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About the San Francisco Symphony
THE SAN FRANCISCO SYMPHONY The San Francisco Symphony, widely considered to be among the most artistically adventurous and innovative arts institutions in the U.S., celebrated its Centennial season in 2011-12. The Orchestra was established by a group of San Francisco citizens, music-lovers, and musicians in the wake of the 1906 earthquake, and played its first concert on December 8, 1911. Almost immediately, the Symphony revitalized the city’s cultural life. The Orchestra has grown in stature and acclaim under a succession of distinguished music directors: American composer Henry Hadley, Alfred Hertz (who had led the American premieres of Parsifal, Salome, and Der Rosenkavalier at the Metropolitan Opera), Basil Cameron, Issay Dobrowen, the legendary Pierre Monteux (who introduced the world to Le Sacre du printemps and Petrushka), Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt (now Conductor Laureate), and current Music Director Michael Tilson Thomas (MTT). Led by Tilson Thomas, who begins his nineteenth season as Music Director in 2013-14, the SFS presents more than 220 concerts annually for an audience of nearly 600,000 in its home of Davies Symphony Hall, through its multifaceted education and community programs, and on national and international tours. Since Tilson Thomas assumed his post as the SFS’s eleventh Music Director in September 1995, he and the San Francisco Symphony have formed a musical partnership hailed as one of the most inspiring and successful in the country. His tenure with the Orchestra has been praised for outstanding musicianship, innovative programming, highlighting the works of American composers, and bringing new audiences to classical music. -
MUSICWEB INTERNATIONAL Recordings of the Year 2019
MUSICWEB INTERNATIONAL Recordings Of The Year 2019 This is the seventeenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2018-November 2019). The 128 selections have come from 27 members of the team and 65 different labels, the choices reflecting as usual, the great diversity of music and sources; I say that every year, but still the spread of choices surprises and pleases me. Of the selections, one has received three nominations: An English Coronation on Signum Classics and ten have received two nominations: Gounod’s Faust on Bru Zane Matthias Goerne’s Schumann Lieder on Harmonia Mundi Prokofiev’s Romeo & Juliet choreographed by John Cranko on C Major Marx’s Herbstymphonie on CPO Weinberg symphonies on DG Shostakovich piano works on Hyperion Late Beethoven sonatas on Hyperion Korngold orchestral works on Chandos Coates orchestral works on Chandos Music connected to Leonardo da Vinci on Alpha Hyperion was this year’s leading label with nine nominations, just ahead of C Major with eight. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2300 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year one recording in particular put itself forward as the obvious candidate. An English Coronation 1902-1953 Simon Russell Beale, Rowan Pierce, Matthew Martin, Gabrieli Consort; Gabrieli Roar; Gabrieli Players; Chetham’s Symphonic Brass Ensemble/Paul McCreesh rec. -
San Francisco Symphony Michael Tilson Thomas, Music Director
CAL PERFORMANCES PRESENTS PROGRAM Tuesday, May 1, 2012, 8pm Zellerbach Hall San Francisco Symphony Michael Tilson Thomas, music director Jane Glover, conductor Bach Brandenburg Concerto No. 6 in B-flat major, bwv 1051 [Allegro] PROGRAM Adagio ma non tanto Allegro Jonathan Vinocour viola I Yun Jie Liu viola II George Frideric Handel (1685–1759) Water Music Suite No. 3 in G major, Barbara Bogatin viola da gamba I hwv 350 (1717) Marie Dalby Szuts viola da gamba II [Sarabande] or [Menuet] Rigaudons I and II Menuets I and II [Bourrées I and II] Handel Music for the Royal Fireworks, hwv 351 (1749) Overture Bourrée La Paix Johann Sebastian Bach (1685–1750) Brandenburg Concerto No. 3 in G major, La Réjouissance bwv 1048 Menuet I [Allegro] Menuet II Adagio Allegro Bach Brandenburg Concerto No. 2 in F major, bwv 1047 [Allegro] Andante Allegro assai Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. Nadya Tichman violin Robin McKee flute Jonathan Fischer oboe John Thiessen trumpet INTERMISSION 28 CAL PERFORMANCES CAL PERFORMANCES 29 PROGRAM NOTES PROGRAM NOTES George Frideric Handel (1685–1759) Johann Sebastian Bach (1685–1750) Brandenburg Concerto No. 3 “for three presumably means a recorder when he just says Water Music Suite No. 3 in G major, hwv 350 Brandenburg Concerto No. 3 in G major, violins, three violas and three violoncelli, with flauto; however, as in most modern-instrument (1717) bwv 1048 bass for the harpsichord” (all the instrumenta- performances in large halls, the part will here be Brandenburg Concerto No. 2 in F major, tions are transcribed from Bach’s autograph) has translated to regular flute). -
