Elizabeth Gehle, piano Psyché Emile Paladilhe (Poem by Pierre Cornellle) (1844-1926) Bel piacere (Beautiful pleasure) George F. Handel (1685-1759) To enjoy a devoted love brings contentment to the heart. If there is no faithful heart, there is no beauty, no wisdom, | and no fascination. Rebecca Tatina, soprano Charis Wuerffel, piano Andante and Allegro in E-Flat Major J. Guy Ropartz (1864-1955) arr. A. Shapiro Caleb McKee, trombone Nancy Nagy, piano Sonata for Flute and Piano Francis Poulenc (1899-1963) ll. Cantilena lll. Presto giocoso Siri Knutson, flute Nancy Nagy, piano ReRRRKRREKKRRKREK We ask that all members of the audience refrain from taking photographs or from recording the performance. Thank you, A high-fidelity tape recording of this concert is available by order at the desk in the lobby after the concert. We gratefully acknowledge the generous support of this concert through the donation of Program Patrons: Gary and Marlene Sheetz, St. Louis, Missouri This event is the fourteenth in the Lutheran Summer Music - 1992 series of concerts and events. (— Sounds of Summer——-—- fenton FESTIVAL STUDENT RECITAL Studio A St. Olaf College Northtield, Minnesota Wednesday, July 15, 1992 6:30 p.m. 9 9 S TE PROGRAM Danse de la chévre (Dance of the Goat) Arthur Honegger (for flute solo) (1892-1955) Ginny Andino, flute Caro mio ben (Thou, all my bliss) Giuiseppe Giordani (1744-1798) Daniel Olson, bass Paul Bouman, piano Widmung (Dedication) Robert Franz (1815-1892) Stephen Podoll, baritone Allison Yee, piano Ridente la calma (Smiling tranquility) Wolfgang A.
    [Show full text]
  • Composers a – F: 2011-12 Season
    REPERTOIRE REPORT COMPOSERS A – F: 2011-12 SEASON Composer Work First Perf. Conductor Orchestra Soloist(s) Abels, Michael GLOBAL WARMING Oct. 8, 2011 Mei-Ann Chen Atlanta Symphony Orchestra Dec. 3, 2011 Mark Russell Smith Quad City Symphony Orchestra Adams, John CHAIRMAN DANCES -- FOXTROT FOR Oct. 22, 2011 Fouad Fakhouri Fayetteville Symphony ORCHESTRA Orchestra Adams, John CONCERTO, VIOLIN Apr. 5, 2012 John Adams Los Angeles Philharmonic Leila Josefowicz, violin Adams, John DOCTOR ATOMIC SYMPHONY Jan. 5, 2012 David Robertson Seattle Symphony Adams, John FLOWERING TREE Jun. 7, 2012 Robert Spano Atlanta Symphony Orchestra Jessica Rivera, soprano Russell Thomas, tenor Eric Owens, baritone Adams, John GOSPEL ACCORDING TO THE OTHER May 31, 2012 Gustavo Dudamel Los Angeles Philharmonic MARY Adams, John HARMONIELEHRE Sep. 30, 2011 Edo De Waart Milwaukee Symphony Orchestra Adams, John HARMONIUM Jan. 21, 2012 David Robertson Saint Louis Symphony Saint Louis Symphony Chorus Orchestra Amy Kaiser, conductor Adams, John LOLLAPALOOZA Mar. 10, 2012 Daniel Meyer Erie Philharmonic Orchestra Adams, John ON THE TRANSMIGRATION OF SOULS Nov. 2, 2011 Peter Rubardt Pensacola Symphony Orchestra Adams, John SHORT RIDE IN A FAST MACHINE Oct. 20, 2011 Gustavo Dudamel Los Angeles Philharmonic Adams, John TROMBA LONTANA Sep. 30, 2011 Gustavo Dudamel Los Angeles Philharmonic Adès, Thomas CONCERTO, VIOLIN (CONCENTRIC Feb. 23, 2012 James Gaffigan Atlanta Symphony Orchestra Leila Josefowicz, violin PATHS), OP. 24 Adès, Thomas POLARIS: VOYAGE FOR ORCHESTRA Jan. 5, 2012 Alan Gilbert The New York Philharmonic Page 1 of 33 REPERTOIRE REPORT COMPOSERS A – F: 2011-12 SEASON Composer Work First Perf. Conductor Orchestra Soloist(s) Alwyn, William LYRA ANGELICA Mar.
    [Show full text]