JOAN SUTHERLAND John Pritchard (1918–89)
JOAN SUTHERLAND John Pritchard (1918–89). Walthamstow-born, John Pritchard learned his craft as principal conductor of the Derby String Orchestra, before joining the music staff of Glyndebourne in 1947. Appointed Chorus Master in 1949, he was soon sharing major Mozart productions with Fritz Busch, conducting the London Philharmonic Orchestra there and swiftly expanding his repertoire. The company’s Musical Director from 1969 to 1977, he was also a regular guest at the Royal Opera, where in 1955 he conducted the premiere of Tippett’s A Midsummer Marriage. His opera and concert work encircled the globe, with periods at the helm of many companies and orchestras, notably the Royal Liverpool Philharmonic and BBC Symphony. He was knighted in 1983. Though his full diary could result in perfunctory routine, fiery theatricality and a grasp of essentials inform his best work – not least in many studio and off-air recordings made with his ‘home’, Glyndebourne company, and for BBC radio. Joan Sutherland (1926–2010). The world-renowned soprano Joan Sutherland left her Sydney home for London in 1952, with the ultimate aim of singing Wagner. Contracted to Covent Garden, she felt her future lay in heavy, dramatic roles; and her early assignments there included Amelia in Verdi’s Un ballo in maschera and the title role in Aida. Soon her breathtaking agility, crystalline staccatos and unique stratospheric purity became evident – not least as Jenifer in Tippett’s The Midsummer Marriage, followed swiftly by the doll Olympia in Offenbach’s Les contes d’Hoffmann (both 1955). Although increasingly identified with the bel canto repertoire, until her 1959 Covent Garden triumph in Donizetti’s Lucia di Lammermoor she kept her options open. -
Dame Joan Hammond (1912-1966) 2
AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JOAN HILDA HOOD HAMMOND (1912-1996) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JULY 2018 Dame Joan Hilda Hood Hammond, DBE, CMG (24 May 1912 – 26 November 1996) was a New Zealand born Australian operatic soprano, singing coach and champion golfer. She toured widely, and became noted particularly for her Puccini roles, and appeared in the major opera houses of the world – the Royal Opera House Covent Garden, La Scala, the Vienna State Opera and the Bolshoi. Her fame in Britain came not just from her stage appearances but from her recordings. A prolific artist, Hammond's repertoire encompassed Verdi, Handel, Tchaikovsky, Massenet, Beethoven, as well as folk song, art song, and lieder. She returned to Australia for concert tours in 1946, 1949 and 1953, and starred in the second Elizabethan Theatre Trust opera season in 1957. She undertook world concert tours between 1946 and 1961. She became patron and a life member of the Victorian Opera Company (since 1976, the Victorian State Opera – VSO), and was the VSO's artistic director from 1971 until 1976 and remained on the board until 1985. Working with the then General Manager, Peter Burch, she invited the young conductor Richard Divall to become the company's Musical Director in 1972. She joined the Victorian Council of the Arts, was a member of the Australia Council for the Arts opera advisory panel, and was an Honorary Life Member of Opera Australia. She was important to the success of both the VSO and Opera Australia. Hammond embarked on a second career as a voice teacher after her performance career ended. -
San Francisco Symphony
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN San Francisco Symphony HERBERT BLOMSTEDT Music Director and Conductor GERALDINE WALTHER, Violist TUESDAY EVENING, MARCH 11, 1986, AT 8:00 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Viola Concerto in G major ...................................... TELEMANN Largo Allegro Andante Presto GERALDINE WALTHER, Violist Symphony No. 41 in C major, K. 551 ("Jupiter") ..................... MOZART Allegro vivace Andante cantabile Menuetto: allegretto Molto allegro INTERMISSION Symphony No. 4, Op. 29 ("The Inextinguishable") ................... NIELSEN Allegro Poco allegretto Poco adagio quasi andante Allegro Philips, Telarc, ECM, Deutsche Grammophon, RCA, and CRI Records. Sixty-third Concert of the 107th Season 107th Annual Choral Union Series PROGRAM NOTES by MICHAEL STEINBERG San Francisco Symphony, 1986 Viola Concerto in G major ........................ GEORG PHILIPP TELEMANN (1681-1767) The exact date of this concerto is not known; however, it is presumed to have been written for the "Weekly Grand Concerts" that Telemann led for the Gesellschaft Frauenstein, a Frankfurt merchants' association, from M\2 until 1721. This evening, Geraldine Waltherplays cadenzas written for her by Mark Volkert. Not the least interesting thing about Telemann is the history of his reputation. Once routinely dismissed as a scandalously prolific and fairly inconsequential scribbler, he is, just now, the benefi ciary of rehabilitation. In the historiography of a generation or so ago, we are likely to find Telemann mentioned in the course of discussions of Bach, often with some sense of outrage that their contemporaries valued Telemann so much more. And he was there is no doubt about it the most successful German composer of his day. As for that difference between himself and (as seems so clear to us) the infinitely greater Bach, it is not like the difference between, say, Dittersdorf and Mozart: two people working the same mine, one immeasurably superior to the other. -
About the San Francisco Symphony
THE SAN FRANCISCO SYMPHONY The San Francisco Symphony, widely considered to be among the most artistically adventurous and innovative arts institutions in the U.S., celebrated its Centennial season in 2011-12. The Orchestra was established by a group of San Francisco citizens, music-lovers, and musicians in the wake of the 1906 earthquake, and played its first concert on December 8, 1911. Almost immediately, the Symphony revitalized the city’s cultural life. The Orchestra has grown in stature and acclaim under a succession of distinguished music directors: American composer Henry Hadley, Alfred Hertz (who had led the American premieres of Parsifal, Salome, and Der Rosenkavalier at the Metropolitan Opera), Basil Cameron, Issay Dobrowen, the legendary Pierre Monteux (who introduced the world to Le Sacre du printemps and Petrushka), Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt (now Conductor Laureate), and current Music Director Michael Tilson Thomas (MTT). Led by Tilson Thomas, who begins his nineteenth season as Music Director in 2013-14, the SFS presents more than 220 concerts annually, and reaches an audience of nearly 600,000 in its home of Davies Symphony Hall, through its multifaceted education and community programs, and on national and international tours. Since Tilson Thomas assumed his post as the SFS’s eleventh Music Director in September 1995, he and the San Francisco Symphony have formed a musical partnership hailed as one of the most inspiring and successful in the country. His tenure with the Orchestra has been praised for outstanding musicianship, innovative programming, highlighting the works of American composers, and bringing new audiences to classical music. -
1951-52 Bulletin of Information - Department of Music Seattle Niu Versity
Seattle nivU ersity ScholarWorks @ SeattleU Bulletin of Information 1951 1951-52 Bulletin of Information - Department of Music Seattle niU versity Follow this and additional works at: http://scholarworks.seattleu.edu/bulletinofinformation Recommended Citation Seattle nivU ersity, "1951-52 Bulletin of Information - Department of Music" (1951). Bulletin of Information. 41. http://scholarworks.seattleu.edu/bulletinofinformation/41 This Bulletin is brought to you for free and open access by ScholarWorks @ SeattleU. It has been accepted for inclusion in Bulletin of Information by an authorized administrator of ScholarWorks @ SeattleU. SEATTLE UNIVERSITY MUSIC BULLETIN 1951 - 1952 DEPARTMENT OF MUSIC 900 Broadway SEATTLE 22, WASHINGTON DEPARTMENT OF MUSIC SEATTLE UNIVERSITY ADMINISTRATIVE OFFICERS Very Rev. Albert A. Lemieux, S.J., Ph. D.............................. President Rev. Anthony B. Corrigan, S.J., M. A ..................................................... ...Dean of Studies Rev Daniel J. Reidy, S.J., Ph. D.........................................................................Faculty Director Mr. Walter Aklin, B. of Music ............................................................... .. ... Head of Department GENERAL INFORMATION The Department of Music offers five fields of study which are especially designed to meet the practical and artistic needs of the student. These areas are: Music Education (teaching) B. of Ed. Major in Music Music Composition and Arranging B. M. Music Applied (voice, piano and instrumental) B. M. Music History and Art (B. A. Major in Music) Music Criticism and Analysis (Literary Criticism) (B. A. Major in Literature—Minor in Music) Students who intend to major in Music should have playing ability on some instru ment. If this instrument has not been piano, a practical knowledge of the keyboard is desirable. The School lays stress on its Music Education degree. -
The Delius Society Journal
Summer/Autumn 1996, Number 117 The Delius Society Journal The Delius Society JOUrnAl t Summer/Autumn1995. Number I l7 The DeliusSociety Full Membershipand Institutions f l5 per year USA andCanada US$31 per year Africa, Australasiaand Far Eastf l8 President Eric FenbyOBE, Hon D Mus, Hon D Litt, Hon RAM, FRCM, Hon FTCL L'icePresident.s Felix AprahamianHon RCO RolandGibson MSc, PhD (FounderMember) Meredith DaviesCBE, MA, B Mus, FRCM, Hon RAM VernonHandley M,\ FRCM, D Univ (Surrey) RichardHickox FRCO (CHM) RodneyMeadows Chairman Lyndon Jenkins 3 ChristchurchClose, Edgbaston, Birmingham Bl5 3NE Tel (0121)454 7l 50 Treasurer (to whom membershipenquiries should be directed) Derek Cox Mercers,6 Mount Pleasant,Blockley, Glos GL56 9BU Tel:(01386) 700175 Secretary JonathanMaddox I St Joseph'sClose, Olney, Bucks. MK46 5HD Tel: (01234)713401 Editor StephenLloyd 82 FarleyHill, Luton LUI 5NR Tel: (01 582) 20075 CONTEI{TS Chairman'sMessage 3 Delius SocietyMeetings A Round-Upof the Season'sActivities by Brian Radford 4 Delius SocietyWeek-End at Cheltenham by Brian Radford l0 The 35th AnnualFestival of the DeliusAssociation of Florid? , by Henry Cornely 14 Pilgrimageto the Past: A Meeting with Margaret Harrison by Malcolm Miller 18 Delius'sFour Violin Sonatas by Alan Jefferson 23 Books and RecordReviews: Delius's Musical Apprenticeship by Robert Threlfall 25 Sir Dan Godfrey: ('hampion of llritish (-omposers by StephenLloyd 27 The Mu,sical Ltfe of the C'rystalPalace by Michael Musgrave 27 The All-Rountl Man: SelectedLetters of Perc7,Grotnger editedby Malcolm Gillies and David Pear 28 Delius Cello Sonataand Violin Sonatas(various performers) 29 Delius: Romeo und Julia auf dem Dorfe 32 The DeliusCollection (Unicorn-Kanchana) 34 'A '(Chandos) Delius: Walk in a Pqradise Garden 36 Anthony Collinsconducts Delius 37 Graingerand Delius (BBC Radio Classics) 38 Delius.The RPO Collection 39 News Round-Up 40 Obituary: ChristopherPalmer 43 ErnestBradbury 44 Correspondence 44 ForthcomingEvents 46 Reportsfrom the Midlands and Northern Brancheshave necessarily been held over until the next issue. -
The Poisoned Kiss
Journal of the No.26 February 2003 EDITOR Stephen Connock RVW (see address below) Society Healthy Finances In this issue... - but more members needed! The Poisoned Kiss G From Polly to The Wasps The RVW Society’s Eighth AGM on 13 at least an increase, but the Trustees The musical context October 2002, at Charterhouse School, would like to see membership growth presented the best set of accounts since accelerate to allow us to achieve our Page . 2 the formation of the Society. Total target of 1,000 members by our 10th funds raised in the year were over anniversary in 2004. All members are G “It will be alright in the £18,000 and a healthy surplus of urged to help us achieve our goal and a £6,000 was carried forward. This membership application form is end” - the complex surplus was achieved after expenditure enclosed with the journal. evolution of the libretto on the permanent RVW Exhibition at All Saints Church, Down Ampney and Page . 4 after the costs of publishing Ursula Eric Parkin Vaughan Williams’s autobiography A highlight of the AGM was a superb G “Once upon a time . .” Paradise Remembered. Income from lecture/recital by the distinguished book sales was also up 538%, largely pianist Eric Parkin. He provided us An analysis of the due to Ursula’s book. Funds were with fascinating insights into such opera improved by donations of more than composers as John Ireland, E J Moeran Page . 9 £2,000 under gift aid. As John Francis, and Billy Mayerl. His playing of the our Treasurer, put it at the AGM “an music of these composers, together excellent year”. -
Journal61-1.Pdf
October 1978, Number 61 The Delius Society Journal October 1978,Number 61 The Delius Society Full Membe,rshipf3.00 per year (f5.00 from April 1979) Studentsf1.50 (92.50) Subscriptionto Lib,raries(Jo'r.rrnal only) f2.00 per ye{}r(€3.50) President Eric FenbyOBE, Hon. D. Mus Hon. D. Litt Hon. RAM Vice Presidents The Rt Hon Lord BoothbyKBE, LLD Felix Aprahamian RolandGibson M Sc,Ph D (FounderMember; Sir CharlesGroves CBE StanfordRobinson OBE, ARCM (Hon),Hon CSM MeredithDavies MA, B Mus, FRCM, Hon RAlv{ Chairman R B Meadows 5 WestbourneHouse. Mount Park Road.Harrow, Middlesex Treasurer P Lyons 1 CherryTree Close,St. Leonards-on-Sea,Sussex. TN37 6EX Secretar:y J K White 48, PattensLane, Rochesiter,Kent Editor ChristopherRedwood 4 Tabor Grove,London SW194EB Telephone:0t-946 5952 The Delius Society' Journal A Special Issue dedicatedto Dr. Eric Fenby Contents The Fenby Legacy by David Tall 5 Did Delius Live Here? t3 Cover lllustration F Delius by Dawn Redwood(after Kapp) Publishedquarterly, January, April, July and October Material for inclusionshould reach the Editor by the lst of the month prior to that of publication Additional copiesof this issue50p each,inclusive of postage ISSN-0306-0373 EDITORIAL Ootobe'r 28th 1978 was the fiftie'th anniversary of Eric Fenby's first visit to Delius at Grez-sur-Loing, and accordingly this issue of. The Delius Society Journal is dedicated to Eric and the village in which he carried out what many will see as the achievement of a life'time. Our leading artic e examines that achievement to-day, with particular em' phasis on the s,tarfing-po,intso,f the many composi,tions which the collaboration produced, and will answer many of the questions which must have arisen in the minds of reade,rsaf. -
San Francisco Symphony History
San Francisco Symphony History In the wake of the 1906 earthquake, establishment of a permanent orchestra was high on San Francisco’s civic agenda, and in December 1911 the San Francisco Symphony gave its first concerts. Almost immediately, the Symphony revitalized the city’s cultural life with programs that offered a kaleidoscope of classics and new music. The Orchestra grew in stature and acclaim under a succession of distinguished music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, the legendary Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt (who continues to serve as Conductor Laureate), and Michael Tilson Thomas, who recently became the Symphony’s first Music Director Laureate following his remarkable 25-year tenure. In the 2020–21 season, the San Francisco Symphony welcomes conductor and composer Esa-Pekka Salonen as its twelfth Music Director and embarks on a new vision for the present and future of the orchestral landscape. In their inaugural season together, Esa-Pekka Salonen and the San Francisco Symphony introduce a groundbreaking artistic leadership model anchored by eight Collaborative Partners from a variety of cultural disciplines: Nicholas Britell, Julia Bullock, Claire Chase, Bryce Dessner, Pekka Kuusisto, Nico Muhly, Carol Reiley, and Esperanza Spalding. This group of visionary artists, thinkers, and doers joins with Salonen and the San Francisco Symphony to embark on a future of experimentation by collaborating on new ideas, breaking conventional rules, and creating unique and powerful experiences. The San Francisco Symphony has won some of the world’s most prestigious recording awards, including Japan’s Record Academy Award, France’s Grand Prix du Disque, Britain’s Gramophone Award, and the United States’ Grammy.